Essential Works of Foucault, 1954-1984, Volume 2: Aesthetics, Method, and Epistemology
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The definitive edition of Foucault's articles, interviews, and seminars.
Few philosophers have had as strong an influence on the twentieth century as Michel Foucault. His work has affected the teaching of any number of disciplines and remains, twenty years after his death, critically important. This newly available edition is drawn from the complete collection of all of Foucault's courses, articles, and interviews, and brings his most important work to a new generation of readers.
Aesthetics, Method and Epistemology (edited by James D. Faubion) surveys Foucault's diverse but sustained address of the historical forms and interplay of passion, experience, and truth.
the one whose task it had been to represent him at a time when Western culture itself became a world of representations. A work no longer achieved its sole meaning as a monument, a memory engraved in stone which was capable of surviving the ravages of time; it now belonged to the legend it had once commemorated; it became in itself an "exploit" because it conferred eternal truth upon men and upon their ephemeral actions and also because it referred to the marvellous realm of the artist's life as
books is undoubtedly the product of complex architecturallaws. It is quite probable that the simple rules of alternation, A Prlj'ace to Transgression 77 of continuity, or of thematic contrast are inadequate for defining the space of the language where descriptions and demonstrations are articulated, where a rational order is linked to an order of pleasures, and where, especially, subjects are located both in the movement of various discourses and in a constellation of bodies. Let us simply
Clairville thrown into a volcano, the wordless apotheosis of Juliette are moments that register the calcination of every language. Sa de's impossible book stands in the place of every book - of all these books it makes impossible from the beginning to the end of time. Under this obvious pastiche of all the philosophies and stories of the eighteenth century, beneath this immense double that is not without analogy to Don Quixote, the totality of language finds itself sterilized by the single and
shadows and light" (Victor Hugo), and by its "hallucinatory mechanism" (Hippolyte Taine). But stranger still, Flaubert himself invoked madness, phantasms; he felt he was shaping the fallen trees of a dream: "I spend my afternoons with the shutters closed, the curtains drawn, and without a shirt, dressed as a carpenter. I bawl out! I sweat! It's superb! There are moments when this is decidedly more than delirium." As the book nears completion: "I plunged furiously into Saint Afterword to The
and even more distant, another voice is raised from time to time. It contests the narrative, underscores the latter's improbabilities, points out everything that might be impossible. But it immediately replies to this contestation that it has fostered. You must not think, it says, that a person would have to be insane to undertake such an adventure: "This fact need surprise no one. The Yankees, the first mechanicians in the world. . . ." The characters confined in the lunar rocket are stricken