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By Mike Gane
The paintings of Michel Foucault, probably the most influential of recent French social theorists and philosophers, has had a dramatic and far-reaching influence on many disciplines. The essays during this reissued assortment, initially released in 1986, current Foucault's paintings as a big contribution to the theoretical research of background, language and tool.
They additionally symbolize a severe reaction to this contribution, encouraging readers not just to learn Foucault for themselves, yet to consider a few new difficulties in a brand new manner.
Read Online or Download Towards a Critique of Foucault: Foucault, Lacan and the Question of Ethics PDF
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Additional info for Towards a Critique of Foucault: Foucault, Lacan and the Question of Ethics
Example text
There is a shift in levels because Foucault first answers the question why prisons? by constructing a general 'diagram' of disciplinary punishment as a technique or mechanism: Bentham's design of the Panopticon assumes the ideal form of this diagram. Foucault quickly acknowledges that the Panopticon itself was never actually put up. This seems to raise a distinction between the diagram of disciplinary punishment and its realisation, or between panopticism and the practices of actual prisons . It is not clear given Foucault 's purposes this problem need arise ; it does so , however, since Foucault tries to comment toward the end of the book on how prisons actually functioned in nineteenth-century France.
Discipline' in the generalised form of panopticism is rather as Foucault has it , 'a figure of political technology that may and must be detached from any specific use ' . It is a 'schema . . destined to spread throughout the social body'. 'It programmes , a t the level o f a n elementary and easily transferable mechanism, the basic functioning of a society penetrated through and through with disciplinary mechanisms ' - apparently because discipline is 'indefinitely generalizable' . 1 4 And so , carried by such phrases, from 'the birth of the prison' Foucault easily reaches the present, as if simply by 'the logical culmination of .
They form its concrete a priori, which it is now possible to uncover, perhaps because a new experience of disease is co ming into being that will make possible a historical and critical understanding of the old experience . 1 8 Here , strangely , it is possible to understand the 'birth ' of a struc ture because (perhaps because) of its imminent demise . The figures of 'birth ' and 'death ' plainly provide , however, no means of understanding how or why the structure endures in the meanwhile . g .