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Sara Callahan

century. Michel Foucault and the archive as the law of what can be said Poststructuralist critique of history, particularly that delivered by French philosopher Michel Foucault, greatly contributed to a changed notion of the archive in the second half of the twentieth century. Foucault's importance for the increased interest in theorising archives stems in part from the way that the vocabulary and focus on archives was one of the key aspects of his early epistemology. Critical of the notion that the past is somehow out there

in Art + Archive
Allison Cavanagh and Alex Dennis

and ‘welfare’) – and today’s theoretical doldrums. Many sociologists used Michel Foucault’s ideas to supplement, and then replace, the left-structuralist consensus of the 1970s and 1980s, and, we will suggest, his reception and adaptation over this period allowed for the transition from one perspective to another to be achieved in an apparently less haphazard manner. Foucault, for thinkers like Stuart Hall, complemented and later superseded the works of Althusser and Gramsci, while for others (e.g. Silverman, 1985), his perspective bridged the structure

in Human agents and social structures
Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo

another way, Lila possesses what Michel Foucault calls ‘subjugated knowledges’ or ‘ le savouir des gens ’ (82), a phrase that refers to the kind of plural, local knowledges that Jean-Francois Lyotard legitimises in his social theories. The exchanges between Lila and Ames not only highlight how these forms of knowledge are linked to power through class and gender, but also question and undermine the inherent hierarchy in which knowledge is deployed. There are multiple instances in which the value of plural knowledges is affirmed in Lila. The main character's only year

in Marilynne Robinson
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World politics and popular culture
Jack Holland

implications of popular culture’s historical (and continued) marginalisation. In order to make an overarching argument against the historical disassociation of popular culture and world politics, the chapter is structured in three parts. First, it begins by considering how and why it is that popular culture has so frequently been excluded from the study of world politics. To do this, the chapter traces a critical historiography of the study of world politics, mindful of the insights of Michel Foucault, Robert Cox, and Thomas Kuhn. Knowledge and power exist in a nexus

in Fictional television and American Politics
Pascale Drouet

unpleasant to him, thus testifying that they, the speaker, are ethically autonomous. The frank speaker fights against the flattery and hypocrisy that Shakespeare, in Sonnet 114, considers as ‘the monarch’s plague’. 46 Fearless speech comes from the Greek term parrhesia to which Michel Foucault devoted a substantial cycle of conferences at the Collège de France in the early 1980s. According to Foucault, ‘Parrhesia consists in

in Shakespeare and the denial of territory
Robert Miles

theoretical impasse (Perkins 1991 : 1-8). These critical difficulties are, to say the least, problematic. The influence of Michel Foucault’s theory of discursive practices is partially owing to the promise it holds out of finding a route through, and I have adopted it here as a means of negotiating a path through the methodological crux. The immediate advantage of Foucault’s theory is that it rests on an

in Gothic writing 1750–1820
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Clowning and mass protest
Alister Wedderburn

society itself ( Zijderveld, 1982 : 16–17). CIRCA transplanted this subject into (or onto the threshold of) specific political spaces: the police line, the kettle, the occupation, the roadblock, the ‘global justice’ march and so on. Imitating the militaristic rituals, symbols, practices and knowledges by and through which neoliberal order is maintained and secured, the Clown Army enacted and sustained encounters with the actual army (and/or the police) that asked questions of their claims to legitimacy. Drawing on Michel Foucault’s examination of the grotesque in his

in Humour, subjectivity and world politics
Humour, subjectivity and the everyday
Alister Wedderburn

cannot claim the status of ‘subject’ in the first place (cf. Butler, 2006 ). Drawing on the laugh that inspires Michel Foucault’s enquiry into the discursive production of order in The Order of Things , I suggest that humour often engages with, probes at and/or reflects these boundary-drawing processes, as well as the vectors of in- and exclusion that they produce. It thereby offers a way into understanding the construction and contestation not just of this or that subjective identity, but also of the terms of belonging through which subjective being is initially

in Humour, subjectivity and world politics
Total history and the H-Blocks in film
George Legg

progress. To be entangled in this process is to touch upon the sense of boredom that Thomas Dumm has described as arising ‘when people find experience infiltrated by a process of ordering that diminishes the uniqueness of their lives’.19 Such a view is, in turn, close to Michel Foucault’s famous conception of history as a twofold ‘questioning of the document’.20 For what is being described here is not only the construction of a seamless sense of h­ istory – ­the continuum of past into present that Foucault associates with a ‘total history’ – but also the destruction of

in Northern Ireland and the politics of boredom
Struggles for power over a festival soundscape
Lorenzo Ferrarini

of recent perspectives from sound studies. I also believe that the thought of Michel Foucault is pertinent to issues of discipline and governmentality of and through sound, despite his association with vision and technologies of making visible. Specifically, I highlight three strategies or micropractices of power that the clergy are using to take control of the soundscape of the Pollino sanctuary: first, they are using demarcations of space to identify certain sounds as noise; secondly, they are encouraging a passive experience of sound to create ethical listeners

in Sonic ethnography