Search results

You are looking at 71 - 80 of 960 items for :

  • "Michel Foucault" x
  • Refine by access: All content x
Clear All
Mark Robson

What does it mean to think of the work of Michel Foucault in terms of what I am calling here critical dramaturgy? There might appear to be a certain redundancy in underlining the critical, since from as early as Lessing’s Hamburgische Dramaturgie (1767–79), the critical dimension of dramaturgy has been insistently reinforced. For Lessing

in Foucault’s theatres
Magnolia Pauker

Michel Foucault notoriously disdained publicity and yet he also engaged – and staged – a striking number of more and less mediatised interviews between the publication of Histoire de la folie in 1961 (translated in 1964 as Madness and Civilization ) and his death in 1984. 3 In fact, his biographer, David Macey, counting interviews between two

in Foucault’s theatres
Abstract only
Pascale Drouet

To ‘put to the ban’, to ‘condemn by public edict or sentence to leave the country’, to ‘exile’, to ‘expatriate’: these are the objective definitions of the verb ‘banish’. 1 Taking practice and subjective experience into account, Michel Foucault specifies that to banish is also to ‘destroy the home, erase the place of birth, confiscate goods and properties’, 2 that is, radically to uproot what

in Shakespeare and the denial of territory
‘The Platonic differential’ and ‘Zarathustra’s laughter’
Mischa Twitchin

philosophical phantasms? Notes 1 Michel Foucault , ‘ Theatrum Philosophicum ’ (1970), in Michel Foucault, Language, Counter-memory, Practice , ed. Donald Bouchard , trans. Donald Bouchard and Sherry

in Foucault’s theatres
Abstract only
Foucault and Naturalist theatre
Dan Rebellato

’s gaze shows us that it is truly the modern theatrical origin of not just the human, but also the post-human. Notes 1 James Miller , The Passion of Michel Foucault ( London : Harper Collins , 1993 ), pp. 64 – 5

in Foucault’s theatres
Kuba Szreder

2013 : 105). The model of the ‘mini-firm’ is not ideologically neutral, as artists and curators have to become entrepreneurs of the self in accord with the premises of → neoliberalism . Michel Foucault created the concept of the ‘entrepreneur of himself’ to discuss this tendency towards individuation, describing this state as ‘being for himself his own capital, being for himself his own producer, being for himself the source of [his] earnings’ (Foucault 2010 : 226). The entrepreneur of himself is not only individually responsible for his own

in The ABC of the projectariat
Abstract only
Geertje Mak

elaborate on the problem of the (absence of ) the sexed self. These memoirs will be familiar to many readers through the reissue introduced by Michel Foucault and the consequent hot discussions from several theoretical points of view. My close reading of the memoirs will doubt Foucault’s suggestion that at the time ‘true sex’ referred to both a physical and a psychological sex. After having explained how the biological opinion increasingly excluded the concept of hermaphroditism and forced people to have only one primary sexual identity, which had to be deciphered by

in Doubting sex
Ruth Pelzer-Montada

Part I is titled ‘Genealogy’ instead of the more conventional ‘history’. It signals the insight, following Michel Foucault, that historical accounts, far from being ‘objective’, exist as the result of discourses and are hence subject to change. In a recent essay, the eminent American Renaissance print scholar and curator Peter Parshall ( 2016

in Perspectives on contemporary printmaking
Open Access (free)
James Bowen and Jonathan Purkis

(chapter 8) taps into a radical psychiatric tradition which has frequently appealed to anarchists for its critique of dominant constructed notions of reality. This is one of the reasons for the attraction of Michel Foucault’s work to many anarchists. Certainly the way that Gore looks at the discourses around creativity and art, as well as those of mental health and normality, is reminiscent of this analytic approach. Gore’s and Bowen’s chapters concentrate on education, age, communication and the importance of art and creativity in the libertarian struggle, something

in Changing anarchism
Encounters with biosocial power
Author: Kevin Ryan

Refiguring childhood stages a series of encounters with biosocial power, which is a specific zone of intensity within the more encompassing arena of biopower and biopolitics. Assembled at the intersection of thought and practice, biosocial power attempts to bring envisioned futures into the present, taking hold of life in the form of childhood, thereby bridging being and becoming while also shaping the power relations that encapsulate the social and cultural world(s) of adults and children. Taking up a critical perspective which is attentive to the contingency of childhoods – the ways in which particular childhoods are constituted and configured – the method used in the book is a transversal genealogy that moves between past and present while also crossing a series of discourses and practices framed by children’s rights (the right to play), citizenship, health, disadvantage and entrepreneurship education. The overarching analysis converges on contemporary neoliberal enterprise culture, which is approached as a conjuncture that helps to explain, and also to trouble, the growing emphasis on the agency and rights of children. It is against the backdrop of this problematic that the book makes its case for refiguring childhood. Focusing on the how, where and when of biosocial power, Refiguring childhood will appeal to researchers and students interested in examining the relationship between power and childhood through the lens of social and political theory, sociology, cultural studies, history and geography.