Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo
another way, Lila possesses what MichelFoucault 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
demanding, like Hirshfield’s speaker, and inclined to say nothing. Let me attempt, in other words, to think the reticences and resistances within transfiguration.
I want to think these things both with and against the form and content of some of MichelFoucault’s lectures from 1980 at the Collège de France. These lectures’ characterization of early Christian monastic practice, and specifically of monastic discretio , as a production of truth seems to impose upon its texts a mode of speaking which is not their own, a kind of univocal speech where these texts may, in
Foucault, confession, and Donne
Joel M. Dodson
This chapter reconsiders MichelFoucault’s critique of confession in order to
examine, in slightly broader yet more methodological terms, what exactly we
mean by negotiating ‘confessional’ conflict in late Reformation English literature. My aim is to use Foucault to re-think Foucault: to read Foucault’s
later lectures on the ‘care of the self ’ as an alternate model for historicizing
doctrinal affiliation in late Tudor and early Stuart literature rather than the
penal or penitential vocabulary elaborated
Encountering The Book of Margery Kempe in the twenty-first century
Laura Kalas and Laura Varnam
Our emphases. MichelFoucault, On the Order of Things (London and New York: Routledge, 2002; first published 1966), p. xxiii.
See Tara Williams, ‘Recreating and reassessing Margery and Julian's encounter’, Chapter 13 , this volume.
throughout women’s writing from the
beginnings of organised feminism to the outbreak of the Second
World War, even as the refusal of compulsory heterosexuality figured
as a recurrent threat in the cultural imaginary.
1 Winifred Holtby, ‘Notes on the Way’, Time and Tide, 4 May 1935, quoted in
Paul Berry and Alan Bishop (eds.), Testament of a Generation: The Journalism of
Vera Brittain and Winifred Holtby (London: Virago, 1985), pp. 89–93 ( p. 91).
2 Sybil Neville-Rolfe, Why Marry? (London: Faber & Faber, 1935), p. 48.
3 MichelFoucault, The History of
-century Ireland; as Ann Laura Stoler points out
in another context, this mode of analysis does not reject the fact of
repression, ‘but the notion that it was the organising principle of sexual
discourse, that repression could account for its silences and prolific
Engaging with the troubled field of Irish Catholic sexuality, this book
obviously builds on the pioneering work of Tom Inglis. Drawing on the
theories of MichelFoucault, Pierre Bourdieu and Norbert Elias, Inglis’s
Moral Monopoly (1987) analysed the Catholic Church’s regulation of
Johnson, Laura Kasischke, Sharon Olds, Mary Oliver, Suzanne Paola, Antonia Pozzi, Melissa Range, Mary Szybist, and Rynn Williams. My philosophers and theologians come frequently from traditions with deep medieval roots: Martin Buber, Martin Heidegger, Richard Kearney, Herbert McCabe, Josef Pieper, and the incomparable Karmen MacKendrick. (I also owe a debt to a handful of more predictable figures in the history of French thought—Jean-Louis Chrétien, MichelFoucault, Maurice Merleau-Ponty, Jean-Luc Nancy—as well as some particularly eloquent, if less well known, French
Hayden White, Hutcheon developed these ideas in A Poetics of Postmodernism
and then in more detail in The Politics of Postmodernism, in which she
describes a characteristically postmodern form of fiction which, drawing on
developments in philosophy and historiography, reflects on its own status
as fiction, on the relationship between history and narrative and on the
significance of these to questions of ethics and authority.6 Novels such as
John Berger’s G. (1972), Graham Swift’s Waterland (1983) and Julian Barnes’s
Flaubert’s Parrot (1984) look to
Eccentric genealogies in The Folding Star and The Spell
Robert L. Caserio
eccentric genealogies in
The Folding Star and The Spell
Robert L. Caserio
The purpose of history, guided by genealogy, is not to discover the roots
of our identity but to commit ... to its dissipation. (MichelFoucault)1
Alan Hollinghurst’s novels take inspiration from the era of literary
modernism, and his characters invariably discuss writers and works of
the period. Yet the literary origins Hollinghurst solicits for his novels –
and in the novels themselves – don’t have the prominence that might
straightforwardly explain their relevance
in The Implied Reader: Patterns of Communication in Prose Fiction from
Bunyan to Beckett (Baltimore: Johns Hopkins University Press, 1974),
10 M. M. Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael
Holquist, trans. Caryl Emerson and Michael Holquist (Austin:
University of Texas Press, 1981), p. 157.
11 MichelFoucault, ‘What is an author? (1969)’, in Essential Works of
Foucault 1954–1984, Vol. 2: Aesthetics, Method, and Epistemology, ed.
James D. Faubion, trans. Robert Hurley et al. (New York: New Press,
1998), pp. 205