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Mark Robson

Madness , Jean Khalfa speaks of the nature of Foucault’s move from phenomenology to structuralism, seeing his treatment of madness as indicative of that methodological shift. Unlike the majority of those who have tackled madness as a topic, says Khalfa, Foucault does not write the history of a disease: Rather, in

in Foucault’s theatres
‘The Platonic differential’ and ‘Zarathustra’s laughter’
Mischa Twitchin

return of tragedy, of Dionysus contra Socrates, explored by different participants in the College of Sociology? Is there, perhaps, an echo of philosophical laughter in this old-new knowledge (or ‘science’) of phantasms, at least in its difference from phenomenology? The repressed of metaphysics has taken many names, so that now ‘phantasmaphysics’ itself seems to have as

in Foucault’s theatres
Foucault’s genealogical theatre of truth
Aline Wiame

In an interview published in 1984, Foucault gives a surprising account of what helped him escape the intellectual horizon of the 1950s – a horizon which was so under the influence of Marxism, phenomenology, and existentialism that, Foucault says, it left him feeling suffocated. ‘I was like every philosophy student at the time and, for me, the rupture

in Foucault’s theatres
Peter Barry

chapter tells the history of the rise of English Studies; the next four chapters deal in turn with phenomenology, structuralism, post-structuralism, and psychoanalysis, and the Conclusion is entitled ‘Political Criticism’. Eagleton makes no pretence to neutrality – he is a Marxist critic writing from a committed and identified position, not a sipper and taster of ‘isms’ who swills each one around for a few moments and then passes on to the next one. The omissions are striking – the index (this is in 1983) has no entry on ‘feminism’ or ‘feminist theory’, for instance

in Beginning theory (fourth edition)
Foucault interviewed by Moriaki Watanabe
Robert Bononno
Michel Foucault

what was done at that moment became the subject of your analysis; and this was directed at exposing the immanence of the relationships of power that had made possible the production of those utterances. MF: Yes, exactly. We could say that my point of view, my initial subject was the history of the sciences. This didn’t present a problem for phenomenology. You don

in Foucault’s theatres
Kélina Gotman

, or expanded by its encounter with a version of Africa in the twentieth century, for example; or Africa is mimicking, catching up to, or in some way contaminating some mythically pure white European West. Instead, as Susan Buck-Morss notes of Hegel’s intimate intellectual engagement with the history of the Haitian revolution at the time of his writing on phenomenology, the

in Foucault’s theatres