By François Caillat (ed.)
In his inner most existence, in addition to in his paintings and political attitudes, Michel Foucault frequently stood in contradiction to himself, particularly while his expansive principles collided with the associations during which he labored. In Francois Caillat's provocative number of essays and interviews in accordance with his French documentary of an identical identify, best modern critics and philosophers reframe Foucault's legacy so as to construct new methods of wondering his fight opposed to society's mechanisms of domination, demonstrating how clash in the self lies on the center of Foucault's lifestyles and work.
Includes a foreword written specifically for this version through Paul Rabinow, Professor of Anthropology on the collage of California (Berkeley) and an influential author at the works of Foucault; he's the co-editor of the fundamental Foucault.
Foucault opposed to Himself positive factors essays and interviews by:
Leo Bersani, American Professor Emeritus of French on the college of California (Berkeley) and the writer of Homos;
Georges Didi-Huberman, French thinker and artwork historian; his latest ebook is Gerhard Richter: Pictures/Series
Arlette Farge, French historian and the writer of The attract of the Archives;
Geoffroy de Lagasnerie, French thinker and the writer of los angeles derniere lecon de Michel Foucault.
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Extra resources for Foucault Against Himself
For that book, he decided to work with a team, including other historians. That was different. He published a very long text that accompanied the story. Then the book became a film by René Allio, a different object. This process was different from what we did with Le Désordre des familles: he went and sought out someone unknown to work with, me, and that certainly didn’t help the cause. —He was criticized, but also very involved in universities. Arlette Farge: It was a rather unusual relationship because the people who attended his classes and filled the amphitheater of the Collège de France were not the usual university audience.
But when his application to be director of the École des hautes études was refused because Fernand Braudel didn’t want him, he was hurt very deeply. He would have been good there. He wouldn’t have asked for the Collège de France if he’d been director at the École. —At the Collège, a chair was designed for him, made to measure. Arlette Farge: Sure, but there are a lot of chairs at the Collège that are made to measure. —Wouldn’t you say there was a sort of mixture, a kind of impurity at the Collège compared to the usual traditions of French universities?
Back then I was a teacher for young educators who wanted to work in the penitentiary system, so I knew a lot about what Michel Foucault was discussing, and the way, for example, he would go into prisons to read Discipline and Punish out loud to the prisoners. I admired him. Back then, street demonstrations, anything concerning freedom, utopia, the prison system, happiness, life that’s intolerable—those things were objects of personal and intellectual interest for me. —What did you think of his social involvement?