Foucault a noué ensemble, dans les années 1970, sa généalogie de la société de normalisation et ses généalogies, multiples, de la psychanalyse. Mais reste souvent méconnu le fait que Lacan lui-même a mis en rapport l’émergence de la psychanalyse avec l’extension croissante de la société de normalisation, comme une réaction à celle-ci, un peu avant la parution de La volonté de savoir (1976). La position de Lacan s’avère diamétralement opposée à celle de Foucault en ce qu’il considère la psychanalyse comme (...) une pratique radicalement hors normes, et non comme un agent de normalisation. La question cruciale dont traite cet article est celle de la pertinence des généalogies foucaldiennes d’une part, et celle qui consiste à lui opposer une histoire de la psychanalyse crédible qui rendrait compte de sa spécificité et de son pouvoir de subversion d’autre part. Les outils d’une histoire de la psychanalyse fournis par Lacan présentent à divers titres un intérêt à ce sujet. Lacan élabore cette histoire depuis le champ de la psychanalyse et conformément à l’épistémologie psychanalytique, et au contraire de Foucault, il cherche à maintenir l’exigence de penser la psychanalyse dans sa spécificité relativement aux autres savoirs et pratiques. (shrink)

In this essay and the next, on Foucault, Derrida reencounters two thinkers to whom he had earlier devoted important essays, which precipitated stormy discussions and numerous divisions within the intellectual milieus influenced by their ...

Penser les normes, ou l'absence de normes, penser le besoin de normes et la nécessité de s'en défaire à travers l'œuvre de Lacan et la critique de Foucault, tel est le dessein de cet ouvrage qui entend renouveler tant notre connaissance que nos interrogations sur ces questions. À l'heure de l'empowerment des minorités, la norme devient une préoccupation essentielle, et la psychanalyse, praxis radicalement hors normes, vient s'extraire du binaire du normal et du pathologique propre à la médecine et transposé (...) au social. Forte d'une double qualification, à la fois psychanalyste et universitaire, Aurélie Pfauwadel questionne le processus de normalisation sociale, l'inventivité des sujets et la régulation qu'elle permet au prisme des critiques foucaldiennes adressées à l'encontre de la psychanalyse. Voici, pour la première fois avec une telle ampleur et une telle exhaustivité, la confrontation décisive entre les pensées de Michel Foucault et du dernier Jacques Lacan. Donnant naissance à un véritable aggiornamento de la pratique lacanienne, ce livre s'érige aussi contre les préjugés environnant la psychanalyse, qui ont beau jeu de la reléguer à une pratique réactionnaire. Exceptionnel d'intelligence et d'écriture. (shrink)

In this 1966 interview, published here in English translation for the first time, Michel Foucault positions himself as a representative of a ‘generation’ of French thinkers who turned towards the analysis of ‘structures’ and away from the phenomenological approaches that had previously dominated French philosophy. In this, Foucault claims inspiration not only from older French scholars—namely Georges Dumézil, Jacques Lacan, and Claude Lévi-Strauss—but also from the science of genetics.

Jacques Lacan is renowned as a theoretician of psychoanalysis whose work is still influential in many countries. He refashioned psychoanalysis in the name of philosophy and linguistics at a time when it faced certain intellectual decline. Focusing on key terms in Lacan's often difficult, idiosyncratic development of psychoanalysis, this volume brings new perspectives to the work of an intimidating influential thinker.

Notes prises par Jacques Lagrange lors du cours d'anthropologie donné par Michel Foucault en 1954-1955 à l'École Normale Supérieure.

This volume is an introduction to the relationship between psychoanalysis and literature. Jean-Michel Rabaté takes Sigmund Freud as his point of departure, studying in detail Freud's integration of literature in the training of psychoanalysts and how literature provided crucial terms for his myriad theories, such as the Oedipus complex. Rabaté subsequently surveys other theoreticians such as Wilfred Bion, Marie Bonaparte, Carl Jung, Jacques Lacan, and Slavoj Žižek. This Introduction is organized thematically, examining in detail important terms like deferred (...) action, fantasy, hysteria, paranoia, sublimation, the uncanny, trauma, and perversion. Using examples from Miguel de Cervantes and William Shakespeare to Sophie Calle and Yann Martel, Rabaté demonstrates that the psychoanalytic approach to literature, despite its erstwhile controversy, has recently reemerged as a dynamic method of interpretation. (shrink)

This collection of essays on the philosophy of Foucault assesses his various work from a variety of perspectives: his place in the history of philosophy; his style and method of philosophical expression; his notions of political power; his ethical thought; and his attitude to psychoanalysis.

An examination of the relation between war and politics, by one of the twentieth century’s most influential thinkers From 1971 until 1984 at the College de France, Michel Foucault gave a series of lectures ranging freely and conversationally over the range of his research. In Society Must Be Defended , Foucault deals with the emergence in the early seventeenth century of a new understanding of war as the permanent basis of all institutions of power, a hidden presence within society (...) that could be deciphered by an historical analysis. Tracing this development, Foucault outlines the genealogy of power and knowledge that had become his dominant concern. (shrink)

Dans ce manuscrit du début des années 1950, Foucault met en relief la perspective freudienne qui substitue à l’approche biologique de la maladie fondée sur l’évolutionnisme une démarche basée sur la compréhension de sa signification psychologique. Cependant, puisque le point de vue évolutif n’est jamais abandonné par Freud, se pose la question de savoir comment, dans la définition psychanalytique de la maladie et de ses rapports à la personnalité, se distribuent les éléments d’une analyse évolutive et ceux d’une compréhension significative (...) : quel équilibre peut être instauré entre eux, et quelle image de l’homme malade en résulte? En outre, si la maladie a un sens, et si elle se définit par un ensemble de réactions significatives et cohérentes, en quoi est-elle maladie? (shrink)

When I decided to explore the question of Witz, or wit, with you this year, I undertook a small enquiry. It will come as no surprise at all that I began by questioning a poet. This is a poet who introduces the dimension of an especially playful wit that runs through his work, as much in his prose as in more poetic forms, and which he brings into play even when he happens to be talking about mathematics, for he is (...) also a mathematician. I am referring to Raymond Queneau. While we were exchanging our first remarks on the matter he told me a joke. It’s a joke about exams, about the university entrance exams, if you like. We have a candidate and we have an examiner. – “Tell me”, says the examiner, “about the battle of Marengo.” The candidate pauses for a moment, with a dreamy air. “The battle of Marengo...? Bodies everywhere! It’s terrible... Wounded everywhere! It’s horrible...” “But”, says the examiner, “Can’t you tell me anything more precise about this battle?” The candidate thinks for a moment, then replies, “A horse rears up on its hind legs and whinnies.” The examiner, surprised, seeks to test him a little further and says, “In that case, can you tell me about the battle of Fontenoy?” “Oh!” says the candidate, “a horse rears up on its hind legs and whinnies.” The examiner, strategically, asked the candidate to talk about the battle of Trafalgar. The candidate replies, “Dead everywhere! A blood bath.... Wounded everywhere! Hundreds of them....” “But my good man, can’t you tell me anything more precise about this battle?” “A horse...” “Excuse me, I would have you note that the battle of Trafalgar is a naval battle.” “Whoah! Whoah!” says the candidate. “Back up, Neddy!” The value of this joke is, to my mind, that it enables us to decompose, I believe, what is at stake in a witticism. (Extract from Chapter VI). (shrink)

Language and the birth of "literature." A preface to transgression. Language to infinity. The father's "no." Fantasia of the library.--Counter-memory: the philosophy of difference. What is an author? Nietzsche, genealogy, history. Theatrum philosophicum.--Practice: knowledge and power. History of systems of thought. Intellectuals and power. Revolutionary action: "until now.".

In lieu of an abstract, here is a brief excerpt of the content:“Foucault for Psychoanalysis”Monique David-Ménard’s Kind of BluePenelope DeutscherFoucault for psychoanalysis? This is a paradoxical question. Foucault also produced a critique of psychoanalysis, aiming to show that sexuality was not an a-temporal reality, nor a truth eventually discovered by Freud. It was a discursive formation, one among others.—Eloge des hasards dans la vie sexuelle, 172.To the philosophers..A practicing psychoanalyst and a professor of philosophy, Monique David-Ménard extends a singular proposition (...) to philosophers. She is not the first philosopher to engage the assumptions of psychoanalysis, but hers is a particularly idiosyncratic suggestion for how to think with the analyst’s clinical work, intimate and alien. She has proposed we do so in the company of Gilles Deleuze,1 and most recently, in Eloge des hasards dans la vie sexuelle (2011) has extended her invitation to think with the clinic through an ingenious reading of Michel Foucault.As Eloge opens, David-Ménard’s reading of Foucault is far from the scene. Early in the work, we are asked to think with a practice, seemingly in a different register. An analyst finds herself accused of being an obstacle, of opposing the analysand’s wishes in life. In this context, we are asked to think about the blue of a painting in the room where the analysand waits (David-Ménard 2011, 34). [End Page 111]Given the criticisms of psychoanalysis elaborated in the work of Foucault and Deleuze, one might have expected these philosophers to be considered in Eloge in that stead.2 Or, one could imagine Foucault playing a role because of his genealogical analysis of the formation of the Oedipus complex.3Two years after the publication of Deleuze’s Anti-Oedipus, Foucault had, in Abnormal, characterized the desiring space of the family as stimulated in a capillary network of individualizing normalization (Foucault 2003, 257), linked by medicalized and expert concern of which parents became the auxiliaries. They are charged, and charge themselves, with the goals of family health, of preservative and defensive good parenting, and with the conduct of the child’s conduct. Foucault describes the pre-twentieth century emergence of lay and expert preoccupation with the dangers of childhood masturbation. This produces an environment whose intensive scrutiny involves a close “folding of... parents’ bodies over... children’s bodies” (ibid., 265) in a saturated, hermetic environment stimulating oedipalized desire. This means one can offer a genealogical account of the conditions of formation of the latter. These include a responsibilization of parents, who control for the presence of abnormal sex, advised by new experts (lay, medical, pseudo-scientific) in collective crusades for health and life. Thus there is differentiation through minor gradations of abnormality. Even the specificity of the architectural spaces in which scrutiny is directed plays a role in the hollowing out of the child’s putatively interior psychic-sexual life, the intense object of “palpating” interest (Foucault 1978, 45) in new apparatuses of knowledge-power (Foucault 2003, 327).Because he presents this as the context in which the “nuclear and substantial family was gradually constituted” (Foucault 2003, 264), along with its oedipal configurations of desire, Foucault emphasizes the contingency of both. Psychoanalysis would be, from his perspective, willfully indifferent to these or other possibilities for genealogical analysis of the apparatus of power, knowledge, and the body, of the repeating configurations of desire that are its special domain of expertise,4 and the emergent forms of authority associated with the analyst, described in History of Madness (Foucault 2009) and in Psychiatric Power (Foucault 2006).Perhaps we’d expect to see David-Ménard, the psychoanalyst, addressing these accounts, but they are neither repudiated in Eloge, nor extensively discussed. Far from rejecting a genealogical analysis of psychoanalysis, she promotes its promise. But this is so in a particular sense.Necessity and repetitionA particular patient might fear being “mad like her mother.” She might fear being denied, trapped, or annihilated (David-Ménard 2011, 33). She might [End Page 112] consider herself somehow denied a lover. She might seem to be denying herself a lover. There’s a degree of necessity in all these variants. Perhaps these... (shrink)

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

"Brilliant and innovative, Jacques Lacan's work lies at the epicenter of modern thought about otherness, subjectivity, sexual difference, the drives, the law, and enjoyment. This new translation of his complete works offers welcome, readable access to Lacan's seminal thinking on diverse subjects touched upon over the course of his inimitable intellectual career." This English edition is translated by Bruce Fink, in collaboration with Héloïse Fink and Russell Grigg.

In 1980, Michel Foucault began a vast project of research on the relationship between subjectivity and truth, an examination of conscience, confession, and truth-telling that would become a crucial feature of his life-long work on the relationship between knowledge, power, and the self. The lectures published here offer one of the clearest pathways into this project, contrasting Greco-Roman techniques of the self with those of early Christian monastic culture in order to uncover, in the latter, the historical origin of (...) many of the features that still characterize the modern subject. They are accompanied by a public discussion and debate as well as by an interview with Michael Bess, all of which took place at the University of California, Berkeley, where Foucault delivered an earlier and slightly different version of these lectures. Foucault analyzes the practices of self-examination and confession in Greco-Roman antiquity and in the first centuries of Christianity in order to highlight a radical transformation from the ancient Delphic principle of “know thyself” to the monastic precept of “confess all of your thoughts to your spiritual guide.” His aim in doing so is to retrace the genealogy of the modern subject, which is inextricably tied to the emergence of the “hermeneutics of the self”—the necessity to explore one’s own thoughts and feelings and to confess them to a spiritual director—in early Christianity. According to Foucault, since some features of this Christian hermeneutics of the subject still determine our contemporary “gnoseologic” self, then the genealogy of the modern subject is both an ethical and a political enterprise, aiming to show that the “self” is nothing but the historical correlate of a series of technologies built into our history. Thus, from Foucault’s perspective, our main problem today is not to discover what “the self” is, but to try to analyze and change these technologies in order to change its form. (shrink)

Lectures at the Collège de France, 1973-1974. Ed. Jacques Lagrange, trans. Graham Burchell, intro. Arnold I. Davidson,. Extract from Chapter One, 7 November 1973.

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode of neoliberal (...) rationality so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

This paper examines the problem of alternatives to the prison in order to problematize the prison as an institution, as a form of punishment and as a system for promoting respect for the law. It argues that the mechanisms that were central to the prison during the 19th century, such as the practice of penitence as a principle of rehabilitation, the family as agent of correction, or as agent of legality, and labour as a fundamental instrument for punishment, still operate (...) today, if in altered forms, in both the conventional and alternatives types of prison. The prison has been a factory for producing criminals; this production is not a mark of its failure but of its success. Prison manages control over illegalities by means of a whole set of apparatuses that manage their reorganization, redistributing them according to an economy of illegalisms. It may well be that changes in the economy and in the mechanisms for regulating populations mean that the carceral functions of the prison are today being disseminated at the level of the social body, so that they would now operate beyond the space of the prison through multiple instances of control, surveillance, normalization and re-socialization. The question of the prison cannot be resolved or even posed in terms of a simple penal theory. Neither can it be posed in tems of a psychology or sociology of crime. The question of the role and possible disappearance of the prison can only be posed in terms of an economy and a politics, that is, a political economy of illegalisms. (shrink)

In Read My Desire, Joan Copjec stages a confrontation between the theories of Jacques Lacan and Michel Foucault, protagonists of two powerful modern discourses - psychoanalysis and historicism. Ordinarily, these discourses only cross paths long enough for historicists to charge psychoanalysis with an indifference to history, but here psychoanalysis, via Lacan, goes on the offensive. Refusing to cede historicity to the historicists, Copjec makes a case for the superiority of Lacan's explanation of historical process, its generative principles, and (...) its complex functionings. Her goal is to inspire a new kind of cultural critique, one that would be "literate in desire," that would be able to read what is inarticulable in cultural statements. Choosing a variety of battlegrounds, from historical phenomena - the 40,000 unsettling photographs of Moroccan drapery taken by Lacan's mentor, G. G. de ClA©rambault; the coincidence between vampire literature and the eighteenth-century imperative to breast-feed; the recurrent emptiness of urban spaces in film noir; the rise of democracy and questions of human rights - to theoretical concepts such as the gaze, cause, and sexual difference, Copjec imagines the blows that each contender might strike. Although Lacan emerges the victor, one has a sense that for Copjec the contest is close, that she is interested not in simply dismissing Foucault but in seizing his theory at those moments when its concerns and strategies are similar to Lacan's. She is intent on understanding how two compelling theories come to diverge, how small differences distort common assumptions. Establishing the links between psychoanalysis and critical philosophy, Copjec treats psychoanalysis not as a private language but as the mother tongue of modernity. She thus makes Lacan's famous "return to Freud" a return, as well, to the best principles of the Enlightenment. By this maneuver she forces us to question the historicist dialect that we have been taught to speak and that we all but take for granted and to regret the loss in it of psychoanalysis's more rousing accents. (shrink)

English summary: In November 1980, Michel Foucault gives in English, at Dartmouth College, two lectures entitled "Truth and Subjectivity" and "Christianity and Confession". In these lectures, through the study of the techniques of the self, including the examination of conscience and confession in Greco-Roman antiquity and early Christianity, Foucault traces the genealogy of the modern subject and the hermeneutics of the self that characterizes us today. This edition presents for the first time the French translation of conferences at (...) Dartmouth College, with variants of the version given by Foucault the previous month at the University of California at Berkeley. It also presents two new unedited interventions, contemporary to these conferences: a public debate held at Berkeley and an interview where Foucault responds to questions about his research, where he is brought to discuss the values that guide his work. French description: En novembre 1980, Michel Foucault prononce en anglais, a Dartmouth College, deux conferences intitulees Truth and Subjectivity et Christianity and Confession. Dans ces conferences, a travers l'etude des techniques de soi, et notamment de l'examen de conscience et de l'aveu, dans l'Antiquite greco-romaine et le christianisme primitif, Foucault retrace la genealogie du sujet moderne et de l'hermeneutique de soi qui nous caracterise encore aujourd'hui. Cette edition presente pour la premiere fois la traduction francaise des conferences de Dartmouth College, avec les variantes de la version prononcee par Foucault le mois precedent a l'Universite de Californie a Berkeley. Elle presente egalement deux interventions inedites, contemporaines de ces conferences : un debat public qui s'est tenu a Berkeley et une interview, ou Foucault repond a des questions sur ses recherches et est amene a preciser quelles sont les valeurs qui guident son travail. (shrink)

Introduction -- ch. 1. Le cas Ellen West -- ch. 2. L'espace -- ch. 3. Le temps -- ch. 4. L'experience d'autrui -- ch. 5. L'anthropologie existentielle.

O presente trabalho pretende estabelecer algumas precisões históricas e conceituas em torno da formação da história arqueológica de Michel Foucault, tendo como foco um livro póstumo e recém lançado, intitulado La Question Anthropologique (2022). Esse livro trata de um curso sobre “antropologia” ministrado por Foucault entre 1952 (ou 1951) e 1955, em Lille e na ENS. As precisões históricas e conceituais tratadas aqui são em torno dos seguintes contextos: primeiramente, analisa-se a escassa literatura de comentário anterior ao lançamento do (...) livro em 2022; depois, parte-se ao horizonte de leituras de Foucault na época, especialmente ocorridos em torno da figura de Nietzsche. Essas leituras ocorrem em diversas frentes, tais como as figuras de Heidegger e Jaspers, a importância da história das ciências, a interlocução com Althusser e Jacques Martin em torno de Marx e a questão da loucura e da psicanálise. -/- The present work aims to establish some historical and conceptual clarifications surrounding the formation of Michel Foucault’s archaeological history, considering a recently published posthumous book entitled La Question Anthropologique (2022). This book thematizes a course on “anthropology” given by Foucault between 1952 (or 1951) and 1955, in Lille and at the École Normale Supérieure. The historical and conceptual analysis concerns the following subjects: firstly, the text analyzes the scarce secondary literature published before the book’s launch in 2022; secondly, the article focuses some readings made by Foucault in those years, especially surrounding the figure of Nietzsche. These readings occur on several fronts, such as: the influence of Heidegger and Jaspers, the role of the history of sciences, the dialogue with Althusser and Jacques Martin on Marx and the themes of madness and psychoanalysis. (shrink)

This essay suggests that the minimal 1966 exchange between Jacques Lacan and Michel Foucault in Lacan’s seminar actually stood in for a much fuller debate about modernity, psychoanalysis and art than its brevity would indicate. Using their contrasting interpretations of Velázquez’s painting, Las Meninas, as its fulcrum, “The Other Side of the Canvas” discovers a Lacanian critique of Foucault’s history of modernity, circa The Order of Things. The effort here is to insert the interpretation of Velázquez into the (...) context of both Lacan’s “Science and Truth” (originally the first session of the 1966 seminar) and Foucault’s recently published book. Our interpretation develops above all from Lacan’s contrast between the definition of a painting as a “window” and Foucault’s implicit understanding of it as a kind of “mirror”—a distinction in which Lacan discovers his seminal concept of “object a.” Pursuing the understanding of object a as the “surface” of the perspectival window allows us to understand why Lacan expands the discussion of Velázquez both into an understanding of twentieth-century paintings (Magritte, Balthus) and an implicit interpretation of the difference between philosophical and psychoanalytic approaches to science and history. (shrink)

Much of Michel Foucault's work involves complex and detailed studies of madness, the clinic, the prison, the human sciences, sexuality, etc. In addition to these studies, however, three major themes may be identified on his intellectual journey. These are the analysis of epistemes, or historical regions of discourse; the investigation of “regimes of truth”; and the study of “techniques of the self”. Foucault's problematic is linked to his general claim that explanation and language do not stand on a single (...) ground or origin which sustains them. Foucault proposes to investigate particular networks of discourses, where both regular and irregular patterns may be identified. His proposed method is both epistemological and archaeological. Genealogy develops the historical perspectivism opened up by archaeology and further supports Foucault's view that the presuppositions and norms governing particular cultures and periods are maintained by a mixture of ideologies and strategic factors of various kinds. (shrink)

La conférence que Georges Canguilhem donna au Collège philosophique de Jean Wahl en 1956, « Qu’est-ce que la psychologie? », fut saluée par Jacques Lacan comme une défense de la psychanalyse contre les prétentions hégémoniques de la psychologie. La psychanalyse, dont la naissance est malgré tout comprise dans la généalogie esquissée par Canguilhem, est-elle toutefois vraiment à l’abri des critiques que celui-ci adresse à la psychologie? Cette contribution analyse le rapport de la psychanalyse à l’instrumentalisme foncier de la psychologie (...) sous trois aspects : la relation entre science et vérité, la réduction par Gassendi et la tradition aristotélique du niveau originaire et spéculatif du cogito cartésien à celui spéculaire de la connaissance physique de l’âme par soi-même, et le choix freudien et lacanien d’un être-pour-la-mort contre toute philosophie de la vie. À la lumière du scientisme de la psychanalyse et de son rapport constitutif au mythe et au sacré, que Lacan pas plus que Freud n’arrive à dépasser, un lien est enfin établi avec, d’une part, l’archéologie de la psychanalyse développée dans Naissance de la clinique et La volonté de savoir et, de l’autre, le privilège que Foucault accorde à la psychanalyse et à l’ethnologie parmi les sciences humaines dans Les mots et les choses. (shrink)

Michel Foucault is known for his critiques of the intertwinement of empirical knowledge, perception and experience, and power. Within this general framework, this article focuses on a fairly unnoticed text of Foucault’s: his 1962 Introduction to Jean-Jacques Rousseau’s Dialogues . The article shows that Foucault’s Introduction is central for more than one reason: Firstly, it is apparently the first piece, in which Foucault focuses in detail on confession as an individualizing mode of power and truth-utterance. Secondly, in this (...) text, Foucault treats confession as an empirical, sensual and affective form of power. Thirdly, in this early text, Foucault presents what can be called his critique of phonocentrism, i.e., of the interrelated centrality of voice, hearing, authenticity and “presence.” We find out that Foucault elaborated this critique (from the starting point of his archaeology of knowledge), already before Jacques Derrida introduced the actual term “phonocentrism,” and made it generally known. Finally, we will see that Foucault’s seminal 1970s genealogies of confession, sexuality and pastoral power revisit as well as revise the earlier insights discovered in the Introduction. (shrink)

L’article s’intéresse à la manière dont Michel Foucault fait usage de la psychanalyse, dont il est un grand lecteur dans les années 1950, essentiellement de Freud. Si elle est parfois enrôlée au sein d’une « fonction-Psy » et ne fait pas l’objet d’un cours spécifique au Collège de France comme la psychiatrie, elle apparaît toutefois comme un problème de longue date, une référence qui persiste tout au long de l’œuvre de Foucault, même si elle est abordée de façon tout (...) à fait pointilliste. En ce sens, elle a un statut à part au sein de cette fonction, parfois contradictoire, assez souvent obscur, tantôt matrice de toutes les institutions disciplinaires, tantôt forme de dépsychiatrisation hors de l’asile. À côté d’un usage « instrumental » asservi à la problématique du savoir-pouvoir pointent des usages tout à fait singuliers. Foucault triture ainsi le concept d’inconscient au point de le rendre tout à fait hétérogène au savoir élaboré par Freud et révisé par Lacan. (shrink)

The purpose of this paper is to review Foucault´s problematization of method within the framework of his conception of philosophy as a critical diagnostic activity of the present. First, we will reconstruct the way in which the philosopher problematizes the critique as a diagnostic activity and focuses repeatedly on archival work on thediscourse of the human sciences. Then, we will focus on the archaeological problematization of method and what we call "archaeological echoes of genealogy". Therefore, we will show the (...) way in which the problematization of thehuman sciences as knowledge enables a form of criticism articulated by the concern to diagnose the present. Forthis reason, we will focus on the displacement introduced by Foucault`s perspective from the normative question about the cognitive objectivity of the human sciences towards an ontological-political critique. Mode of criticism that, concerned with diagnosing the present, we characterize as an archeo-genealogy of the forms of objectification. (shrink)

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...) quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 259 Chloë Taylor Female Sexual Dysfunction, Feminist Sexology, and the Psychiatry of the Normal It is really weird that doctors should be the reigning experts on sex. —Leonore Tiefer1 The first volume of Michel Foucault’s The History of Sexuality provides a compelling and influential critique of the “sciences of sex.” In this work, Foucault suggests that there (...) is little that is scientific about the disciplines of psychoanalysis, psychiatry, and sexology that emerged in the nineteenth and twentieth centuries.2 In each case, Foucault argues that the authority of science is exploited to facilitate the regulation of sexuality in a biopolitical era in which the sex life of the population has become a crucial political stake.3 Sex, according to Foucault, is managed by doctors not so much to cure health problems as to enforce social norms, and sexual science does not provide the truth of sex or make people healthy, but naturalizes the monogamous, heterosexual, nuclear family.4 1. Leonore Tiefer, Sex Is Not a Natural Act and Other Essays (Cambridge, MA: Westview Press, 2004), 180. 2. Michel Foucault, The History of Sexuality: An Introduction (New York: Vintage, 1978). 3. Michel Foucault, The History of Sexuality: 133–160. See also Michel Foucault, Psychiatric Power: Lectures at the Collège de France 1973–1974 (New York: Palgrave -MacMillan, 2006) and Michel Foucault, Abnormal: Lectures at the Collège de France 1974–1975 (New York: Picador, 2003). 4. This is not to say that for Foucault doctors do not ever cure health problems or that their intentions are not to cure health problems. However, Foucault 260 Chloë Taylor Feminism has also posed powerful critiques of the sexual sciences. As Janice Irvine notes, feminist epistemology has rejected the purported neutrality of science, especially of the sciences that claim knowledge about sex and gender.5 Feminist and queer political theorists and activists have, moreover, “underscored the hollowness of solutions based on techniques” that are favored by sexologists; teaching men skills to resist premature ejaculation or to better stimulate their wives’ clitorises are not adequate resolutions to widespread and profound dissatisfactions with sex, gender, and marriage in a heterosexist and patriarchal society.6 As Irvine writes, Feminism and lesbian/gay liberation…challenged power inequalities between men and women and questioned the very concepts of maleness and femaleness, masculinity and femininity.…They presented alternatives to tradition and to expert power and authority. Therein lay their threat to American sexology.7 Given this antagonistic relationship, combining feminism and sexology has proved controversial. The work of feminist sexologist Shere Hite in the 1970s and 1980s was critiqued by sexologists and feminists alike: sexologists complained that the 1976 Hite Report was political and thus undermined the scientific prestige of sexology, while feminists criticized Hite for aspiring to a masculine scientific authority.8 Describing the relationship between feminism and sexology, Irvine notes that “the incompatibility of their concerns—science and market, on the one hand, versus shows that what we consider “healthy” is thoroughly political and that the effect of doctors’ practices is normalizing whatever their intentions may be. For two recent Foucauldian studies of the ways that medical and sexual science function to sexually normalize individuals and populations, see Ladelle McWhorter, Bodies and Pleasures: Foucault and the Politics of Sexual Normalization (Bloomington: Indiana University Press, 1999); and Ladelle McWhorter, Racism and Sexual Oppression in Anglo-America: A Genealogy (Bloomington: Indiana University Press, 2009). 5. Janice Irvine, Disorders of Desire: Sexuality and Gender in Modern American Sexology, rev. ed. (1990; repr., Philadelphia, PA: Temple University Press, 2005), 101. 6. Ibid. 7. Ibid. 8. Ibid., 117. Chloë Taylor 261 progressive political change, on the other—led…to a contentious and emotionally charged history.”9 Drawing on both Foucauldian and feminist perspectives, this article explores a new chapter in this history, examining self-described feminist sexologists’ responses to the psychiatric diagnoses of Female Sexual Dysfunction (FSD). While psychologists had pathologized female sexuality under the label of frigidity since the nineteenth century, sexual dysfunctions were relatively marginal in the first edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM), published in 1952. In the DSM-1, frigidity (like impotence) was... (shrink)

A part of the “return to religion” now evident in European philosophy, this book represents the culmination of the career of a leading phenomenological thinker whose earlier works trace a trajectory from Marx through a genealogy of psychoanalysis that interprets Descartes’s “I think, I am” as “I feel myself thinking, I am.” In this book, Henry does not ask whether Christianity is “true” or “false.” Rather, what is in question here is what Christianity considers as truth, what kind of (...) truth it offers to people, what it endeavors to communicate to them, not as a theoretical and indifferent truth, but as the essential truth that by some mysterious affinity is suitable for them, to the point that it alone is capable of ensuring them salvation. In the process, Henry inevitably argues against the concept of truth that dominates modern thought and determines, in its multiple implications, the world in which we live. Henry argues that Christ undoes “the truth of the world,” that He is an access to the infinity of self-love, to a radical subjectivity that admits no outside, to the immanence of affective life found beyond the despair fatally attached to all objectifying thought. The Kingdom of God accomplishes itself in the here and now through the love of Christ in what Henry calls “the auto-affection of Life.” In this condition, he argues, all problems of lack, ambivalence, and false projection are resolved. (shrink)

This book’s basic argument is that the Freudian unconscious, far from constituting a radical break with the philosophy of consciousness, is merely the latest exemplar in a heritage of philosophical misunderstanding of the Cartesian cogito that interprets “I think, therefore I am” as “I represent myself, therefore I am” (in the classic interpretation of Heidegger, one of the targets of the book).

In this article we discuss Foucault's genealogical critique of psychoanalysis as it was articulated in the first volume of The History of Sexuality. We first show on what grounds Foucault claims that psychoanalytic theory and practice can be considered to be the acme of the 'repressive hypothesis'. Through an analysis of the Freudian and Lacanian theory of the the law we then try to make plausible that Foucaults interpretation of this theory might be nothing but a philosophical translation of the (...) analysant's fantasies regarding the therapy and his/her analyst in the beginning of the cure, rather than an accurate account of it. However, this analysis of Foucault's misreading of psychoanalytic theory allows for a re-evaluation of his relation towards this theory. In our conclusion we suggest that Foucault might be much closer to Lacanian psychoanalysis then he himself realized. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)