In an attempt to precisely model Foucault's concept of heterotopy in the context of literary studies, this book describes its application to the paradigm of textuality. Drawing on Roman Jakobson's two-aspects theory, it reveals the cross-epochal process of heterotopy as paradigmatic deviation, and shows epoch-specific variations in the example of romantic-metaphoric versus realistic-metonymic logics of space.

Dans la plupart de ses écrits, mais plus nettement à partir de Musiques nomades, Daniel Charles développe la thèse selon laquelle l’univers est un « multivers ». Reprenant le concept à Ernst Bloch qui, lui-même, l’avait emprunté à William James, Daniel Charles le met ingénieusement en relation avec son élément de prédilection : la musique. Non pas La Musique « monotonothéiste », dont Schopenhauer fait La Substance/Sujet, qui mène le monde à sa fin/néant en se contentant, in fine, d’inverser l...

Name der Zeitschrift: Paragrana Jahrgang: 26 Heft: 1 Seiten: 37-45.

Postmodernism declared the end of all outlines of entity and unity in favor of a play of differences, of otherness and plurality. The end of grands récits, the end of ideology and history, was proclaimed, as well as the death of utopia. But despite all claims to the contrary, utopia today is all but dead. It has only changed its literary shape, dressing up in a different poetological garment now. The dystopian turn in the literary tradition of utopia manifests itself (...) as a genre-paradigmatic transformation but not at all as the end of utopia. The emergence of the critical dystopia in the last decades has revitalized the genre, along with the appearance of the phenomenon of the young adult dystopia and the boom of... (shrink)

Cet article se propose de mettre en évidence le dialogue que la scénographie instaure entre une œuvre éphémère et un lieu hétérotopique. A rebours d’une conception faisant de la scénographie l’agencement d’un espace circonscrit et clos, il s’agit d’envisager l’ouverture de la scène sur un ailleurs comme une modalité de la survie de l’œuvre. De l’ailleurs à l’après, un pont s’établit. Car, en créant des conditions favorables à la remémoration, la scénographie permet au spectateur de nourrir un désir de reprise.

보조생식기술이 발달함에 따라 모라는 주체와 자궁이라는 몸은 이제 더 이상 하나의 개념이 아니다. 이것은 특히 대리모 출산에서 법률상 모를 결정하는 경우에 잘 드러난다. 그런데 법학계나 여성계나 대리모를 분석함에 있어서 자녀양육과 연결된 기존의 모성 담론에서 벗어나지 못하고 있다. 푸코의 이론은 현대 과학기술 진보에 따른 모(母) 개념을 모색하는 데 도움을 준다. 푸코는 공간을 주체형성의 인식론적 조건으로 분석한다. 또한 푸코의 주체화 양식의 역사는 생체-권력bio-power으로 지칭되는 헤테로토피아적인 식민 공간에 새겨진 역사(권력의 공간화 역사)와 관련된다. 이를 대리모에 적용하면, 대리모의 자궁은 헤테로토피아로서 대리모를 형성하는 인식론적 조건이다. 푸코가 (...) 헤테로토피아 개념을 통해 정체성을 확립한 것처럼 대리모도 기존의 범주를 해체함으로써 자신의 자궁을 통해 정체성을 찾을 수 있다. 대리모의 자궁은 푸코 자신의 몸처럼 하나의 실재하는 공간이다. 또한 종의 생명을 규율하는 생체-권력에 의해 대리모의 자궁이 어떻게 파편화되고 점유되었는지를 알 수 있다. 대리모 자궁에서의 섹스는 억압받거나 욕망이라기보다 생명의 관리를 위해 작동하는, 생명을 위해 활용되는 기제이다. 헤테로토피아로서의 자궁을 지닌 대리모는 생체-권력의 작동에 따라 자(子)의 완전한 모(母)이면서도 완전한 모(母)가 아니다. 대리모의 자궁은 법에 의해 작동되는 것이 아니라 자본주의와 결부된 생체-권력에 의해 규격화된다. 대리모는 그러한 규격의 작동 결과이다. 그럼에도 불구하고 법이 이미 소멸된 이질적인 공간에서 법적인 주체를 동질적으로 결정하려는 것 자체가 모순이다. (shrink)

En este texto se analizan los motivos gastronómicos de la obra del escritor japonés Junichiro Tanizaki, con el fin de discutir sus implicaciones estéticas y metafísicas. Para ello, se ofrece una breve semblanza del autor y se plantea la problemática de cómo interpretar sus textos, en un marcado contraste con la hermenéutica filosófica de corte occidental, y en función de una digresión filosófica sobre las nociones de utopía y heterotopía de Paul Ricœur y Michel Foucault.

In Of Other Spaces Foucault coined the term "heterotopias" to signify "all the other real sites that can be found within the culture" which "are simultaneously represented, contested, and inverted." For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces, however these have given way to heterotopias of deviation and spaces of discipline, such as psychiatric hospitals or prisons. Foucault's essay provokes us to think through how spaces of crisis and critique function to open up disruptive, (...) subversive or minoritarian fields within philosophical, political, cultural or aesthetic discourses. This book takes this interdisciplinary and international approach to the spatial, challenging existing borders, boundaries, and horizons; from Claire Colebrook's chapter unpacking the heterotopic spaces of America and Mexico that lie beyond reductive ideological spaces of light and darkness, to a Foucauldian reading of the Zapatista resistance. With essays on politics, philosophy, literature, post-colonial studies, and aesthetics from established and emerging academics, this book answers Foucault's call to give us a better understanding of our present cultural epoch."--Provided by publisher. (shrink)

Museum visitors partake in the effect of what we can call the domestication of the view. They witness the constant changes in how objects are allowed to exist in a museological space. In this way, visitors are challenged to cultivate new sensibilities that simultaneously reveal and conceal things and their relationships. These meanings have been subject to political debates, controversies, disputes, and conflicts around property rights involving museum representatives and other actors. As a result, the domesticated things inside the museums (...) threaten to displace themselves, moving towards the uncertainty of other shelters and other hands. Each time other flows and movements towards other ‘homes’ are asserted by different sort of groups and communities to reclaim or ‘bring home’ objects previously obtained through a mixture of pillaging, acquisitions, donations, and violent actions, distinct voices ask the same question: whose home? By exploring a case concerning the restitution of objects outside and inside museums, this article explores an alternative understanding of the notion of the house as a legitimate relationship between materiality and those worlds in which objects dwell. In the first sections, to explore the idea of heterotopy coined by Michel Foucault from an anthropological perspective, I return to some interpretations of notions such as ‘home’ and ‘house’ drawing on classical ethnographies. Secondly, I focus on what Ghassan Hage calls a ‘diasporic lenticularity’ to explore other “modes of existing” in multiple places and realities. Finally, I conclude by revolving distinct cases concerning museum practices and reallocation processes, transforming and (re)creating new spaces to locate and house unstable objects and presences. (shrink)

Although it is widely acknowledged that Foucault’s accounts of the concept of heterotopia remain briefly sketched and somewhat confusing, the notion has provoked many interpretations and applications across a range of disciplines. In particular, it has been coupled with different stages or processes of modernity and persistently linked to forms of resistance. This article re-examines Foucault’s concept through a close textual analysis. It contrasts heterotopia with Lefebvre’s conceptualization of heterotopy and wider formulations of utopia. Drawing on Foucault’s study of the (...) spaces of literature of Borges, and particularly Blanchot, the article argues that heterotopia refers to varied spatial and temporal disruptions that imaginatively interrogate and undermine certain formulations of utopia. It concludes by outlining how heterotopia contests the space in which we live. (shrink)

This article is about François Jullien and a controversy that arose over the publication of a pamphlet by Jean François Billeter entitled Against François Jullien, replied by Jullien in a volume subtitled Reply to *** and followed by collections of essays by French intellectuals—one of them entitled For Jullien. The controversy assumed a weight that went beyond Jullien and the French debate to the heart of sinology and also of philosophy. The question, what and where China is philosophically speaking, is (...) discussed with regard to the role of context, the notion of heterotopy, and the political side of talk about China. (shrink)

In The Order of Things, Foucault shows that the main function of heterotopia is to impede the reference of words to things. A contradiction is evident in the inclusion of the libraryin the heterotopia in “Other Spaces”: there is no better place to investigate and produce knowledge than a library. We analyze Borges’ “The Library of Babel” from the concept of heterotopy, in order to resolve the exact relationship between library, space, and knowledge, and its link with Foucault’s archive concept. (...) Finally, we return to Foucault’s “Language to Infinity,” whose commentary on “The Library of Babel” exposes an effective heterotopy formed by a mise in abyme of language. (shrink)

Este trabalho apresenta uma discussão que tem como objetivo principal propor um novo risco ao contorno da noção de intericonicidade que aparece em Courtine, precisamente, em 2003. Aí encontramos uma abertura que nos permite traçar outras curvaturas em sua noção. É justamente por este interstício que vamos propor a inclusão de dois elementos que, a nosso ver, estão na ordem da constituição das imagens: as utopias e heterotopias, conforme discussões iniciadas anteriormente por Araújo (2014a, 2014b). Para tanto, tomamos como pano (...) de fundo as imagens em movimento de duas produções francesas de horror e as imagens fotográficas da prisão de Abou Ghraib que serão analisadas à luz da discussão realizada por Foucault em Le corps utopique, les heterotopies e em Outros Espaços, juntamente com as discussões de Courtine e de Milanez acerca da intericonicidade (cf. COURTINE, 2005; 2011; 2013; MILANEZ, 2011a; 2011b; 2013a, 2013b). Os Elementos de Semiologia e A escrita do acontecimento de Barthes também fazem parte da discussão, já que este autor aparece desde cedo no trabalho de Courtine, precisamente, quando buscava apresentar a noção de intericonicidade. (shrink)

This paper aims to propose an invitation to look at the kind of childhood we have been constructing from the practices of Special Education, in articulation with the practices of Early Childhood Education. It problematizes the discursive webs formed in this articulation, considering the way that Special Education teachers working with Early Childhood in public schools regard childhood. Such discussions have derived from the uneasiness of thinking about how we have been producing childhood, given the policy of expanding mandatory attendance (...) to four-year-old children. The analytical exercise, inspired by the discourse analysis proposed by Michel Foucault, has enabled us to question the production of subjects, truths and realities in the “confessions” of the interviewed teachers, in which we have identified two ways of thinking about and producing childhood: captured childhood, which is produced through the operationalization of normalization practices by Special Education, determined by the will to knowledge and the will to power over childhood; and childhood as heterotopy, produced as a powerful movement of resistance and denaturalization of normalizing practices – childhood regarded from other places, as an infinite, multiple, non-nameable, ever undetermined becoming, as an invitation to thought: what can we do in the encounter with childhood? (shrink)

Tout le film est toujours une microphysique du pouvoir, en potence, d’être étudier. Aujourd’hui l'augmentation des productions d'horreur et son public ont fait le film d'horreur une «contreculture» dominante, mais toujours sous l'effet négatif du pouvoir et du savoir qui disqualifient les discours, matérialisée dans ces films, ce qui les rend illégitime et exiler en soi espace filmique, transformée en un lieu adapté pour interdite et marquée par certaines pratiques discursives avec certains dispositifs d'exclusion. Paradoxalement, les types marginaux qui apparaissent (...) dans l'ordre de ces productions occupent les positions de sujets à exercer le pouvoir dans l'horreur et dans le même temps le renforcement de leur marginalité et de son objectivation. Ces aspects et les spécificités qui caractérisent les productions d'une part, nous ont amenés à identifier les pratiques de l'objectivation qui transforment corps dans les sujets dans l'horreur; d'autre part, de démontrer que ces films constituent une nouvelle technologie de contrôle social des corps, mais l'objectif principal de cette étude est d'analyser les relations de pouvoir à travers l'antagonisme des stratégies dans ce discours, qui est, pour savoir ce que cela signifie d'avoir un corps libre, nous examinons ce qui se passe sur le corps subjugué dans les films d'horreur, prenant l'archeogenealogie de Foucault comme base théorique. Cette questionhypothèse aurait un autre groupe: d'où pourrait faire une telle histoire? Nous supposons que dans les moments de crise, les films d'horreur ont beaucoup à prouver, donc nous avons opté pour un très similaire à celui qui Foucault a été invité par les experts de la revue Cahiers du cinéma pour discuter des conditions pour les productions cinématographiques comme Le Chagrin et la Pitié (1969), Portier de nuit (1974) et Lacombe Lucien (1974), quand on a regardé le déclin du gaullisme et l’ascention de Valéry Giscard d'Estaing , le vainqueur de la présidentielle de 1974, avec le soutien de l'ancien droit Tardieu et petainistes, anciens alliés de l'occupation du Führer Hitler de la France, entre 1940 à 1943. Maintenant, les conditions de production sont ceux qui marquent la fin des gouvernements socialistes de Mitterrand et Chirac, et le retour au pouvoir de la droite, à l'ascension politique de Nicolas Sarkozy. Au milieu de la crise économique de l'Union Européenne, flotte dans l'air la peur terrifiante de risque que l'arrivée de l'extrême droite au pouvoir. La présence croissante d'immigrants est aussi dans l'ordre d'une nouvelle crise de l'identité française. Ce sont les conditions de production de À l'intérieur, Frontière (s),Martyrs, Ils, La Meute, Captifs et Derrière les murs et, des films qui font partie de notre corpus. À la methodologie, nous développons les trois concepts opérationnels: le dispositif filmique de la mémoire, de la vérité et de l'objectivité pour traiter la mémoire populaire, recodé dans ces films et soi-disant perçu par nous comme l'un des principaux modes de contrôle des corps d’horreur; la notion d’intericonicité est encore utilisée pour indiquer des images qui renvoient à d'autres, mais tout en réalisant que chaque image a dans sa juxtaposition afin de utopies des hétérotopies. Donc, nous avons décidé de donner une nouvelle forme à cette notion, y compris l'utopique juxtaposés à des espaces hétérotopiques, sous l'influence de la discussion faite par Foucault dans le Corps utopique et Les hétérotopies. Keyword:Mémoire. Corps. Pouvoir. Discours politique. Film français d’horreur. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part (...) sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)

Resumen: El filósofo francés Michel Foucault vinculó su investigación acerca del concepto de heterotopía al espacio terrenal y sólido, basándose en seis principios que circunscriben estos contraespacios. El objetivo de este estudio es utilizar los principios heterotópicos propuestos por Foucault para analizar el espacio marítimo en la novela Mare al mattino, de la escritora Margaret Mazzantini, y estudiar la relación que se establece entre las protagonistas y el mar.: The French philosopher Michel Foucault linked his research on the concept of (...) heterotopy to earthly and solid space, based on six principles that circumscribe these counter-spaces. The aim of this study is to use the heterotopic principles proposed by Foucault to analyze the maritime space in the novel Mare al mattino, by the writer Margaret Mazzantini, and to study the relationship established between the protagonists and the sea. (shrink)

In Caribbean literature, being gazed upon is often part of a larger design of imperial governance, conquest and appropriation, where surveillance is constant and omnipresent, particularly in texts that centre on life on the plantation or are set within the colonial house itself. In his first novel Witchbroom, Trinidadian writer Lawrence Scott presents a family saga through the eyes of the family’s last surviving member, Lavren, a hermaphrodite, trickster-narrator who travels through time to write down the record of his/herstory. To (...) tell his/her ‘Carnival Tales’, the narrator sets the scene in the houses of Kairi, in which the turret room features prominently. The room’s shape, location and the vantage point it offers to its privileged entrants allows them to have eyes on everything that goes on on the family estate and to record events accordingly. But the turret room also serves as a place of gendered confinement and seclusion replete with blind spots that the trickster-narrator–or, perhaps, the implied author?–will expose through his/her own supervisory gaze. As such, this contribution proposes to analyse the turret room as a complex and somewhat paradoxical site where scopic power serves at once to hide and reveal, and as a space that concomitantly functions as a ‘heterotopia of deviation’. By focusing on the carnivalesque, metafictional dimensions of the novel more particularly, the article will ultimately seek to examine iterations of authorial control and reader manipulation as literary reassessments of panopticism. (shrink)

It is intended to show how Foucault, in “The Fantastic Library”, analyzes the structural way of self –exclusion experience in the saint, as a contribution of his general project of a critic history of the thought, and searches a pretext to look into a real game of the temptation and the lectic determinations of interest in the fractal hermeneutic.

A filosofia chinesa, tal como de resto a língua (em que ela é elaborada), sugerem que o Tempo, desde sempre no centro do debate filosófico ocidental, não é uma questão colocada na e pela tradição chinesa. Livre da categoria linguística da flexão verbal, que obriga a opor/separar os tempos (presente, passado e futuro) entre si e a escolher, necessária e exclusivamente, uma modalidade temporal, a língua chinesa presta-se melhor a dar conta do processo contínuo das coisas. Não será, portanto, de (...) admirar que a filosofia chinesa tenha pensado o viver no presente, interessada como esteve, não no Ser ('ser' é, de resto, um verbo inexistente em chinês clássico) mas no Processo. No pensamento do Devir Processivo, como lhe chama François Jullien, no qual o tempo é entendido como 'momento(s) propicio(s)', os domínios do objectivo e do subjectivo não aparecem separados. Assim, a arte de viver assenta, antes do mais, na correlação entre as categorias da 'oportunidade' (o que vem ao nosso encontro – o tempo como momento qualitativo) e a 'disponibilidade' (a abertura que temos de ter para o acolher). (shrink)