Louise Chardon écrit à l'automne 1901 son autobiographie ; elle a 25 ans mais Louise n'est pas une demoiselle : elle a quitté l'école à onze ans pour entrer comme apprentie chez une échantillonneuse ; abusée sexuellement par un parent de son employeuse, placée dans diverses maison de refuge prostestantes, Louise a sombré dans la marginalité ; arrêtée plusieurs fois pour vagabondage, elle est recueillie par son oncle et sa femme, M. et Mme Joly, à Saint-Etienne ; mais devenue l'amante (...) de son o... (shrink)

Qu’il soit carcéral, asilaire ou concentrationnaire, l’enfermement des femmes a constitué, ces dernières années, un thème omniprésent dans le champ des arts et de la littérature. De cette présence récurrente témoignent le cinéma avec le film de Jean-Pierre Denis, Les Blessures assassines (2000) qui met en scène l’affaire Papin en axant l’histoire sur les scènes de huis-clos entre les deux sœurs à l’internat et en prison ; mais aussi la photographie avec le reportage de la photojournaliste Ja...

In 1968, Michel Foucault agreed to a series of interviews with critic Claude Bonnefoy, which were to be published in book form. Bonnefoy wanted a dialogue with Foucault about his relationship to writing rather than about the content of his books. The project was abandoned, but a transcript of the initial interview survived and is now being published for the first time in English. In this brief and lively exchange, Foucault reflects on how he approached the written word throughout his (...) life, from his school days to his discovery of the pleasure of writing. Wide ranging, characteristically insightful, and unexpectedly autobiographical, the discussion is revelatory of Foucault’s intellectual development, his aims as a writer, his clinical methodology, and his interest in other authors, including Raymond Roussel and Antonin Artaud. Foucault discloses, in ways he never had previously, details about his home life, his family history, and the profound sense of obligation he feels to the act of writing. In his Introduction, Philippe Artières investigates Foucault’s engagement in various forms of oral discourse—lectures, speeches, debates, press conferences, and interviews—and their place in his work. _Speech Begins after Death_ shows Foucault adopting a new language, an innovative autobiographical communication that is neither conversation nor monologue, and is one of his most personal statements about his life and writing. (shrink)