Michel Foucault

Hoje eu gostaria de começar analisando as primeiras ocorrências da palavra parrhesia na literatura grega, como a palavra aparece nas seguintes seis tragédias de Eurípides: Fenícias; Hipólito; As Bacantes; Electra; Íon; Orestes. Nas primeiras quatro peças, a parrhesia não constitui um tópico importante ou tema; mas a própria palavra geralmente ocorre num contexto preciso que nos ajuda no entendimento de seu significado. Nas últimas duas peças – Íon e Orestes – a parrhesia assume um papel muito importante. De fato, eu penso que Íon é inteiramente consagrado ao problema da parrhesia, uma vez que investiga a questão: Quem tem o direito, o dever e a coragem de falar a verdade? Esse problema parrhesiástico em Íon é levantado na estrutura das relações entre os deuses e os seres humanos. Em Orestes – que foi escrito dez anos mais tarde e, por essa razão, é uma das últimas peças de Eurípides – o papel da parrhesia não é nem de longe tão significativo. E ainda assim a peça contém uma cena parrhesiástica que garante a atenção na medida em que é diretamente relacionada a questões políticas que os atenienses estavam então levantando. Aqui, nessa cena parrhesiástica, há uma transição concernente à questão da parrhesia tal como ela ocorre no contexto das instituições humanas. Especificamente, a parrhesia é vista como uma questão tanto política quanto filosófica.

[Foucault] must be reckoned with."--The New York Times Book Review PRAISE FOR FOUCAULT'S WORKS IN THE LECTURES AT THE COLLÈGE DE FRANCE SERIES "Ideas spark off nearly every page... The words may have been spoken in [the 1970s] but they seem as alive and relevant as if they had been written yesterday" - Bookforum "Foucault is quite central to our sense of where we are..." - The Nation "[Foucault] has an alert and sensitive mind that can ignore the familiar surfaces of established intellectual codes and ask new questions... [He] gives dramatic quality to the movement of culture." -The New York Review of Books "These lectures offer important insights into the evolution of the primary focus of Foucault's later work - the relationship between power and knowledge." - Library Journal.

This article has been translated into English by Nancy Luxon and published with permission. Michel Foucault, La littérature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud], in Folie, langage, littéature, eds. H.-P. Fruchaud, D. Lorenzini, & J. Revel, pp. 89–109 © Librairie philosophique J. Vrin, Paris, 2019. www.vrin.fr Requests for re-use of La littéature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud] should be directed to Librairie philosophique J. Vrin, Paris. Literature and madness dominate Michel Foucault’s early writings in the 1960s, and indeed much of his career. In this text, Foucault considers the relation between madness, language, and silence; the difficult frontier between language and literary convention; and the experience of madness within language. He moves from a meditation on madness, to a rare commentary on theatre, stagecraft, and Artaud, and finishes by considering literature’s capacity for rupture. ‘Literature and Madness’ is a translation of a text written by Foucault in the 1960s, and recently published in Folie, langage, littérature, ed. Henri-Paul Fruchaud, Daniele Lorenzini and Judith Revel (Paris: Vrin, 2019, 89–109). This version includes a translator’s introduction by Nancy Luxon and was given a distinct subtitle to distinguish it from a similar lecture with the same title in that volume.

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 ("let's say I'm a diagnostician"), 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 Artieres 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.

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.

These thirteen lectures on the 'punitive society,' delivered at the Collège de France in the first three months of 1973, examine the way in which the relations between justice and truth that govern modern penal law were forged, and question what links them to the emergence of a new punitive regime that still dominates contemporary society. Praise for Foucault's Lectures at the Collège de France Series “Ideas spark off nearly every page...The words may have been spoken in [the 1970s], but they seem as alive and relevant as if they had been written yesterday.”—Bookforum “Foucault is quite central to our sense of where we are...[He] is carrying out, in the noblest way, the promiscuous aim of true culture.”—The Nation “[Foucault] has an alert and sensitive mind that can ignore the familiar surfaces of established intellectual coded and ask new questions...[He] gives dramatic quality to the movement of culture.”—The New York Review of Books.

Foucault prononce en 1981 un cours qui marque une inflexion décisive dans son chemin de pensée et le projet ébauché dès 1976 d'une Histoire de la sexualité. C'est le moment où les arts de vivre deviennent le foyer de sens à partir duquel pourra se déployer une pensée neuve de la subjectivité. C'est le moment aussi où Foucault problématise une conception de l'éthique comprise comme l'élaboration patiente d'un rapport de soi à soi. L'étude de l'expérience sexuelle des Anciens permet ces nouveaux déploiements conceptuels. Dans ce cadre, Foucault analyse des écrits médicaux, des traités sur le mariage, la philosophie de l'amour ou la valeur pronostique des rêves érotiques, afin d'y retrouver le témoignage d'une structuration du sujet dans son rapport aux plaisirs (aphrodisia) antérieure à la construction moderne d'une science de la sexualité, antérieure à la hantise chrétienne de la chair. L'enjeu est en effet d'établir que l'imposition d'une scrupuleuse et interminable herméneutique du désir constitue l'invention du christianisme. Mais pour cela, il importait de ressaisir la spécificité irréductible des techniques de soi antiques. Dans cette série de leçons, qui annoncent clairement L'Usage des plaisirs et Le Souci de soi, Foucault interroge particulièrement le primat grec de l'opposition actif/passif sur les distinctions de genre, ainsi que l'élaboration par le stoïcisme impérial d'un modèle de lien conjugal prônant une fidélité sans faille, un partage des sentiments, et conduisant à la disqualification de l'homosexualité.