Foucault, M. (2006) [1961] History of Madness, London: Routledge.

You might want to delve even deeper, if you have not, into Dehaene and De Cauter’s text (that you cite above) as a rich source for architectural interventions that can be considered heterotopian. Perhaps the necessity of a physical site (although Edward Soja, building on Lefebvre might disagree) pushes the topic more toward architecture or work created in the outdoors. Of course, Foucault did consider the museum a heterotopia as well…

Foucault: The Cultivation of the Self Essay | Medicine …

Explain and assess Foucault’s notion of the “blackmail” of the Enlightenment.

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Thus considered, Foucault's late analysis of the aesthetic subject does not ignore the importance of reason for individual aesth/ethics and political autonomy, as Baudelaire does in some respects. Yet it acknowledges the importance of the body, affectiveness and the everyday life in critical thought and action - all aspects of subjectivity that are largely lacking in Kant's more rational account. In this respect, his late theorizations of the aesthetics of the self can be said to offer a new version of enlightenment rationality.

Foucault the subject and power essay - ONESMT

We could express the same idea by saying that, when coming to terms with rationality and Enlightenment thought, Foucault links together two different aspects of modernity and enlightenment. Following Scott Lash's and Jonathan Friedman's analysis, I use the expression "high modernity" or "high modernist subjectivity" to refer to a version of identity that assigns extraordinary privilege to judgement and especially to cognition, and devalues, correspondingly, the aspects of the libidinal, affective, body, touch, and the faculty of perception, so that vision itself is, so to speak, "colonized by reason."

discuss professional power with reference to the social construct of deviance

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The primary site of this sort of (positive) critical analysis and transformation in Foucault's later thinking is the individual self. For him, realizing one's freedom consists, first of all, in one's willingness to face the idea that action is not grounded in universal and ahistorical theories of the individual subject, any more than it is in the conditions of community and speaking, but that it demands active agency on the part of an individual.

Foucault, M. (1983 [1968]) This is Not a Pipe. Berkeley, CA: University of California Press.

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There are, to be sure, some inspiring comments on Foucault's aesthetics, but none of them, as far as I know, situate his insights explicitly within the canon of philosophical aesthetics. On the existing commentaries, see Lois McNay's book (Cambridge and Oxford (UK): Polity Press, 1992) and her (Cambridge, UK: Polity Press, 1994), which study Foucault's late aesthetics of the self from the feminist perspective; and John Rajhman's (New York: Columbia University Press, 1985), which addresses Foucault's connections with modernism. On Foucault's last lectures on aesthetics, which have not yet been published, see Alexander Nehemas's excellent book (University of California Press: London, 1998) and Thomas Flynn's article "Foucault as Parrhesiast: His Last Course at the Collége de France," in eds. James Bernauer and David Rasmussen (Cambridge, Mass.: M.I.T. Press, 1994).

A range of artists are referred to in Foucault’s History of Madness published in 1961.

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The third advantage of Foucault's late aesthetics for feminism is that, by emphasizing the individual character of each aesthetics of the self, it pluralizes aesthetic resistance and individual "stylistics" of (sexual) desire, thereby offering space to consider the differences among feminisms as a resource rather than a weakness or a threat. Differently expressed, in Foucault's terms, there need not be a coherent subject of sexual politics (universal 'Woman'), nor need there be any essential connection between an individual's sexual practices and one's gender identity (or its aesthetic performing). Sexual identity and the self can rather be understood in terms of the diversity and multiplicity of sexual experiences and individual styles.

Soussloff, C. M. (2017) Foucault on Painting, Minnesota: University of Minnesota Press.

English 102 - Professor Kingsley - Berger Foucault Essay

Elsewhere, Foucault describes this sort of question as a diagnosis of "what today is." This diagnosis does not consist in some simple characterization of what we are, but rather demands us to follow "the lines of fragility in the present - in managing to grasp why and how that which is might no longer be that which is." In more concrete terms, Foucault demands that all critical thinking analyze freedom as concrete and historically limited, that is, as a site of concretely possible transformation. This work could also be described as the microphysics of power, because it represents attempts to clarify what forms of rationality are involved in the process of domination and how knowledge is used as a technique of power.