Since the early 1970s humanistic psychology has struggled to remain a relevant force in the social and psychological sciences, we attribute this in part to a conceptualisation of the self rooted in theoretically outmoded thinking. In response to the issue of relevancy a sociocultural turn has been called for within humanistic psychology, which draws directly and indirectly on the conceptual insights of Michel Foucault. However, this growing body of research lacks a unifying conceptual base that is able to encompass its (...) new perspectives and the movement’s theoretical antecedents. This analysis suggests a way forward by offering a potential reconceptualisation of the self in humanistic psychology through the existential-phenomenology of Martin Heidegger. We argue that Heidegger’s conception of the self takes account of subjectivities produced in discourse and institutional practice, while acknowledging the human capacity for actualisation in his concept of the authentic-self. (shrink)

I offer a major reassessment of Foucault’s philosophico-historical account of the basic problems of modernity. I revise our understanding of Foucault by countering the influential misinterpretations proffered by his European interlocutors such as Habermas and Derrida. Central to Foucault’s account of modernity was his work on two crucial concept pairs: freedom/power and reason/madness. I argue against the view of Habermas and Derrida that Foucault understood modern power and reason as straightforwardly opposed to modern freedom and madness. I show that Foucault (...) held a much more complex view of these pairs, a view encapsulated in his term ‘reciprocal incompatibility’. By revising our interpretation of Foucault’s work on modernity in this way, we open the way to much more effective deployments of his critical apparatus. (shrink)

The topic of liberty in Foucault becomes controversial when related to the objections, predicted by the author, for the subjects to be located outside the power networks. However, Foucault also points out potential for resistance and a notion of freedom involved by historical circumstances, which suggests original normative questions. In order to analyze the tension between domination and freedom in his work, and what is normatively reflected, two main directions are noted: the idea of freedom as something inherent in power (...) relations and as the foundation of the critical exercise of knowledge. It is argued that Foucault`s estimation of dimensions of freedom generates singular implications of evaluation of social conditions based on a normative temperance. (shrink)

ABSTRACTIn this article, I demonstrate how Louise Bourgeois used her artworks not only to better understand herself but also to cultivate a self capable of taking control of and reshaping the material of her past. Exploring her artworks in the context of Michel Foucault's understanding of technologies of the self, I both contribute to the appreciation of Bourgeois’ work and show how visual artworks can be used to understand, cultivate, and transform aspects of the self. Foucault's understanding of our subjectivity, (...) as formed and deployed by power tactics, suggests the need for the formation of new subjectivities as a tactic of resistance. While his view of subjectivity as contingently created allows for the possibility that it could be different, his understanding of the conditions of its creation in terms of power tactics seems to constrain the possibilities for alternative subjectivities. I argue that artworks can help us understand the contingency of our subjectivity and illustrate how something new can be created out of existing conditions, in ways that may disrupt those very conditions. Further, in addition to bringing us to an awareness of the possibility of creating new subjectivities, artworks can directly contribute to this process for both artists and audience members. Turning to Foucault's own understanding of Stoic writing practices as a means of knowing and controlling the self, I use Bourgeois’ work to illustrate how artworks can operate as technologies of the self, which work directly on the self, extending Foucault's understanding of the role of writing to consider the particular contribution that visual artworks can make. I explore how the visual form, sculptural medium, and materials of Louise Bourgeois’ works contribute to their operation as technologies of the self which can allow one to relate to oneself differently. (shrink)