Elias and Foucault ended up making the same core discovery about the same fundamental social process, which we term the ‘social constraints towards self-discipline’ process. We show how three distinct biographical and intellectual factors were important in guiding them toward this discovery: (1) their shared exposure to philosophical traditions associated with Heidegger’s break from Husserl; (2) their common, sustained contact with ‘clinical’ practices; and (3) the traumatic events each experienced in relation to intentional injury and death.

This paper demonstrates how the UK’s Advertising Standards Authority governs advertising ethics with and on behalf of its members and stakeholders. Drawing on an archive of 310 non-commercial adjudication reports, we highlight the substantive norms and procedural mechanisms through which the ASA governs advertising complaints alleging offence and/or harm. Substantively, the ASA precludes potential normative transgressions by publishing, disseminating, consulting upon, and updating detailed codes of advertising conduct. Procedurally, the ASA adjudicates between allegations and justifications of offence and harm on (...) a received complaint-by-complaint basis, often upon consequentialist grounds. Such consequentialism, we claim, has the effect of normalizing power imbalances between the ASA’s members, on the one hand, and wider stakeholders, on the other hand. The paper argues that, in the context of UK advertising, what Michel Foucault called the right ‘to be or not to be governed like that’ is enjoyed by relatively few subjects. Having demonstrated how UK advertising practices are governed, the paper closes with suggestions as to how they might be governed otherwise. (shrink)

The work of Foucault and Elias has been compared before in the social sciences and humanities, but here I argue that the main distinction between their approaches to the construction of subjectivity is the relative importance of space and time in their accounts. This is not just a matter of the “history of ideas,” as providing for the temporal dimension more fully in theories of subjectivity and the habitus allows for a greater understanding of how ways of being, acting and (...) feeling in different spaces are related but largely unintended. Here I argue that discursive practices, governmental operations and technologies of the self (explanatory claims of both Foucault and the Foucauldian tradition) take shape as processes within the continuities of the figurational flow connecting people across space and time. Continuity should not be understood as stability or sameness over time, but as the contingent relations between successive social formations. As Elias argues, there is a structure or order to long-term social change, albeit unplanned, and this ultimately provides the broader social explanation for the historicity of the subject. Though discursive practices happen in particular spaces, we must recognise these spaces, and the practices therein, as socially constructed over time in response to largely unplanned moral and cultural developments. (shrink)

This article considers `critique' as performative, being on the one hand a reiterative performance, that enacts the `critic' through the act of critique, and on the other hand reflecting the constitution of the subject. While this approach takes on the conceptual framework of Judith Butler's work, it differs by refusing critique — or its correlates; parody, subversion or similar — any special status. Like any other performance critique is taken here as a cultural practice, as a Foucauldian `technique of self', (...) though the complex genealogy of such a technique lies outside the scope of this article. In order to illustrate this argument I interpret a number of Butler's prefaces, interviews and digressions which diverge from her own theoretical framework, and argue that these `fictions' arise from critical `disavowals': that is, a `self-transformative' turn against power. The subjective `crisis' that prompts critique is then elaborated by comparison to Girard's work on imitation and sacrifice. (shrink)