What philosophical motivations lay behind the emergence of the genealogical method in Foucault’s thought? Pace traditional interpretations, I argue that genealogy is best construed as a supplementary addition to the archaeological mode of investigation. It addresses an issue that arose within the problematic to which the archaeological method responds, but which that method was not designed to solve: the problem of “transcendental genesis” as this issue was defined within the unique parameters set forth by the French phenomenological tradition.

The philosophy of Louis Althusser is often contrasted with the ideas of Michel Foucault. At first sight, the disagreement seems to be about the concept of ideology: while Althusser seem to be huge advocate of the use of the concept, Foucault apparently dislikes and avoids the concept altogether. However, I argue in this article that this reading is only superficial and that it obscures the real debate between these two authors. Althusser, especially in his recently posthumously published Sur la reproduction (...) (1995), appears to agree on many points with Foucault. The real dispute lies not in the concept of ideology, but in its connection with its counterpart ‘science’. Both Althusser and Foucault were in a way epistemologists, focusing on the question on how sciences develop and how scientific practice works. Focussing on their shared background in the French epistemology, with authors such as Gaston Bachelard and Jean Cavaillès, the real discussion appears to be about whether science can really be opposed to ideology or not. Focusing on these aspects of their works can shed new lights on their oeuvre as well as on the nature of scientific practice. (shrink)

In this chapter, I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and aesthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and copyright (...) laws), and economic structures that shaped jazz. Consequently, my articulation of bebop as an inflection of Afromodernism highlights the sociopolitical, and highly racialized context in which this music was created. Without a recognition of the sociopolitical import of bebop, one’s understanding of the music is impoverished, as one fails to grasp the strategic uses to which the music and discourses about the music were put. (shrink)

This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...) demoted? Three factors will be identified and proposed as having particular significance in this connection, imbuing this chapter with a tri-partite structure. The first concerns the already noted strong imprint of Cultural Studies on Dance Studies and the possible bearing of this imprint on dance history’s status within Dance Studies. For the particular manner in which Dance Studies has construed Cultural Studies may, this chapter will suggest, have impacted upon dance history’s standing within communities of dance scholarship. The second factor has to do with the implications, for dance history, of a particular critique based in a branch of dance scholarship, that perceives phenomenology, which it deems a good fit for dance inquiry, as inherently antithetical to history. In particular, this critique takes the work of Michel Foucault - which it identifies closely with, and as, historical practice - as incompatible with dance enquiry. Incompatibility is staked on the twin grounds of Foucault’s break with, and supposed resulting and enduring antipathy towards, phenomenology; and his perceived embrace of history which is, itself, also understood to result from such a break. In effect, then, this critique questions the very suitability, for dance research, of approaches based in history-focussed inquiry. The ability to call this critique into question, in the ways that the present discussion, in seeking to rehabilitate Foucault, and so history, needs to demonstrate, constitutes the third factor. This final factor makes two particular, further demands of this chapter. Namely that the interrelated questions of Foucault, phenomenology, and dance; and of the position which phenomenology has itself adopted in relation to history, be re-visited and re-evaluated to the extent that space reasonably allows. Fortunately, these interrelated questions are ones which have - relatively recently - preoccupied scholarship on Foucault, and on phenomenology, respectively. This preoccupation may in and of itself be one possible indicator that there is indeed more at stake, and so to consider, regarding both questions, than the lines drawn by the aforementioned critique might suggest. (shrink)

In Foucault’s theoretical writings, the problem of experience occurs in two shapes: his discussions of “limit-experience” and his definition of “experience.” In this article, I propose an interpretation of the concept of “limit-experience” in Foucault’s historiography according to which experience is already limit-experience, and not its static and confining other. I claim that Foucault’s concept of experience involves spatially and temporally indexed, rule-governed practices and that his interrogation of experience becomes critical not by referring to some other of reason but (...) by rendering visible the flip side of the limits of our own space of reasons. The argument in support of my interpretation of Foucault develops in two parts: 1) Foucault’s “methodology” should be seen not as historicizing the transcendental, but as giving it up. 2) This renunciation of the transcendental is nonetheless only intelligible and motivated against the background of the problematic of experience in Kant and Hegel. It thereby becomes possible to provide not a foundation but a justification for a Foucaultian critique of the limits of experience. (shrink)

Michel Foucault famously analysed orders of knowledge, ‘epistemes’, in past European ages. In this study, his analytical method is fruitfully applied to gaining a better understanding of business sustainability within and beyond the Modern episteme. After an introduction to the contextual background for the study, this article provides (i) a justification for the use of a Foucauldian epistemic analytical method, (ii) an outline of the method, (iii) an application of the method to identify four sets of questions (morality, specialisation, anthropologization (...) and mathematicization) that are both direct derivatives of the Modern episteme and problematic for sustainable development, and finally (iv) an application of the method to consider evidence for the emergence of a new episteme. Conclusions are also provided. (shrink)

This article suggests a new approach to understanding the self-formation of subjectivity in the work of Michel Foucault that emphasizes the influence of his mentor, the philosopher and historian of science Georges Canguilhem. I argue that Foucault adapts Canguilhem’s biological–epistemological notion of ‘error’ in order to achieve two things: to provide a notion of subjective self-formation compatible with the claims of his ‘archaeology of knowledge’ and ‘genealogy of power’, and to provide an alternative to the phenomenological theory of the subject. (...) The notion of ‘error’ accomplishes these goals because it posits that experience is the result of knowledge, not vice versa. To illustrate the notion of ‘erroneous’ subjectivity, I turn to two volumes edited by Foucault: I, Pierre Rivière, having slaughtered my mother, my sister and my brother… and Herculine Barbin; Being the Recently Discovered Memoirs of a Nineteenth- Century French Hermaphrodite. Both juxtapose ‘subjective’ accounts of ‘abnormal’ individuals with ‘objective’ documents written by judges, psychiatrists and medical professionals in order to show how ‘erroneous subjectivities’ may transgress epistemological limits and form new concepts. (shrink)