This book is the first to provide a sustained, coherent analysis of Foucault's work as a whole. To demonstrate the sense in which Foucault's work is beyond structuralism and hermeneutics, the authors unfold a careful, analytical exposition of his oeuvre. They argue that during the of Foucault's work became a sustained and largely successful effort to develop a new method - "interpretative analytics" - capable of explaining both the logic of structuralism's claim to be an objective science and the apparent (...) validity of the hermeneutical counterclaim that the human sciences can proceed only by understanding the deepest meaning of the subject and his tradition. (shrink)

Although it is widely acknowledged that Foucault’s accounts of the concept of heterotopia remain briefly sketched and somewhat confusing, the notion has provoked many interpretations and applications across a range of disciplines. In particular, it has been coupled with different stages or processes of modernity and persistently linked to forms of resistance. This article re-examines Foucault’s concept through a close textual analysis. It contrasts heterotopia with Lefebvre’s conceptualization of heterotopy and wider formulations of utopia. Drawing on Foucault’s study of the (...) spaces of literature of Borges, and particularly Blanchot, the article argues that heterotopia refers to varied spatial and temporal disruptions that imaginatively interrogate and undermine certain formulations of utopia. It concludes by outlining how heterotopia contests the space in which we live. (shrink)

This article explores the history of dance notation from the Renaissance to postmodern dance. It examines the tension between text and oral tradition in Western dance practices, as well as the issue of how to reconcile our views of choreography as both scriptural and visual. It has been difficult, if not impossible, to think of notation in relation to composition; notation has become almost solely associated with reconstruction as a phenomenon of historical interest. But, at the same time, the sense (...) of the score—and hence some notion of notation—seems to remain within the body and the mind of the dancer as a danced possibility. That is to say, some form of cognitive mapping takes the place of the idea of notation and takes root in the dancer's mind and body (if not on paper). Literal notation is not just secondary but tertiary with respect to this sense of scoring, which appears to preexist notation in the mind and the body, making of dance a form that places particular demands on the performer. (shrink)