Michel Foucault S What Is An Author

Michel Foucault’s 1969 essay “What is an Author?” sidesteps the stormy arguments surrounding “intentional fallacy” and the “death of the author,” offering an entirely different way of looking at texts. Foucault points out that all texts are written but not all are discussed as having “authors”. So what is special about “authored” texts? And what makes an “author” different to other kinds of text-producers? From its deceptively simple titular question, Foucault’s essay offers a complex argument for viewing authors and their texts as objects. A challenging, thought-provoking piece, it is one of the most influential literary essays of the twentieth century.

The writings of the French historian, literary critic and philosopher Michel Foucault have been of immense importance to developments in literary studies since the late 1970s. He, more than anyone, stands behind the new historicism' and cultural materialism' that currently dominate international literary studies. Simon During provides a detailed introduction to the whole body of Foucault's work, with a particular emphasis on his literary theory. His study takes in Foucault's early studies of transgressive' writing from Sade and Artaud to the French new novellists' of the 1960s, and his later concern with the genealogy of the author/intellectual, writing and theorizing within specific, historical mechanisms of social control and production. Foucault and Literature offers a critique both of Foucault and of the literary studies that have been influenced by him, and goes on to develop new methods of post-Foucauldian literary/cultural analysis.

Sara Mills offers an introduction to both the ideas of Michel Foucault and the debate surrounding him, fully equipping student readers for an encounter with this most influential of thinkers.

Essays on semiology

A brilliant work from the most influential philosopher since Sartre. In this indispensable work, a brilliant thinker suggests that such vaunted reforms as the abolition of torture and the emergence of the modern penitentiary have merely shifted the focus of punishment from the prisoner's body to his soul.

When one defines "order" as a sorting of priorities, it becomes beautifully clear as to what Foucault is doing here. With virtuoso showmanship, he weaves an intensely complex history of thought. He dips into literature, art, economics and even biology in The Order of Things, possibly one of the most significant, yet most overlooked, works of the twentieth century. Eclipsed by his later work on power and discourse, nonetheless it was The Order of Things that established Foucault's reputation as an intellectual giant. Pirouetting around the outer edge of language, Foucault unsettles the surface of literary writing. In describing the limitations of our usual taxonomies, he opens the door onto a whole new system of thought, one ripe with what he calls "exotic charm". Intellectual pyrotechnics from the master of critical thinking, this book is crucial reading for those who wish to gain insight into that odd beast called Postmodernism, and a must for any fan of Foucault.

Textbook

As a transformative thinker of the twentieth century, whose work spanned all branches of the humanities, Michel Foucault had a complex and profound relationship with literature. And yet this critical aspect of his thought, because it was largely expressed in speeches and interviews, remains virtually unknown to even his most loyal readers. This book brings together previously unpublished transcripts of oral presentations in which Foucault speaks at length about literature and its links to some of his principal themes: madness, language and criticism, and truth and desire. The associations between madness and language—and madness and silence—preoccupy Foucault in two 1963 radio broadcasts, presented here, in which he ranges among literary examples from Cervantes and Shakespeare to Diderot, before taking up questions about Artaud’s literary correspondence, lettres de cachet, and the materiality of language. In his lectures on the relations among language, the literary work, and literature, he discusses Joyce, Proust, Chateaubriand, Racine, and Corneille, as well as the linguist Roman Jakobson. What we know as literature, Foucault contends, begins with the Marquis de Sade, to whose writing—particularly La Nouvelle Justine and Juliette—he devotes a full two-part lecture series focusing on notions of literary self-consciousness. Following his meditations on history in the recently published Speech Begins after Death, this current volume makes clear the importance of literature to Foucault’s thought and intellectual development.