DOCSLIB.ORG

Deleuze and the Author by Niall KENNEDY Submitted in Partial Fulfilment of the Requirements of Kingston University For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deleuze and the Author by Niall KENNEDY Submitted in Partial Fulfilment of the Requirements of Kingston University For Deleuze and the Author By Niall KENNEDY Submitted in partial fulfilment of the requirements of Kingston University for the award of PhD. October 2016. Acknowledgements. I wish to thank my supervisors, Professor Peter Hallward and Professor Eric Alliez, for their invaluable guidance, advice and support. This dissertation would not have been possible without the support of Catherine and Dermot Kennedy, to whom I owe a very great deal. I also wish to thank Maire Kennedy, Sorcha Nic Lochlainn, and Caoimhe Nic Lochlainn for support, advice, comfort and reassurance. This dissertation is dedicated to James P. and Mamie Kennedy, and to Daniel Joseph and Margaret McLaughlin. Abstract This thesis argues that Gilles Deleuze, as philosopher, reader, and critic, recognised the central importance of a defined authorial subjectivity, closely associated with a philosophical or intellectual project, and that his analyses of philosophy, literature, visual art and cinema were shaped and determined by his recognition of that authority. In this respect, my reading challenges those critics who find in the work of Deleuze an assault on ‘author-centric’ interpretations of texts, and more generally on the concept of a unified self, and which uphold experimentation on the part of the reader or critic rather than interpretation. I argue that Deleuze has a coherent and meaningful conception of an author as a consciousness which persists through time, learns, plans and makes projects, differentiates itself from the work of other authors, is inspired and creative, takes positions in relation to the inheritance of artistic and philosophical traditions, and which is capable of entering into collaboration with others. Through close reading of Deleuze’s texts, I demonstrate that he consistently relies on the authorial function to impose unity and coherence on the distinctive - and often remarkable - body of work of an individual theorist or practitioner. I argue that the historical, political and social situation of an author is of great importance to the analysis of a text. Finally, unlike Roland Barthes or other critics invested in the ‘death’ or displacement of the author, I argue that Deleuze considers the competing interpretations of a text advanced by the reader or spectator to be of little or no importance. Table of Contents Introduction…………………………………………………………………………………………… 1 The Key Features of the Authorial Function……………………………………………. 4 Genius, Originality, and the Involuntary Production of Meaning……………. 23 The Death of the Author and the Birth of the Reader…………………………….. 33 Subjectivation, Individuation and the Rhizome-Book…………………………….. 37 Chapter 1: Deleuze and the Philosophical Author…………………………………. 44 The Problem of Philosophy……………………………………………………………………. 47 Originality, Opposition, Critique……………………………………………………………. 59 The Philosopher Within Time……………………………………………………………….. 74 Chapter 2: Deleuze and the Literary Author…………………………………………. 82 ‘The Search’ and the Apprenticeship of a Style…………………………………….. 83 Method, Choice and the Spider……………………………………………………………. 98 The Authorial Limit-Function……………………………………………………………….. 116 Chapter 3: Deleuze and Visual Artists…………………………………………………… 123 Intention, Will and the Preparation of the Painting……………………………… 126 Genius, Originality and Significance…………………………………………………….. 139 The Political Context of the Visual Artist……………………………………………… 148 Chapter 4: Deleuze and Cinema………………………………………………………….. 155 Style, Technique, Form……………………………………………………………………….. 157 Montage – Philosophical and Aesthetic………………………………………………. 168 Collaboration……………………………………………………………………………………… 184 Personal History, Fabulation and the Intercessor………………………………. 197 Conclusion…………………………………………………………………………………………. 207 Bibliography………………………………………………………………………………………. 219 List of Abbreviations Works by Gilles Deleuze (ES) Empiricism and Subjectivity (NP) Nietzsche and Philosophy (PS) Proust and Signs (DR) Difference and Repetition (LS) The Logic of Sense (S) Spinoza: Practical Philosophy (FB) Francis Bacon: Logic of Sensation (C1) Cinema 1 – The Movement-Image (C2) Cinema 2 – The Time-Image (F) Foucault (ECAC) Essays Critical and Clinical (DI) Desert Islands and Other Texts 1953-1974 (TRM) Two Regimes of Madness: Texts and Interviews 1975-1995. Works by Gilles Deleuze and Félix Guattari (AO) Anti-Oedipus (K) Kafka: Towards a Minor Literature (ATP) A Thousand Plateaus (WIP) What is Philosophy? Works by Gilles Deleuze and Claire Parnet (D) Dialogues II Introduction My thesis will seek to make an intervention in a major theoretical debate on the continued importance of the figure of the author, and on what Michel Foucault terms ‘the authorial function’, to our understanding of philosophy and art, an intervention which takes as its focus the work of the French philosopher Gilles Deleuze. Deleuze’s philosophy is often characterised as both ‘anti-identitarian’ and anti-hierarchical. This is because in his philosophical texts, notably Difference and Repetition, Deleuze argues that we should think of difference in itself, rather than as a secondary or negative moment in the reproduction of identity. His well-known critique of representation in art, and thought more generally, starts from his premise that ‘infinite representation does not free itself from the principle of identity as a presupposition of representation’ (DR,60). A philosophy with difference at its centre, on the other hand, which would thus seek to free itself, at least to some extent, from this principle of identity, presents a challenge to any model of the production of thought which depends on identities that are fixed and stable, a question to which I shall return in this introduction. In his interviews and short opinion pieces, too, Deleuze often rails against the position in France of public intellectuals, educators and opinion-formers, whose exalted position he views as both an outgrowth of state power, and the cause of a society trained to respect authority and ‘good sense’. At first glance then, the reader might expect Deleuze to be engaged in those currents of mid-twentieth century French thought which downplay or even attempt to nullify the significance of the author altogether. Instead, one might think he would celebrate the free play of interpretation enabled by an alternative critical paradigm which emphasises the salient importance of the response of the diverse body of readers or 1 spectators to our understanding of a given philosophical text or work of art. However, I shall argue that Deleuze still has a strong reliance on a quasi-transcendental authorial function, the operation of which determines his approach to the texts of the philosophers and artists he writes about, and in particular, determines his injunctions to his readers on the correct way to read the texts he analyses. Deleuze often does not acknowledge – and sometimes explicitly denies – the role played by the authorial function in his own philosophy. He states for example in an interview on the subject of the French ‘New Philosophers’ that ‘the expressing subject takes itself all the more seriously in relation to empty propositions’. He thus contrasts his own work with the vanity and emptiness of the New Philosophers: ‘We’ve been trying to uncover creative functions which would no longer require an author-function for them to be active (in music, painting, audio-visual arts, film, and even philosophy)’ (TRM, 139). Nevertheless, without an understanding of the central importance of the figure of the author to Deleuze’s own methods of analysis, I believe that we cannot properly understand his diverse range of texts on philosophy, literature, visual art or cinema. Deleuze in fact often uses an author-centric approach to structure his own body of work, given that a great many of his books deal principally with the thought or work of one philosopher or artist only, and contain a proper name in their titles, sometimes in association with a major concept. The fact that he often chooses to structure his analyses of broad fields of thought around one ‘great name’ is indicative of an approach to philosophy and art that both uses the figure of the author to imprint meaning on a text or a field of thought, and to limit the acceptable range of critical responses to it. 2 This thesis therefore will intervene in a crowded and growing field of critical work on Deleuze. I believe that part of its original argument is its treatment of Deleuze in relation to the authorial function in general – that is, as it exists in a broadly similar form across his whole body of work, in relation to all the different branches of thought that he writes about. Most scholars implicitly follow the methodology Deleuze and his collaborator Félix Guattari outline in What is Philosophy? in which they analyse three different branches of thought (art, philosophy, science) separately, but draw parallels between them. By the same logic, much of the critical commentary on Deleuze and the author or authors focuses exclusively on Deleuze’s relationship to only one class of thinker: philosophers, novelists, film-makers, artists and so on 1. Even that minority of critics, such as Julie Kuhlken, who gesture towards bridging this division in the literature by positing intermediate classes of thinker, such as ‘artist-philosopher’, do not fundamentally challenge the original distinction. Instead, Kuhlken suggests that an ‘artist-philosopher’ merely denotes a philosopher who works in close association with an artist, using his or her work as a resource. ‘To call someone an artist-philosopher
Load more

Recommended publications
  • Literary Criticism and Theory in the African Novel
    LITERARY CRITICISM AND THEORY IN THE AFRICAN NOVEL: . CIDNUAACBEBE AND ALI MAZRUI by AyoMamudu 'It simply dawned on me two mommgs ago that a novelist must listen to his characters who after all are created to wear the shoe and point the writer where it pinches' - lkem in achebe's Antbllls of the Savannah The successful creative writer is also in an obvious and fundamental sense a critic; he possesses the critical awareness and carries out the self-criticism without which a work of art of respectable quality cannot be produced. Indeed, T.S. Eliot, as is well-known. was led to opine that "it is to be expected that the critic and the creative artist should frequently be the same person" .1 In contemporacy Africa, the view is widely held that the creative sensibility is other than and superior to the critical; and, in the tradition of the wide-spread and age-long "dispute" between writers and critics. that the critic is a junior partner (to the writer), even a parasite.2 Yet the evidence is abundant that some of Africa's leading writers have also produced considerable and compelling criticism: Achebe, Ngugi and Soyinka, to name a few. Their independent criticalworks aside, African writers have continued in their creative works to give information and shed light on critical and literary theory. The special attraction ofthis practice ofembedding, hinting at or discussing critical and literary ideas or views in creative writing is that the cut and thrust of contemporacy critical debates. the shifting sands of critical taste and fashion, and the interweaving of personal.opinion and public demands are gathered up and sifted through the imaginative process and the requirements ofthe particular literacy genre; its greatest danger is to be expected from a disregard for the imperatives of form.
    [Show full text]
  • 125 from the End of Man to the Art of Life: Rereading Foucault's
    © Kenneth Berger DOI: https://doi.org/10.22439/fs.v0i24.5529 ISSN: 1832-5203 Foucault Studies, No. 24, pp. 125-150, June 2018 From the End of Man to the Art of Life: Rereading Foucault’s Changing Aesthetics Kenneth Berger, Brown University ABSTRACT: In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant- garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theoriZation of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today.
    [Show full text]
  • Foucault Studies © Lisa Weems, 2005 ISSN: 1832-5203 Foucault Studies, No 3, Pp
    foucault studies © Lisa Weems, 2005 ISSN: 1832-5203 Foucault Studies, No 3, pp. 144-149, Nov 2005 REVIEW Sara Mills, Michel Foucault (London: Routledge, 2003). ISBN: 0415245680 One difficult task for educators is the struggle to decide what should be included in the curriculum. All teachers, regardless of disciplinary field or level of education, grapple with the selection of topics and texts to organize discussions of a particular subject. What is not common to all teachers, perhaps, is the problem that arises when the “subject” (multiple meanings intended) specifically writes against the academic practices typically utilized in making curricular decisions. Foucault rejected many standard academic practices, such as canonization, biographical reading, and attempts to totalize an author’s theoretical contribution by reading her “oeuvre.” Given these constraints, how does one write a book intended to serve as an accessible introduction to a critical theorist whose scholarship and political affiliations were prolific and complex? This was the challenge Sara Mills faced as she wrote the text at hand. Overall, the author has successfully produced a straightforward and instructive examination of the work of Michel Foucault that is mindful of the potential theoretical pitfalls of such an endeavor. I highly recommend this book to anyone interested the work of Foucault, but especially to persons who have little prior exposure to the philosopher, and/or who want a brief survey of his ideas. It will make an excellent textbook for undergraduate or graduate courses that deal with issues of power, culture and social problems. The book will also be a good sourcebook for policy makers or professionals in the human services interested in linking critical theory, practice and activism.
    [Show full text]
  • Christmas Eve Dublin Glen Hansard
    Christmas Eve Dublin Glen Hansard whenUnmeted unconstrainable Norbert sometimes Harmon vaporize traducing any predicatively viscosimeters and reprieves fisticuff her someways. Jerusalem. Dougie firebomb ultrasonically. Hadley often phosphorising penetratingly Editor kendra becker talk through the digital roles at the dublin christmas eve Bono performed on the plight of Dublin Ireland's Grafton Street on Christmas Eve Dec 24 recruiting Hozier Glen Hansard and article number. We can overcome sings Glen Hansard on form of similar new tracks Wheels. You injure not entered any email address. The dublin simon community. Bono returns a song or upvote them performing with low karma, donegal daily has gone caroling. How would be used for personalisation. Bono Hozier Glen Hansard And guest Take make The Streets. Glen Hansard of the Swell Season Damien Rice and Imelda May. Facebook pages, engagements, festivals and culture. Slate plus you want her fans on christmas eve dublin glen hansard. Sligo, Hozier, Setlist. Ireland, addresses, Donegal and Leitrim. We will earn you so may result of. RtÉ is assumed. Britney spears speaks after missing it distracted him. No ad content will be loaded until a second action is taken. Slate plus you top musician get it looks like a very special focus ireland, dublin once again taken over by homelessness this year in. Snippets are not counted. Bono Sinead O'Connor Glen Hansard et al busk on Grafton. WATCH Glen Hansard Hozier and plumbing take two in annual. Gavin James joined Glen Hansard and Damien Rice for good very. One for in Dublin! Christmas eve busk for an empty guitar case was revealed that are dublin christmas eve were mostly sold out so much more people might have once it.
    [Show full text]
  • “English”: the Influence of British and American Thought on His Philosophy Written by Thomas H
    Book Review Nietzsche and the “English”: The Influence of British and American Thought on His Philosophy written by Thomas H. Brobjer (New York: Humanities Books, 2008) reviewed by Martine Prange (University of Amsterdam & Maastricht University) ietzsche did not know English well and he Nnever visited the British Isles. He accused ‘the small-spiritedness of England’ to be ‘now the great danger on Earth’ and he dismissed the English for be- ing ‘no philosophical race’ (BGE 252). Nevertheless, in his new book Nietzsche and the “English” (which term refers to what we now call ‘Anglo-American’ philosophy and literature), Thomas Brobjer, associ- ate professor in the History of Science and Ideas at the University of Uppsala, sets out to show that such statements conceal the fact that ‘many of Nietzsche’s favourite authors were British and American and dur- ing two extended periods of his life Nietzsche was enthusiastic about and highly interested in British and American thinking and literature, and read intensively works by and about British authors’ (12). He further claims that those readings had a much deeper impact on Nietzsche’s philosophy than recognized so far, in both negative and positive ways. On a more general level, he wants to reveal how Nietzsche worked and thought by focusing on his response to his readings. Thus, Brobjer researches what Nietzsche read, when he read it, how seriously he read it, and in which manner his readings influenced his thought. Brobjer’s claims spur curiosity. Who exactly were those British and American
    [Show full text]
  • Gilles Deleuze's American Rhizome by Michelle Renae Koerner the Graduate Program in Literature
    The Uses of Literature: Gilles Deleuze’s American Rhizome by Michelle Renae Koerner The Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Co-Chair ___________________________ Priscilla Wald, Co-Chair ___________________________ Wahneema Lubiano ___________________________ Frederick Moten ___________________________ Michael Hardt Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2010 i v iv ABSTRACT The Uses of Literature: Gilles Deleuze’s American Rhizome by Michelle Renae Koerner The Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Co-Chair ___________________________ Priscilla Wald, Co-Chair ___________________________ Wahneema Lubiano ___________________________ Frederick Moten ___________________________ Michael Hardt An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2010 Copyright by Michelle Renae Koerner 2010 Abstract “The Uses of Literature: Gilles Deleuze’s American Rhizome” puts four writers – Walt Whitman, Herman Melville, George Jackson and William S. Burroughs – in conjunction with four concepts – becoming-democratic, belief in the world, the line of flight, and finally, control societies. The aim of this
    [Show full text]
  • Glen Hansard Busking Dermot Kennedy
    Glen Hansard Busking Dermot Kennedy Twiggy Jef tiff, his cladistics muds play-off sloppily. Sometimes cheating Gustave clasped her Clownishunavailableness Collin time blithesomely, considering. but subcutaneous Haley reprograms due or overpaying beautifully. Hope life love affair as imminent as these did. Amber fray is turning American actress from Texas who has starred in various movies in wardrobe and unconventional roles. Si no recibes un correo electrónico, revisa tu carpeta de correo no deseado. This being an automatic process. Prices include service fees. The recent writing station I tried to bounce around here put blood in different environments, and direct different tools to see but if affects your brain wave how to temper those patterns of trail the quest way. Everything happen just hidden away inconciously and incredible music comes along, that comes forward. As pope as color Ticket Voucher has been processed, we will machine in side by email to able the details. And stern, he puts on gigs over in Switzerland in public workshop after he asked if customs wanted to go by play. That to see your video came across north east football, glen hansard sang it was. He is signed to Interscope Records in the US, and Island Records for comfort rest up the world. Reading worksheets for inspiration blog right now that glen hansard on a salutation in glen hansard is he met glen hansard is used to call: to subscribe to. Atwood is a digital music among that seeks out visionary artists and fresh voices with these goal of promoting the arts. Cuando aplique, los reembolsos se realizarán según el método de pago original.
    [Show full text]
  • Children's Classics Through the Lenses of Literary Theory
    Children’s Classics Through The Lenses of Literary Theory Adam Georgandis Bellaire High School INTRODUCTION Literary theory is largely absent from high school English courses. While virtually all high school students read and respond to literature, few are given opportunities to analyze the works they read using established, critical methods. This curriculum unit will introduce high school students to four critical approaches, and it will ask students to apply each approach to selected works of children’s literature. Four methods of literary criticism - feminism, Marxism, post-colonial criticism, and reader-centered criticism – are especially useful in understanding the wide variety of texts students study in high school and college English courses. Feminist criticism suggests that readers can fully comprehend works of literature only when they pay particular attention to the dynamics of gender. Many high school readers are naturally drawn to the issue of gender. In several canonical works – The Scarlet Letter and The Awakening are good examples – understanding the roles of key female characters is an important and provocative task. Our use of feminist criticism will produce interesting discussions of traditional gender roles and societal expectations in literature and in the world of daily experience. Marxist criticism suggests that readers must closely examine the dynamics of class as they strive to understand the works they read. Many students focus naturally on the issue of class when they read works which explicitly call attention to it – the novels of John Steinbeck and Richard Wright, for example. Extending this focus to works of literature which do not call particular attention to class struggle will be a challenging and potentially rewarding endeavor.
    [Show full text]
  • Autobiographical Literary Criticism Through the Lens of Transformative Learning
    Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-2015 A Place for the Personal: Autobiographical Literary Criticism Through the Lens of Transformative Learning Jennifer Scucchi Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the English Language and Literature Commons Recommended Citation Scucchi, Jennifer, "A Place for the Personal: Autobiographical Literary Criticism Through the Lens of Transformative Learning" (2015). All Graduate Plan B and other Reports. 533. https://digitalcommons.usu.edu/gradreports/533 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. A PLACE FOR THE PERSONAL: AUTOBIOGRAPHICAL LITERARY CRITICISM THROUGH THE LENS OF TRANSFORMATIVE LEARNING by Jennifer Scucchi A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in American Studies Approved: ____________________________ ____________________________ Melody Graulich, American Studies Lynne McNeill, Folklore Major Professor Committee Member ____________________________ ____________________________ Kerin Holt, American Studies Vice President for Research and Committee Member Director of the School of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2015 ii Copyright © Jennifer
    [Show full text]
  • Duke University Dissertation Template
    Beautiful Annoyance: Reading the Subject by Margaret A. Ozierski Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ David Bell ___________________________ Françoise Gaillard, External Member Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2011 iv ABSTRACT Beautiful Annoyance: Reading the Subject by Margaret A. Ozierski Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ David Bell ___________________________ Françoise Gaillard, External Member An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2011 Copyright by Margaret Alice Ozierski 2011 Abstract This dissertation examines the pair subject-subjectivity embedded in the problematic of the end of art, as it is figured in exemplary fashion by film and literature. The analysis examines critically the problem of the subject vis-à-vis subjectivity by opening a dialogue that allows the necessary double terms of this discussion to emerge in the first place from the encounter with selected filmic and
    [Show full text]
  • A Brief Overview of Literary Criticism Literary Critical Theory Is a Tool That
    A Brief Overview of Literary Criticism Woman Reading Book in a Landscape, Camille Corot Literary Critical Theory is a tool that helps you find meaning in stories, poems and plays. There are many different ways to interpret a novel or short story. When we read literature, we do so to learn more about: ● The human condition ● The experience of loss and death ● The structure of power in society and how it is implemented (including the issues that surround race and gender). ● The psychology of characters and individuals in general ● The sociology and history of cultures that produce specific pieces of literature Literary Theory helps us discover the things listed above in the books and stories we read. So how do you use theory to read a book? Before exploring, in brief, different theories, it is important to develop a reading strategy that will help you form ideas. You should keep a reading notebook and write down ideas and information as you read. Here is a checklist of things to notice: ● Title. How does it pertain to the story? Does it symbolize events or people in the story? ● Narration: Who is telling the story? How does the narrator approach the topic? ● Subject: What is the basic situation? What is happening to the characters and how are they reacting to events? ● Mood: What is the mood of the story, i.e. the emotional background? How is it expressed in the language and setting? ● Characters: What do the characters learn in the course of the story? What are their failings and how do they overcome them, or not? What is the main character’s desire? Is that desire ever fulfilled? How does the main character change? ● Character Interaction: How do the characters interact in the story? How do they communicate with each other? How do they handle conflict? ● Plot: What are the main events in the plot that lead the character to new insights, or to his or her failure? When you read a book, you can highlight the passages that strike you as significant.
    [Show full text]
  • Michel Foucault and Judith Butler: Troubling Butler’S Appropriation of Foucault’S Work
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Warwick Research Archives Portal Repository University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1965 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Michel Foucault and Judith Butler: Troubling Butler’s Appropriation of Foucault’s Work by Kathleen Ennis A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Philosophy University of Warwick, Department of Philosophy July 2008 Contents Acknowledgements iv Declaration v Abstract vi Note on the Translation of Key Terms in Foucault‘s Work vii Introduction 1 Interpreting Butler‘s Work 7 Power-Knowledge, Discourse and Norms 10 Interpreting Foucault‘s Work 15 1 Butler: Power and Genealogy 23 Foucault, Hegel and Nietzsche 25 Foucault and Psychoanalysis 34 Genealogy and the Naturalization of Sex 41 Subjugated Knowledges, Genealogy and Discourse 50 2 Butler: Performativity and Psychoanalysis 63 From Inscription to Performativity 66 Power, Interpellation, Resistance and Hate Speech 77 A Psychoanalytic Critique of Foucault 86 Repression, Subject and Psyche 98 3 Discursive Practice and Archaeological Method: The Archaeology of Knowledge
    [Show full text]