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By Michel Foucault

Few philosophers have had as powerful a power at the 20th century as Michel Foucault. His paintings has affected the instructing of any variety of disciplines and is still, two decades after his loss of life, severely vital. This newly on hand version is drawn from the entire number of all of Foucault’s classes, articles, and interviews, and brings his most crucial paintings to a brand new iteration of readers. Aesthetics, approach and Epistemology (edited by means of James D. Faubion) surveys Foucault’s diversified yet sustained tackle of the historic kinds and interaction of ardour, event, and truth.

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P. 4gB. 27 Foucault, "La Folie, l'absence d'oeuvre," p. 420. 2B Phenomenology, the philosophical study of the "structure" of experience, has two chief founders: G. W. F. Hegel (1770-1831) and Edmund Husserl (1859-1938). For Hegel, see especially The Phenomenology of Spirit, trans. A. V. : Oxford University Press, 1977); Introduction XLI Ii II' lIusserl, see Ideas: General Introduction to Pure Phenomenology, trans. W. R. dan Meditations. 'a liS. Dorion Cairns (The Hague: NijhotT, 1977). III This sounds "structuralist" The Foucault who in a 1968 interview remarked thatanthropologiat (:Iaude Levi-Strauss, psychologist Jacques Lacan, political theorist Louis Althusser, literary

1. The mythical forces, whose strange and penetrating vitality is experienced both inside and outside of Holderlin's poetry, are those in which divine violence penetrates mortals to create a proximity in which they are illuminated and reduced to ashes; these are the forces of the Jungling, of a river at its source, contained and sealed by ice, water, and sleep, which shatters its bonds in a single movement in order to find its profound and inviting homeland at a distance from itself, outside itself.

The painter was the first subjective inflection of the hero. His self-portrait was no longer merely a marginal sign of the artist's furtive participa- 10 Aesthetics, Method, and Epistemology tion in the scene being represented, as a figure hidden at the corner of the canvas; it became, at the very center of the work, the totality of the painting where the beginning joins the ending in the absolute heroic transformation of the creator of heroes. In this fashion, for the artist, a relationship of the self to itself was tied up in the interior of the exploit that the hero could never experience.

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