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1

THE POLITICS OF HEALTH IN THE XVIII CENTURY (Polityka zdrowia w XVIII wieku)

100%
Foucault M.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
|
2010
|
issue 2(15)
3-18
EN
The article is a reprint of an introduction to the book 'Les Machines a guerir. Aux origins de l'hopital modern; dossiers et documents' originally entitled 'La politique de la sante au XVIIIe siecle'. It was also published in Michel Foucault's 'Dits et ecrits' (vol. II, text no. 168, Gallimard, Paris 1994, 2001).
2

Historia jako możliwość buntu

88%
Solarska M.
Sensus Historiae. Studia interdyscyplinarne
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2010
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issue 1
13-49
FR
L’affirmation que l’histoire est un produit de la société (la culture) en cadre de laquelle elle est écrite — voila le point de départ de la pensée proposée dans le texte présent. Pour la contemporanéité (le présent) — a quoi sert la description de ce qui est passé? On peut dire tout simplement que la connaissance du passé est nécessaire, pour les sociétés dont la pensée est encadrée dans la triade: le passé — le présent — l’avenir, à la possibilité de comprendre ce qui nous entoure et de regarder dans l’avenir. Cet approche est resumé dans les questions banalisées: „d’ou vennons-nous?” et „ou dirigeons-nous?”. Les réponses à ces questions, dans le sens commun, doivent essquiser le point ou nous nous trouvons et la direction vers laquelle nous nous dirigeons ou encore le but que nous visons. L’essentiel est justement de cerner la situation à l’entour de nous, ce point ou nous nous trouvons à présent. Une détermination de ce „ou nous dirigeons?” peut se réaliser par l’essais de capturer les signes de ce qui est en train de venir. Mais une démarche de tel type signifie l’attente d’un inévitable et non pas une réflexion sur la direction d’un changement éventuel. Cette dernière paraît cruciale pour penser le monde humain en tant que monde changeable par les forces humaines. Pour rendre ce possibile il faut garder une distance critique à ce qui se passe devant nos yeux. L’histoire (le discours historique) fait le possible — elle rend possibile de voir nos évidences (aussi ce que nous parrait naturel) comme non évidentes parce qu’elle montre des mondes qui ont disposé les autres ensembles des évidences (des naturalités) existantes. Le chagement qui est au centre de l’intéret de l’histoire montre la contingence d’ordre des choses contemporain et son non nécessité dans l’avenir. Ainsi il est possible de diagnoser l’état présent et de prendre la décision d’être en accord ou en desaccord avec lui. Si nous admettons que l’histoire peut avoir une dimension révoltante, c’est-a-dire rendre possible une critique de l’état existant, un désaccord avec lui et/ou une révolte contre lui, il faut regarder de plus proche de quelle révolte s’agit-il ? Comprenant une révolution comme la forme extreme de la révolte, on réfléchit sur des liens entre l’histoire (le discours historique) et la révolution. Il ne s’agit pas pourtant de suivre l’histoire de la révolution, mais il s’agit de la réflexion sur la question a laquelle révolution puisse faire l’appel l’histoire ou laquelle elle puisse réaliser. Les points principaux de réference de la pensée présentée sont les textes de Hannah Arendt Essai sur la révolution et les deux cours de Michel Foucault publiés dans le tome «Il faut défendre la société». L’analyse effectuée par Arendt sur la révolution et ses conséquences pour la façon de penser de monde et l’action politique dans son cadre, constitue notre point d’intéret central. L’élément important de cet approche concerne la distinction de la libération et de la liberté, aussi que l’instauration de la Révolution française en tant que modele de la révolution en général, meme si, de point de vue d’Arendt, c’est plutôt la Révolution américaine qui aurait satisfée les attentes liées a l’établissement de la liberté. Par contre Foucault en analysant le discours de la lutte des races et en interrogeant la possibilité de la révolution montre le mécanisme de la neutralisation du discours de résistance par le discours dominant. Il indique aussi deux types du discours historique — le discours de l’histoire et celui de contre-histoire — qui remplissent deux fonctions différentes dans la société. Tant que le premier est le discours de pouvoir — le récit qui sert à sa légitimination et à son renforcement — le deuxième est la contestation de ce pouvoir. C’est justement le discours de contre-histoire ouvrait le champ pour l’apparition de l’idée de la révolution par départ de la vision de la société imprégnée par la guerre et de l’appel à la révolte contre ce qui se montre comme ordre de pouvoir établi. Ainsi la contre histoire rend possible la révolte, le désaccord avec la configuration sociale présente en démasquant le fait que ce pouvoir a été imposé et qu’il n’est pas «l’état naturel».
3

„Gdyby chłopi mieli swojego Plutarcha, Pierre Rivière znalazłby się wśród sławnych mężów”. Michel Foucault — emocje i historiografia

88%
Brzezińska A.
Sensus Historiae. Studia interdyscyplinarne
|
2012
|
issue 2(7)
23-34
EN
The author of the article examines the methods for the analysis of written sources used by Michel Foucault in the case study of the matricide, Pierre Rivière, a French peasant living in the nineteenth century. By studying murderer’s diary—a very emotional, complicated story—and by examining the files of the Rivière’s case, Foucault attempts to reconstruct the mechanisms of behaviour of participants of the family drama, the social norms, to bring their authentic feelings from the conventions of discourse. Is it at all possible? The author of this article shall discuss the way to decoding the source proposed by Foucault, asking the question about the place of emotions in historical research.
4

WATCHFUL PHYSICIANS'S EYES. MEDICINE IN GDANSK IN THE ENLIGHTENMENT (Lekarzy czujne oczy. Medykalizacja w Gdansku doby oswiecenia)

88%
Szarszewski A.
Klio. Czasopismo poświęcone dziejom Polski i powszechnym
|
2010
|
issue 2(15)
59-93
EN
In the Enlightenment one of the most important tasks of monarchies (due to the modernization processes) was to control and to improve citizens' physical condition. The process of medicalization (M. Foucault) was one of instruments that rulers used to exercise their power and domination. It was inspired by discussions led by scholars and physicians. Yet, it was highly complicated to implement those mechanisms of rationalization in the city of Gdansk, as the second partition of the Republic of Poland in 1793 meant for it both a transformation and a change of the sovereign. In this period one could observe a vivid discussion between the city council and local physicians (especially those from the Physicians' Society) over the project of medicalization. Nevertheless, it did not succeed because of political situation and a weakness of physicians' milieu in Gdansk. The final effect of the above-mentioned debates was visible in a modernization project proposed by a new governmental centre (since 1793 it was Berlin). It was to intensify the process of medical control by interception of the power by the authorities stronger involved in its modern representation. That local version of modernization seemed to be a very flexible version of the broader vision, and one of the most innovative in a whole Europe. In Gdansk were established basic elements of the process of medicalization: modernization of hospitals, medical control of poverty, surgeons' professionalisation, elements of the population policy (Entbindungs-Lehranstalt von Westpreussen). The example of Gdansk illustrates the fact, that society must consent to the medical control.
5
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Słowa i pojęcia w ponowoczesnym obiegu kulturowym

88%
Miczka-Pajestka M.
|
2013
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vol. 11
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issue 1(20)
15-26
EN
In the article there has been considered a matter of perceiving and describing, by researchers of modernist culture, what is referred to as words. This issue was considered with particular attention to the cultural context. There has also been undertaken an attempt to answer the question: How do the words and concepts exist in the post-modern cultural circulation? There are indicated relevant to these considerations, concepts and theories of philosophy, including those by: Michel Foucault, Gilles Deleuze and Félix Guattari. An issue of relativity of a word is discussed as well, its relationships, especially the one relevant to thoughts. In addition, there has been also considered the problem of creating concepts and their functioning in reality as elements creating relationships between subjects and things and phenomena.
6
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"Urządzenie", "zastosowanie", "układ"... – kategoria dispositif u Michela Foucaulta, jej tłumaczenia i ich implikacje dla postfoucaultowskich analiz władzy

75%
Nowicka M.
Przegląd Socjologii Jakościowej
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2011
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vol. 7
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issue 2
94-110
EN
Michel Foucault introduced the notion of dispositif of sexuality in The Will to Knowledge (1976). Soon afterwards he took part in a discussion organized by a French magazine 'Ornicar?' during which he was asked to explain synthetically his concept of dispositif. Over the next decades this short, and rather forced utterance was translated into German and English. These translations differ from each other not only with regard to their solutions how to substitute a French term dispositif with another word - accordingly German or English - but also because of a variety of details that are meaningful for the profiles of dispositif analysis and based on Foucault's thought postulated in research. This theoretical and methodological perspective has being developed since Foucault's death in 1984, especially since the 1990's. One can indicate numerous and significant differences between the German- and English-language dispositif analysis, as well as between both of them and the Foucault's original concept. There is a need to question if the researchers who identify dispositif with a social network or with a material infrastructure of discourse (inter alia communication technology and social practices mediated through this technology) still follow Foucault's concept of power-knowledge to which they refer so willingly? This problem seems to be notably important at present - when more and more researchers in Poland show their interest in dispositif's concept. Therefore, a demand to translate its key terms into Polish emerges. In this article the dilemmas of Polish and other translations are presented on samples of several Foucault's utterance in 'Ornicar?' translations and fragments of contemporary texts from the field of German- and English-language dispositif's analysis.
7

BODY, ART AND POWER (Kermenis, maksla un vara)

75%
Kule M.
Materiali Latvijas makslas vesturei
|
2006
|
vol. 5
166-172
EN
The article deals with the philosophical interpretation of power in relation to the representation of body in contemporary art. Power, according to Michel Foucault's philosophy, is a wide concept meaning not political or economical dominance but a kind of relationships where dominance and subservience are interchangeable, creating a kind of network where the most varied processes of human life are involved. The body might possess power, too. Different trends of contemporary art represent the shift from the classical period determined by the mind and will to the post-classical one when the body and its sensations come to the foreground. The man realizes power relationships through the body. Since the 17th century the power has developed as the control over life. It happened in two forms: one of them was focused on the body as a mechanism, involving training, increasing skills, including systems of economical control. This is the politics of anatomy or discipline. The other sphere has increased in importance since the 18th century and is focused on the human body as a species through which biological processes like birth, death, health, and life duration are regulated. This is biopower. On the one hand, art conveys bodily passions, finality and death, expressions of pleasure, on the other - speaks about ways of how biopower is realized. Edmund Husserl's phenomenology describes two senses of the body: Leib stresses the presence of the spirit and connection between the body and the soul, Korper refers to the mortal, physiological and sensual body. The art of previous eras often strived to show the soul through the body. This is rarely found in contemporary art where the body appears as something mortal, changeable, vulnerable, cloned, something one chooses, etc. Artists often see the body as alienated, subjected to dominance and outer, alien power. The epoch is marked by a power that subjects, moves and changes the body, making it yielding, brutal, extreme and unstable. The body might turn into a detached thing injured in public (Viennese Actionism, Oleg Kulik, Gina Pane, Ron Athey, etc.), details come to the foreground, back and hair are depicted instead of face (Egon Schiele, etc.), the body becomes a place where the codes of consumerist culture are inscribed, etc.
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