By Mark D. Jordan
Arguing that Foucault conducts experiments in writing to frustrate educational expectancies approximately heritage and idea, Mark Jordan supplies equivalent weight to the performative and theatrical features of Foucault's writing or lecturing. How does Foucault level chances of self-transformation? How are his books or lectures comparable to the rituals and liturgies that he dissects in them? Convulsing Bodies follows its personal online game of hide-and-seek with the brokers of totalizing platforms (not least within the academy) and offers us a Foucault who performs along with his audiences as he performs for them—or teaches them.
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Extra info for Convulsing Bodies: Religion and Resistance in Foucault
On the other, a legal-clinical religion manages young inmates within the pristine reformatory. The old religion does of course put in an appearance for the lads. 9 IfÂ€these elements are vaguely Christian, their merely moral content contrasts with the incarnational detail of the torture of Damiens. He calls out to God, begs Jesus for forgiveness, kisses a crucifix, and asks for prayers at the attending priest’s next Mass. The torture inflicted on Damiens is called in French supplice, a word that descends from the Latin supplicium.
So, according to Klossowski, when Actaeon literalizes the scene he stumbles upon, he seeks in it “an irrefutable demonstration of the real presence”— of Eucharistic transmutation. Or “the Twelve [Olympian] Gods, being identical in essence, but distinct in person”—just like the Trinity of Christian creeds. 51 Foucault doesn’t underscore these phrases any more than he underscores the Christian resonances in his own text. Second, Foucault and the sex of the goddess. Diana is emphatically a goddess, not some marble Apollo with a petite, ornamental penis or that distant Father endowed with a merely official masculinity who is represented by His resolutely sexless Son.
If it sounds odd to accuse an anatomy of ignoring the body, we might still say that it doesn’t treat its corporeal object as one of our bodies. 4 4 T H E DI SM EM BERED A S S A S S I N A ND THE WELL-SCRUBBED DELINQUENT S Consider again how these four texts give voice to bodies or else deny it. In the opening of Discipline and Punish, the archival excerpts multiply corporeal words around Damiens. He is body, flesh, skin, hand, thighs, until he is only butchered pieces dragged apart by straining horses.