On Unbearable Reality and Beautiful Appearances
Ferdinand Hodler’s painting ‘Die Wahrheit’ features a naked woman dispelling six cloaked male figures as if they were dark thoughts. She finds herself standing on an isle of grass while the men – lies? – turn from her and look for shelter in barren lands. In Jean-Léon Gérôme’s depiction of the truth, titled ‘The Truth Coming from the Well with Her Whip to Chastise Mankind’, one sees exactly what the title promises. At least, presuming the beholder knows that truth always comes as a naked, angry woman ready to hysterically chase you down. I would hardly be surprised if the painter kept the words “How could you!” in mind, or, more accurately, “Comment peux-tu!”, when drawing the contours of her screaming mouth. Perhaps he even pictured the face of his wife at the moment he told her the truth about his many models and the adulterous state of affairs.
In other paintings, by Merson, for example, or Lefebvre or Baudry, lady truth brandishes a mirror instead of a whip. In the version of Édouard Debat-Ponsan, two men, one of whom is blindfolded, try to restrain her and her charged mirror, to no avail. Her clothes tear from the male grip while her flaming red hair blows bravely and unhinderedly, her gaze aimed at some point outside the frame: her holy mission? Ultimate victory in the Age of Reason?
Venus, Eve, Leda, the Sirens, Diana, Phryne, nymphs: figurative painting has always gratefully seized upon the offer to depict naked women. Nonetheless, it is not self-evident that Hodler’s ‘The Truth’ belongs to this list of subjects. Why is truth female? Why can she only show herself unveiled? Why is she angry? Why is she victorious? Why is she armed? Why is she white? And why does she have no pubic hair?
At least some of these questions spurred Blumenberg’s collection of small excerpts exploring the metaphor of ‘the naked truth’ in Western thought, now published from his archives as Die Nackte Wahrheit by Rüdiger Zill. This book makes quite clear that the depiction of truth as naked is more than a mere representation. There is a longstanding tradition in which truth is deeply intertwined with a pure female nature understood as clarity, innocence, attraction and unapproachability. Such equation of truth with female nudity creates a variety of unuttered associations. Truth, for example, is accessible only to few – something that will play into the democratizing project of Enlightenment. It installs a connection between eros and the pursuit of truth, a desire, a libido sciendi. Prohibition is involved and it gives rise to the problem of whether truth is still truth when she presents herself dressed up. Truth becomes contaminated by male deception. The quest for truth becomes “an expedition to some exotic place”, as Kołakowski terms it in his text on nakedness and truth (Kołakowski 2004, 235). Truth becomes a capture, an ambiguous purpose of curiosity, an ideal of knowledge which is godlike, forever beyond reach yet nonetheless worth chasing, “a passion deserving of death” as Blumenberg calls it (NW 105). Just like in the story of Artemis and Actaeon (NW 104-6), the male gaze automatically becomes indiscrete and inappropriate, and curiosity becomes a kind of unacceptable voyeurism. Just like Actaeon, anyone who looks at the divine must die, an implication of a lethal danger of pursuing truth. It is worth considering that such a passion is rewritten in the expression “vedi Napoli e poi muori”, especially when bearing in mind how often a beautiful city – the word city, like truth, has a female genus in most European languages – is considered in similar female terms: the Jewel of Europe, La sposa del mare, the Pearl of the Orient, la Superba or Elbflorenz. In the case of Paris, it is expressed in terms of this other metaphor for truth: la ville lumière.
That in the European languages “truth appears on the stage as a female act”, Blumenberg writes, gives “truth an erotic-aesthetic trait […] which is not taken for granted by the misogynist” (NW 126). Whether this implies that skeptics must also be misogynists remains unclear. And whether this applies to the skeptic Blumenberg himself is a question that perhaps only a modern Diogenes might dare to ask Blumenberg’s daughter, Bettina.
Be that as it may, in view of the topic it is rather striking that this book devotes only a single page to a female writer, Madame du Châtelet. This one page, however, does not discuss her writing or thought; instead, it addresses an anecdote that tells how Mme du Châtelet shamelessly undressed in front of her servant Longchamp. Blumenberg links this behavior to the project of Enlightenment itself, in which “truth shows herself unembarrassedly in front of those who ought to serve her” (NW 103). In short, rather than her writings and ideas, it is only Madame du Châtelet’s indifference to her own nakedness that becomes a significant expression of the “new methodological ideal of objectivity” (NW 103).
Although Blumenberg does not render it explicitly, the short chapter on Actaeon following this page suggests that the divine nakedness of truth becomes human in the nakedness of Émilie du Châtelet. The hunter Actaeon, servant of the goddess Artemis, watches his mistress undress and consequently he must be punished for seeing her in her nudity. Someone who looks at Medusa, however, instantly dies. In other words, Acteon already signals an alteration in the mythic gaze upon a deity, which in Artemis’ bathing scene changes from tremendum into fascinosum. He doesn’t die immediately, he is punished for his violation. In the anecdote of Madame du Châtelet, then, a succeeding shift occurs. In contrast to Actaeon, the servant Longchamp is not punished, he is not even noticed. Longchamp becomes a subject “of conscious exposure” and is regarded as not being there: “in the witness of nudity an awareness is raised […] of remaining unnoticed in his presence” (NW 103).
This reversal in the relation of nakedness, fascinosum, between mistress and servant, punisher and the one punished, is still far from Nietzsche’s later take, “to think of the naked truth as a frightening and unbearable dimension” (NW 126). Whether a comparison of Nietzsche’s views on the ugly truth and his lashing attitude towards women – note the double inversion of Gérôme’s depiction concerning the appearance of lady truth and the one who is cracking the whip – could add something to the debate about his possible misogyny is merely a suggestion discerned between the lines.
Like this example, and completely in line with his longstanding interest in the non-conceptual (Unbegrifflichkeit), i.e. metaphoric, narrative, anecdotal and mythic substratum of conceptual thought, Blumenberg delves into the layers of implicit imagery and associations so as to note significant changes in meaning over time. Moreover, he lays bare – an expression which is itself already part of the semantics of the naked truth – inconsistencies in the rational discourse that is built on this metaphoric level and shows how it can be deconstructed and eventually turned against itself. He does so by discussing writers and philosophers such as Adorno, Kafka, Pascal, Fontenelle, Rousseau, Vesalius, Fontane, Schopenhauer, Kant, Kierkegaard and Lichtenberg. The seemingly incoherent order of these names mirrors both Blumenberg’s own avoidance of chronology and his preference of association. Although he refuses an all too systematic approach of the issue, the intrinsic connection of the different chapters is always clear: “How does the metaphor portray the position of the thinker, in which he maneuvered himself because of more or less compelling reasons and under more or less unavoidable conditions” (NW 127)?
Applied to truth, this question brings him to many considerations about the implications of viewing truth as naked: “If truth only is right when naked, then every cover is a disguise and eo ipso wrong” (NW 71). However, when we embrace the conviction that truth is true only when it is naked, we can never undo the threat that “even its nakedness is still costume” (NW 92). Nakedness then turns into “the illusion […] which is created by the gesture of tearing down dresses”, which in turn evokes “the scheme of the onion skin” (NW 97). “When once opened, nothing ever is something final” (NW 102). And at the same time, there is the thought that “truth might be as unbearable to humans as nakedness” (Blumenberg 1960, 51). In this case, “the cover of truth seems to grant us our ability to live”, a thought which appears in “Rousseau’s pragmatic exploitation of the metaphor of truth in the water well […]: leave her there. The depth of the well protects us from the problem of its nakedness” (Blumenberg 1960, 57).
In this regard, it is remarkable how rarely Blumenberg refers to the Christian tradition. In “The Epistemology of Striptease”, Leszek Kołakowski, for example, traces “the entire foundations of the theory of nakedness which has been so important in our culture” back to the Judaeo-Christian tradition (Kołakowski 2004, 225). The Book of Genesis indeed tells of an intrinsic connection between the fruit of the tree of knowledge and the shame which immediately manifested itself when the fruit was eaten. A shame “not of their crime, but of their nakedness” (Ibid., 223). Thus, “a double relation has been established: between truth and nakedness on the one hand, and between truth and shame on the other” (Ibid., 225).
Another absence which resounds throughout the book is that of the name Heidegger, which appears not even once. Nonetheless, Die Nackte Wahrheit can be read as an implicit yet fundamental critique of Heidegger’s conception of truth as alètheia. By dissecting the metaphor of truth, Blumenberg’s text offers a perspective which shows that Heidegger still fits perfectly within the dominant Western tradition, a tradition Heidegger himself sought to destruct by thinking beyond the ontological difference and the forgetting of being. Blumenberg, however, implicitly shows that Heidegger and his conception of truth as disclosure or ‘unconcealedness’, still wades through the Western waters that Heidegger himself thought he had traced to their source.
Despite this absence of Christianity and Heidegger, Blumenberg convincingly illustrates how metaphor functions “as a more or less easily fixable crack in the consistency of thought, a stimulant, and as such it refreshes reason; it also is, however, a sedative in other cases, where it covers up the failure of the concept or remedies its lack by a merely different procedure” (NW 127).
At this point, Die Nackte Wahrheit surpasses being just a study of the naked truth and begins to concern the project of metaphorology itself. As Rüdiger Zill notes, “already since the late 1960s, Blumenberg had been thinking about a detailed revision of his metaphorology” (NW 186). Concerning his distanced relation to his initial approach, Blumenberg wrote to his English translator: “The text is not only outdated – after a quarter of a century! – it is also poor” (NW 189).
In Blumenberg’s project of ‘metaphorology’, metaphor is always more than a disguise of truth or a thought expressed in non-conceptual language. “It is essentially aesthetic”, which means “that it is not something like the mere cover of the naked thought, of which one had to constantly think as the true purpose of its interpretation and unlocking that has to be reached in the end. Who constantly thinks beyond its limits, loses what he has without receiving what he cannot possess” (NW 176). In other words, there is no naked truth to be found beyond the metaphor. And more specifically, the power of metaphor is precisely this lack of precision sought by advocates of a clear and distinct conceptual language. Thus, Blumenberg argues, in contrast to the views of many thinkers he discusses, that “history” is not the “course of the self-exposure of the concept” (NW 155). Blumenberg’s associative selection of authors and topics stresses that metaphor, with its ambiguity and openness to many interpretations, is always “far more intelligent than its composer” (NW 176).
The first fifty pages of Die Nackte Wahrheit concern Nietzsche and Freud. The only other pieces that come close to even ten pages are those on Pascal, Kant and the Enlightenment. Thus, of all the names figuring in Blumenberg’s posthumous book, Nietzsche and Freud can be called his main interlocutors.
Nietzsche immediately shows a fundamental reversal of truth as a beautiful naked creature. When he writes that “Truth is ugly. We have art so that we are not ruined by truth” (NW, 14), it is clear that something in the metaphor of truth changes. We are no longer in pursuit of the naked truth – she lies within reach in her unbearable ugliness – and so our interest shifts to the beautiful veils that are produced to conceal her.
“There would be no science, if science would only care about this one naked goddess and about nothing else” (NW, 20). With this thought, both Freud’s concept of sublimation and Blumenberg’s apotropaic function of myth are prefigured: art and culture function as a “human safety device” (NW 15), a protective shield which safeguards us from something insufferable. Or as Nietzsche formulates it: “Every type of culture starts with an amount of things that are veiled” (NW 15).
Blumenberg’s text from 1971 on the relevance of rhetoric and anthropology directly evidences the strong influence of this Nietzschean thought: “Ah, it is impossible to have an effect with the language of truth: rhetoric is required” (NW 31). Nietzsche defends rhetoric as a right to deceive vis-à-vis an unbearable truth. For the sceptic Blumenberg, however, truth cannot be unbearable, because the very possibility of truth itself is bracketed and remains an open question. In his writing on Hannah Arendt and Freud it is “the absolutism of truth” which becomes unbearable, this intimate European conviction “that the truth will triumph” (Blumenberg 2018, 57). Yet, as Blumenberg proclaims, “[n]othing is less certain than that the truth wishes to be loved, can be loved, should be loved” (Blumenberg 2018, 3).
This critique of Freud, already present in Rigorism of Truth, is continued in Die Nackte Wahrheit. The notion that psychoanalysis lives from the metaphor of revealing and concealing and connects the intellectual with the sexual can only barely be called a renewing insight. Blumenberg, however, uses this as a step to a subtler point. He reproves Freud’s rigorism because his therapy prioritizes the affirmation of his theory rather than the well-being of his patients. In other words, via Freud, Blumenberg criticizes the longstanding tradition “in which truth is justified at every cost” (NW 38), the same rigorous conviction that resonates in Thoreau’s famous phrase that “Rather than love, than money, than fame, give me truth.”
Read from within the metaphor of ‘the naked truth’, Freud’s quest for truth – a quest strongly intertwined with the centrality of sexuality and the prudery of the society in which he lived – shows that it is not at all clear when something is yet more ‘resistance’, a symptom, a still-clothed kind of nudity, and when exactly someone has encountered the bare piece of the reality they are searching for. “The general premise for resistance as a criterion might be (this): what people gladly accept cannot be the truth” (Blumenberg 2018, 59). In discussing this central concept of resistance as an element of Freud’s “para-theory” (loc. cit.) he comes rather close to Popper’s rejection of Freud’s methodology. In his archive there are two manuscripts with the respective abbreviation TRD and TRD II, in which Blumenberg shows how ‘resistance’ is a kind of parachute that recuperates elements falling from or even objecting to Freud’s main theory (Zill 2014, 141-43). This way, even the critics of his theory can still be fitted within it. Blumenberg points out how Freud’s quest for countering resistance and his rigorist search for truth, his urge to reveal secrecy after secrecy, eventually lead to a “hysteria of revelation for which history has an analogy in hysteria of confession” (NW 47).
Die nackte Wahrheit is certainly not Blumenberg’s first engagement with either Nietzsche or Freud. He had already dealt with both authors extensively and quite similarly in his earlier writings: reading them through the lens of their own imagery in order to criticize them from within the logic of these images and metaphors. In Arbeit am Mythos, for instance, both authors receive ample treatment on several occasions and are the focus of important passages. Freud and Thomas Mann, for example, are bound together in a trenchant and meaningful anecdote: Mann reading his lecture on Freud to Freud himself during his visit to Freud’s villa in Grinzing on Sunday, May 14, 1936. Blumenberg calls this a “great scene of the spirit of the age, which hardly had another scene comparable to it”, and notes that one of the “preconditions” of this “incomparable event” precisely “is the relationship to Nietzsche that both partners shared” (Blumenberg 1985, 516).
Other important passages include Blumenberg’s extensive discussion of Nietzsche’s approach of Prometheus against the light of his aesthetic conception of reality and of Nietzsche’s famous proclamation of the death of God. In the last section, ‘The Titan in His Century’, Blumenberg’s analysis of Freud’s use of Prometheus follows his assessment of Nietzsche’s use of Prometheus, such that Freud and Nietzsche, joined by Kafka, share the final page of Work on Myth. In Die nackte Wahrheit Kafka likewise follows upon Nietzsche and Freud, although it would surely be mere speculation to look for further significance here. Nonetheless, despite his longstanding and rather critical occupation with Nietzsche and Freud, Blumenberg clearly incorporated and continued many aspects of their thought.
Blumenberg’s aesthetic conception of reality, his attention for rhetoric, myth and metaphor and his truth-sceptic attitude can all be directly linked to Nietzsche. Just as rhetoric gains importance when the conviction of “the one clear and whole truth” (Blumenberg 2001b, 350) is given up, so too does myth return to view when this ideal of truth is abandoned. And here Blumenberg, already in his earlier work, shows himself to be an heir of Nietzsche. As Blumenberg writes in his first text on myth, “Nietzsche’s affinity to myth begins with the rule of truth becoming problematic to him. The poets lie – this saying comes back into favor” (Blumenberg 2001b, 352). Blumenberg’s name can be perfectly interchanged with Nietzsche’s here. The shift towards the aesthetic, and the revaluation of the ancient Platonic reproach of the poets implied in this reference, is a central concern underlying all of Blumenberg’s aesthetic texts from the 1960s, as assembled by Anselm Haverkamp in his Ästhetische und metaphorologische Schriften. Moreover, Blumenberg‘s two important texts on rhetoric and myth from 1971 both start from the truth-sceptic premise he shares with Nietzsche and which spans his work from the very beginning to this posthumous publication of Die Nackte Wahrheit. And this last publication is probably inconceivable without Nietzsche’s “On Truth and Lies in a Nonmoral Sense”. Indeed, Blumenberg’s general endeavor is essentially summed up in one of Nietzsche’s most famous sentences: “Truths are illusions which we have forgotten are illusions — they are metaphors that have become worn out and have been drained of sensuous force, coins which have lost their embossing and are now considered as metal and no longer as coins”.
Blumenberg’s approach of die vakante Stelle and his descriptions of Umbesetzung, elaborated in his Die Legitimität der Neuzeit, can be read as a direct translation of Nietzsche’s worn-out coins and his dictum of the “Death of God”. Herewith, Blumenberg translates Nietzsche’s nihilism into a general philosophical endeavor of Entselbstverständlichung, a process marking “the great epochal revolutions of historical life” (Blumenberg 2017, 54). This endeavor, according to Blumenberg, eventually is “the basic process of philosophical thinking: for how could the inherent task of philosophical work be characterized more fittingly than as the persistent opposition of matter-of-factness with which our daily life and thought is interspersed, yes, substantiated into their very cores – much more than we could ever suspect?” (Blumenberg 2017, 54).
Furthermore, Blumenberg’s later, more literary and anecdotal style evokes Nietzsche’s claim that it is possible to present the image of a person with only three anecdotes, just as it should be possible to reduce philosophical systems to three anecdotes. When, for example, it comes to Blumenberg’s highly ironical and critical pieces on Heidegger in Die Verführbarkeit des Philosophen, he not only takes up Nietzsche’s challenge but even seems to have added something to it: the challenge becomes not only to render an image of the person and a summary of his philosophical thought, but also to get even with him in the same move.
Rüdiger Zill has wittily but quite perceptively characterized the sort of relation Blumenberg has with Freud: “Just like family members you sometimes hate and sometimes love, who from time to time grate on your nerves but who also occasionally inspire, yet always, however, still belong in the family, authors as well can be ranked among the intellectual family formation” (Zill 2014, 148). Zill’s assessment on this matter is clear: Freud undoubtedly belongs to Blumenberg’s intellectual family. However, the more he reads Freud, the more critical Blumenberg becomes, without Freud ever losing his force of fascination (Zill 2014, 128). Ironically, when Blumenberg received the Sigmund Freud Prize for Academic Prose in 1980, he did not refer to Freud in his acceptance speech. He mentioned Socrates, Diogenes, Kierkegaard and Nietzsche as exemplar thinkers who should be admired because they did not allow their thinking to be hindered by any safeguarding method.
There is, however, quite some common ground between Freud and Blumenberg which might be easily overwritten by Blumenberg’s recent critical works on Freud from the archives. When Blumenberg ascribes rationality to aspects of thought, such as metaphor and rhetoric, that have been banished to irrationality by the tradition of philosophy there is a general similarity to Freud’s Traumdeutung and his overall endeavor of psychoanalysis. Indeed, there are at least two specific and critically important points of contact between them: Freud’s idea of sublimation and detours.
In his text on rhetoric, Blumenberg refers to Freud’s analysis of the funeral repast: “Freud saw in the commemorative funeral feast the sons’ agreement to put an end to the killing of the tribal father” (Blumenberg 1987a, 440). It is the Freudian principle of sublimation that is evoked here and Blumenberg is explicit about the importance of this matter: “If history teaches anything at all, it is this, that without this capacity to use substitutes for actions not much would be left of mankind” (loc. cit.). Herewith an important crux of Blumenberg’s thought is laid bare: “The human relation to reality is indirect, circumstantial, delayed, selective, and above all ‘metaphorical’” (Ibid., 439). This means that metaphor is not a deficit of rational thought, as it has been understood by Descartes or British empiricism (NW 110-1); nor is it even an aid of theory or merely a way of thinking in its own right; rather, it is a way of coping with reality. This “metaphoric detour by which we look away from the object in question, at another one” (Blumenberg 1987a, 439) immediately ties to the second important overlap between Freud’s and Blumenberg’s work: if Blumenberg acknowledges sublimation as the human capacity to have culture, and if sublimation – the possibility of taking a metaphoric detour – lies at the heart of this capacity, then Blumenberg’s concept of culture should be one of detours.
Blumenberg, in his 1971 text on myth, refers to Freud’s notion of Umwege. In his “Jenseits des Lustprinzips”, Freud classed the drives of self-preservation under the general concept of “detours to death”. As Freud states, “If we can accept it as an experience without exception, that all the living dies because of internal reasons, that it returns to the inorganic, then we can only say: the purpose of all life is death” (Freud 1940, 44). Everything working against this destruction and everything delaying “the achievement of the purpose of death” (Ibid., 45) becomes a “detour to death”. In this Freudian scheme, life itself is “a still more difficult and risky detour” (Blumenberg 1985, 90) and Blumenberg recognizes in these “detours to death”, this “final return home to the original state” (Ibid., 91), the same mythic circle underlying the Oedipus myth, the Odyssey and even Nietzsche’s thought of “the eternal return of the same” (loc. cit.). On the one hand, Blumenberg critically reveals the total myth (Totalmythos) of the circle underlying Freud’s thought; on the other hand, Blumenberg incorporates this notion of detour in his work as a life-spending mechanism opposing omnipotence. As he writes, for example, in his 1971 text on myth, “Essentially, omnipotence refuses somebody to tell a story about its bearer. Topographically represented, stories are always detours” (Blumenberg 2001b, 372).
Die Sorge geht über den Fluss, published in 1987, includes a short chapter titled Umwege, in which Blumenberg again stresses the importance of the possibility of taking detours: “It is only if we are able to take detours that we are able to exist. […I]t is the many detours that give culture its function of humanizing life. [… The] shortest route is barbarism” (Blumenberg 1987b, 137-8). In these descriptions of culture as Umwege, some of its psychoanalytical origin still sounds through: it is by means of culture, by the possibility of taking detours, that we can avoid our own self-destruction. As Blumenberg puts it, “Not to choose the shortest path is already the basic pattern of sublimation” (Blumenberg 1985, 93). Or as Freud states in the penultimate sentence of his letter to Einstein: “whatever makes for cultural development is working also against war” (Freud 1950, 27).
This is the very basis of Blumenberg’s thought. Whether it is his approach to rhetoric and its power of delay, whether it is the apotropaic function of myth and the dynamic of storytelling vis-à-vis the absolutism of reality – man’s metaphoric way of dealing with the world – whether it is Blumenberg’s own elaborate and meandering writing style or his anecdotal and narrative philosophy as an effort to ironically undermine the authority of certain thinkers, whether it is the construction of his archive and the delayed publication of his own works or this metaphoric study of the naked truth aimed against the “Absolutism of Truth” (Blumenberg 2001b, 350), all of it falls under this “basic pattern of sublimation”, this decision “not to choose the shortest path”. In this specific sense and despite his highly critical piece on Freud in Die nackte Wahrheit, Blumenberg’s thinking remains Freudian at its very core.
As Blumenberg had noted in his Paradigmen zu einer Metaphorologie, “The metaphor of ‘the naked truth’ belongs to the pride of enlightened reason and its claim to power” (Blumenberg 1960, 54). Hence, it is clear that Die Nackte Wahrheit should be understood as a critique of this enlightened self-consciousness. And yet Blumenberg did not abandon the project of rationality entirely, despite paying profound attention to non-standard philosophical topics such as metaphor and myth. “Myth itself is a piece of high-carat ‘work of logos’”, he points out in Work on Myth (Blumenberg 1985, 12) and Blumenberg himself employs this power of reason to trace the metaphor of the naked truth in thinkers such as Kant, Rousseau and Fontenelle. Herewith, a last characteristic of Blumenberg returns in Die Nackte Wahrheit: the correspondence of form and content. In Work on Myth, for example, Blumenberg offers a theory of how myth is a process of variation and, as he develops the theory, he himself engages in the same process of selection and rewriting. In his fragmentary book Die Verführbarkeit des Philosophen, in which Blumenberg exposes thinkers such as Heidegger, Freud and Wittgenstein and shows how they seduce their audience with rhetorical tools and attractive imagery; he himself tries to persuade his readers by rhetorically and wittingly affirming his own superiority of thought. The same applies for Die Nackte Wahrheit, where Blumenberg discusses the traces, consequences and changes of the metaphor of the naked truth, as he himself undresses other thinkers. As he emphasizes, the use of metaphor often indicates the “embarrassment of its theoretical situation” (NW 127). In other words, he seeks for the weak spots of thinkers such as Freud and Pascal in order to unmask them. If metaphor is indeed at work in the “front court of concept formation” (Blumenberg, 2001a), then Blumenberg clearly seeks to expose his interlocutors in their changing rooms. At the same time, he precisely questions these implications of thinking about truth in such terms of covering and uncovering. Certainly, Blumenberg does not claim that his disclosures touch upon “the naked truth” or a final word about these writers, yet nonetheless he somehow contributes to this enlightened topos of “tearing down the mask” (NW 134). He still partakes in what Kołakowski calls this “sadistic game” of “intellectual curiosity”, even as he precisely lays bare its rules and tools and does away with the purpose the game has pursued for ages. However, one asks after reading Blumenberg’s book, what use does this vocabulary preserve when the “reality” revealed under this mask is yet another mask, no more or no less reality than the one just dispelled. To make a final appeal to Kołakowski: Blumenberg involves us in a philosophical striptease, in which he exposes, “from a superior (clothed) position”, “another’s shame (nakedness)” (Kołakowski 2004, 235). Only it has become uncertain what happens with a philosophic tradition of revealing when the possibility of truth disappears, nakedness itself becomes yet more costume and the feeling of shame is revaluated. No purpose, no revelations, only detours and descriptions (Umschreibungen). Nonetheless, Blumenberg certainly exemplifies like no other that whenever philosophy thinks there will be a moment that Lady Truth will rise from her well and create clarity, philosophy, just like science, is once more deceived “by a pipe dream […] which its scholars pursue without ever achieving it” (NW 77).
Hans Blumenberg, Die Nackte Wahrheit, Hrsg. von Rüdiger Zill (Berlin: Suhrkamp Verlag, 2019).
–, Rigorism of Truth. “Moses the Egyptian” and Other Writings on Freud and Arendt, ed. by Ahlrich Meyer and transl. by Joe Paul Kroll (New York: Cornell University Press, 2018).
–, Schriften zur Literatur: 1945-1958, Hrsg. von Alexander Schmitz und Bernd Stiegler (Berlin: Suhrkamp Verlag, 2017).
–, “Licht als Metapher der Wahrheit. Im Vorfeld der philosophischen Begriffsbildung” in Ästhetische und metaphorologische Schriften, Hrsg. von Anselm Haverkamp (Frankfurt am Main: Suhrkamp Verlag, 2001a), 139–171.
–, “Wirklichkeitsbegriff und Wirkungspotential des Mythos“ in Ästhetische und metaphorologische Schriften, Hrsg. von Anselm Haverkamp (Frankfurt am Main: Suhrkamp Verlag, 2001b), 327–405.
–, “An Anthropological Approach on the Contemporary Significance of Rhetoric”, in After Philosophy: End or Transformation?, ed. by Kenneth Baynes, James Bohman and Thomas McCarthy (Cambridge: MIT Press, 1987a), 429–458.
–, Die Sorge geht über den Fluss (Frankfurt am Main: Suhrkamp Verlag, 1987b).
–, Work on Myth, transl. by Robert M. Wallace (Cambridge: The MIT Press, 1985).
–, “Paradigmen zu einer Metaphorologie,” Archiv für Begriffsgeschichte 6 (1960): 7–142.
Sigmund Freud, “Warum Krieg?”, in: Sigmund Freud, Gesammelte Werke. Band XVI, Hrsg. von Anna Freud e.a. (Frankfurt am Main: S. Fischer Verlag, 1950), 11–27.
–, “Jenseits des Lustprinzips” in Gesammelte Werke. Band XIII, Hrsg. von Anna Freud e.a. (Frankfurt am Main: S. Fischer Verlag, 1940), 3–69.
Leszek Kołakowski, “The Epistemology of Striptease,” in The Two Eyes of Spinoza & Other Essays on Philosophers (South Bend: St. Augustine’s Press, 2004), 222–238.
Rüdiger Zill, “Zwischen Affinität und Kritik. Hans Blumenberg liest Sigmund Freud” in Blumenberg Beobachtet, Hrsg. von Cornelius Borck (München: Karl Alber Freiburg, 2014), 126-148.
Penal Theories and Institutions contains the lectures delivered by Foucault in his second-year tenure at the College de France (1971-2). It is also the last volume of this series, concluding a publication cycle of close to twenty years. The publication of Foucault’s lectures started mid-way with the 1976 course and then proceeded sideways, preventing us from grasping the development of his thought during the last fifteen years of his life.
Foucault did not prepare his lectures for publication, and their initial publication in 1997 was initially considered a transgression to Foucault’s last wishes for his posthumous writings not to be published. However, the proliferation of unauthorized versions of the lectures, based on transcriptions from audio recordings of unequal quality, decided the family and friends to allow their publication. After the first tentative publications, a sophisticated protocol developed. First, the editors give priority to the transcription of Foucault’s oral teaching. Any additions, such as materials from the preparatory notes, and bibliographical references, are dealt with as footnotes. The editor’s additions and amplifications are recorded in the endnotes. Foucault’s summary published yearly in the Yearbook of the College is then printed. A general introductory essay, with the title “situation du cours” follows, which provides contextual information for Foucault’s lectures. Finally, a detailed index of names mentioned and of concepts. While this is the general model for each one of the publications of the lectures, there are some variations.
In the case of Theories and Penal Institutions (thereafter: TPI), there are no extant recordings. Therefore, the editors had to use Foucault’s preparatory notes. This volume also makes more use of additional materials from Foucault’s unpublished papers than previous volumes. In addition to the ‘Course Context’ essay, this one includes two interpretative essays, one by É. Balibar and the other by Claude-Olivier Doron that provides context for the lectures. Doron was also responsible for the endnotes, which provide useful bibliographical information and also excerpts from the preparatory materials.
François Ewald and Alessandro Fontana refer in their introduction to the problems faced in the preparation of this volume. First, the lack of recordings required them to work directly with Foucault occasionally cryptic and tentative notes, which sometimes leave us wondering about Foucault’s intentions. To clarify those, the editors decided to bring as footnotes text that Foucault crossed out in his preparatory notes. An additional difficulty signaled by the editors is specific for the translated text, insofar as Foucault refers to old and today little-known French institutions and practices.
The English version includes an introduction by Arnold I. Davidson, a distinguished scholar of Foucault’s work. He enjoins us to ‘read everything,’ i.e., to forget the hierarchy between a binding statement by Foucault, and the more tentative reflections contained in his sprawling archives. Ultimately, what Davidson is evoking is the tension between a scholastic effort to reconstruct Foucault’s corpus and a more creative appropriation of his insights. The latter is, according to Davidson, closer to Foucault’s thought, which Davidson labels as ‘atopos,’ unclassifiable according to the academic standards (xxvii).
The course itself consists of thirteen lectures, which we can divide into three groups. Lectures one through seven, deal with the emergence in the 17th century of the absolutist State with its specialized institutions. Lectures eight to twelve deal with Germanic law, which preceded the absolutist one, and finally, in lecture thirteen, Foucault addresses the question of the ‘knowledge effects’ of the newly instituted penal practice that emerges from the feudal order. This last lecture connects with the subject-matter of the previous year, and more in general, with Foucault’s long-standing interest in the emergence of the human sciences.
Lecture One starts establishing the subject matter of the course and its methodology. The subject is to study the peculiar forms of repression of a popular riot that took place at the beginnings of the 17th century and is known as the revolt of the Nu-pieds (barefoot). By placing repression in the center of his analysis, Foucault expects to be able to overcome the dilemma between an approach based on the study of penal theories versus an approach based on the study of penal legislation or institutions. It is as a system of repression that penal theories and institutions emerge (2). Foucault speaks of a continuum of ‘refusal of the law,’ whereas it is difficult to identify the purely criminal from the political. To some extent, we can say that Foucault’s purpose is to study the separation between criminal and political, to show that is characteristic of modern penal systems and that it is a relatively new development.
A central stage in Foucault’s account are the events of the repression of the Nu-pieds revolt (1639) by Chancellor Séguier. Foucault analyzes, in great detail, what he characterizes as a ‘penitential ceremony,’ a ‘theatrical representation of power,’ a ‘manifestation of power in his repressive pomp’ (5).
According to Foucault, the Nu-pieds revolt was different from previous revolts in the Middle Ages. Not only peasants participated in the uprising, but also workers and journeymen in the towns, and a certain number of nobles and bourgeois (9). Even the local Parliament (at that time a judicial and not a legislative body) adopted an ambiguous middle ground between the rebels and the tax authorities that they targeted. In the endnotes to this first lecture, the reader can find detailed information on Foucault’s sources and on the chronology of the events to which Foucault refers (11-13).
The second lecture introduces the notion of ‘armed justice’ and asks how to write a history of this new form of repressive apparatus. Foucault also emphasizes the revolutionary nature of the revolt, which not only protests against the tax authorities but introduces a new legality and a new authority, though one that refers to their authority as derived from the King. The rebellion and the bourgeois and nobles’ lack of enthusiasm to suppress it provokes the military response from the Monarch and leads to the formation of a new royal justice, which eventually will be adopted by the bourgeoisie. Justice will become State-controlled, juridical, and exercised by a specific state organ: the police (23). This justice appears as an order which stands as a neutral arbiter between the social classes (24), while in reality, it is a representative of the capitalistic order.
In lecture three, Foucault further develops the notion of ‘armed justice.’ ‘Armed justice’ is a transitional stage, which will evolve into a specialized armed repressive apparatus, different from the army, but like the army, State-controlled (37). What retains Foucault’s attention is not so much the fact that the army was used to suppress the revolt, but the unusual interplay between the army and Chancellor Séguier, who represented the State. Once the army defeated the Nu-pieds in the city of Caen and the countryside, it took time before taking Rouen, which was not the scene of grave disturbances. Then, it took time for Séguier to enter the town, and he did so in a very protocolar way. In a lecture that Foucault delivered a short time after the course and is reproduced in this volume (‘Ceremony, Theater, and Politics in the Seventeenth Century’, pp. 235-239) he explores these ambiguities in search for clues for the process of emergence of a distinct state repressive apparatus. In this context, Foucault characterizes his approach as ‘dynastic’ (this is the first time that the term shows), a notion that is loosely equivalent to ‘genealogy’ (cf. 52-3, note 16).
Lecture Four explores in detail the theatrical nature of the repressive tactics employed by Séguier. He first attacks the Nu-pieds. They are not acknowledged as a foreign power, and therefore the rules of war do not apply to them. But they are not recognized as having a place in the civil order, and therefore they are not entitled to due process (58). Foucault sees a continuity between these repressive measures and the 1639 and 1670 ordinances which dealt with unemployed, beggars, and vagabonds.
Nevertheless, the repression does not end with the Nu-pieds. It is also exercised against those who attempted to place themselves between the King and the insurgents. Séguier rejects the ‘theory of the three checks’ (religion, justice, and the privileges granted for different social groups), which sets limits to the King’s power. According to Foucault, Séguier’s proclamation: ‘The innocent have nothing to fear; only those who have failed will feel the effects of the King’s just anger and indignation’ (62), is an explicit rejection of the ‘three checks’ theory. Séguier is declaring that the King is not subject to the laws of his kingdom because the law is identical to his will (62). What we see here, claims Foucault, is an ambivalent outcome, a redistribution of repressive instruments and powers, but one that ultimately benefits the privileged classes.
The fifth lecture goes in some additional detail into the events in Rouen, which signal for Foucault the apparition of a purely repressive aspect of the Sate. However, the State lacks, at least initially, specialized institutions, and depends on feudal ones for carrying out these new tasks.
Lecture six deals with the stabilization of the situation. This is achieved using three strategies: 1) differential sanctions to break up the previous alliance of social groups; 2) financial incentives for the privileged classes in return for the maintenance of order; 3) Mainly because the previous strategy was not very successful, the establishment of a third instance of the State, neither purely military nor juridical: the Intendants of justice, police, and finance (94). The Intendants were supposed to guard against sedition, but also to arbitrate the conflicts between rent and tax. Another characteristic of the new repressive apparatus is the removal of the dangerous population. The institution of a mechanism for the segregation of a stratum of delinquency out of the mass of the plebeian population connects the changes in the nature of the State with the development of the capitalist form of production. Foucault does not explain the emergence of capitalism as a change in the system of production. He characterizes the relationship between State and emerging capitalism as ‘linkage’ (105), ‘favorable’ (105), ‘oriented and functionally linked’ to Capitalism. In a more rounded statement, he summarizes this relationship: ‘We should say that capitalism cannot subsist without an apparatus of repression whose main function is anti-seditious. This apparatus produces a certain penalty–delinquency coding. What has to be studied now is the installation of this new repressive system – the way in which it finally prevailed as the political system of capitalist production developed and was completed; – through what episodes it was finally institutionalized in the nineteenth century in the forms of the courts, the police, prisons, and the penal code’ (106). Foucault bases his analysis, to some extent, on the work of the Russian historian Boris Porshnev, whose work was challenged by some French scholars about that time. An essay by Claude O. Doron, included in this volume, recreates the positions of the parties, the issues at stake, and how Foucault relates to each one of them.
Lecture number eight changes focus from the 17th century to the 12th century to study the slow constitution of a separate judicial system from its predecessor feudal Germanic penal law. Foucault observes that there was a long line of attempts to establish a centralized justice system, but until the 18th century, they failed. Whenever those institutions were stripped of political and administrative functions, retaining judicial functions only, they were eventually assimilated by the feudal institutions. It is in order to ‘get the measure of the transformation carried out’ (114) that Foucault takes a step back in history, and points to German criminal law. This move marks an inflection in Foucault’s text. In the earlier lectures, he seems to look for a constitutive break taking place in the 17th century. Now he is inviting us to consider a much longer evolution, a slow separation from Germanic custom, and the constitution over centuries of a State differentiated from Civil Society. This approach is not only more comprehensive but also grounds Foucault’s underlying conception that the justice apparatus is a realm expropriated from civil society and sedimented into a separate body of functionaries.
Foucault begins his account remarking that whereas private and public law was Romanized fairly early, criminal law was Romanized late and only superficially. In the Germanic custom, the juridical act, the process in the broader sense, is ‘the regulated development of a dispute’ (115). The juridical order is a struggle. It was only later that the ‘acts and operations of justice’ are confiscated by a judicial instance. Justice is originally an interpersonal relationship. Importantly for Foucault, truth—the truth of the facts at the basis of the conflict between the parties—does not play an important role or is instead a mark of the outcome of the struggle. The penal system that developed in the Middle Ages acted at the level of the levy of goods (fines, confiscations, fees). The judicial is subordinated to the fiscal, But, elements from the old Germanic system remain in the Middle Ages legal apparatus. In particular, Foucault mentions the need for an accuser, which is one of the parties in the conflict. The form of a dispute between two individuals remains central to the judicial process. The public power may intervene through the aggravation of the penalty, taking sides in the dispute, but the basic structure remains intact. Foucault’s main interest seems to be the transition between this old Germanic custom and the emergence of a recognizable concept of justice. This transition operates through the absorption of justice into the judicial, a power that can initiate action and present it as a public action. How was the transformation possible, asks Foucault? Certainly not because of the rise of a juridical conception of the State, or of a religious notion of wrongdoing. Instead, Foucault explores an economic interpretation of the origins of justice. This interpretation is not Marxist, even though Foucault utilizes a Marxist sounding terminology.
First and foremost, Foucault rejects the interpretation of the law as ideology or superstructure. He speaks of relations of appropriation and relations of force, in a way that echoes the Marxist’s ‘relation of production.’ However, Foucault does not refer to production but to circulation: ‘the distribution of justice forms part of the circulation of goods’ (133). Justice controls the circulation of goods at the level of civil law (contract, marriage, inheritance, and taxation), and of the penal law, by imposing fines and confiscating property. Foucault’s characterization is suggestive of Claude Lévi-Strauss’s description of society as a network of circulation and exchanges (cf. 147, note 44).
At the time, Foucault was active in a movement advocating for penal and carceral reform. The 1968 student and youth revolt generated a climate of criticism of the justice system. This climate was strengthened by the government’s prosecutions of activists of the extra-parliamentary left, and by those groups that made claims to a different justice. As we learn in note 12 (142 f), Foucault opposed on theoretical and political grounds the demands of the militants, who reclaimed for themselves the status of political prisoners. Foucault claims that all criminal offenses are political ones, and no distinction should be revendicated. Foucault also rejected in his interventions in this period, the notion of ‘popular courts;’ (espoused by the militants of GP ultra-leftist group and supported by Sartre).
In the first part of the 10th lecture, Foucault returns to the relationship between penal practice and transfer of wealth, goods, and property. Justice imposes penalties, establishes a system of compensations, and extorts wealth through the system of costs of justice. At a time of monetary scarcity, the flow of wealth passed through the judicial dispute. Judicial disputes and marriage are the main mechanisms of wealth circulation. Foucault differentiates two forms. One in which there is an interplay between civil and criminal justice. The second one is closer to violent appropriation, as in the case of the eviction of Jews and Lombards at the end of 13th century, and the anti-heretical crusades in the Provence. The rest of the lectures maps the transformation of the medieval system into a system of royal justice, armed with an institutionalized judicial State apparatus.
Lectures ten through twelve delve with different aspects of the thesis that a judicial system was crucial for the development of the Absolutist State and later on, of the capitalistic State. It acquires this role initially as a response to the lack of monetary wealth and the weakness of markets. These judicial and penal systems are not yet a State apparatus, but they exercise some functions of a State apparatus. Eventually, this proto-judicial will become specialized in different separate functions: judicial, police, and penitentiary. Foucault comments on the functional role of the centralized army. Justice as state apparatus developed in the shadow of the army. He speaks of an army of mercenaries and a justice of functionaries (160).
In lecture eleven, Foucault reflects on the relationship between law and the economy. It may be true that ‘juridical forms’ express ‘economic relations.’ There is another level, though, at which the juridical is neither expression nor reproduction of economic relations. As a power relation, the judicial apparatus operates within economic relations and thereby modifies them. Foucault uses terms such as ‘transcribes,’ ‘investment,’ ‘presence,’ to describe the relationships between judicial and economics. The following text shows the kind of interplay between economic and judicial system that Foucault is striving to describe: ‘If we stick to the example of feudalism, we can see how, through the judicial apparatus (but we could also take the military or religious apparatus), from the surplus-product which permits feudal rent, a surplus- power, an extra power is extracted
– on the basis of which certainly this rent itself is demanded,
– but on the basis of which the forms and relations of production are displaced.’ (172)
In a crossed-out note, Foucault adds: ‘the power relations are not superimposed on economic relations… relations of power are as deep as the relations of production. The former is not deduced from the latter. They accompany and relay each other’. Notes 9 and 10 (178-179) refer to the context, in particular concerning Althusser’s work. Doron summarizes ‘Foucault’s objective, which we find in subsequent courses, notably The Punitive Society, is to stress rather the constituting role of power relations at the very heart of relations of production: the former acting as veritable conditions of the formation and transformation of modes of production, be this in the constitution of man as “labor-power” or the process of accumulation and circulation of wealth’ (179 and 97, note 11).
Lecture twelve adds some more concrete historical context to the discussion. It was the economic crises of the 13th and 14th centuries that lead to the centralization of royal power and the setting of royal justice. This led to a doubling of the judicial system and the separation of the penal and civil law. To some extent, Foucault seems to be transposing to the 13th and 14th centuries what earlier in the lectures he described as results of the suppression of the countryside revolts of the 17th century. By emphasizing this proto-State developing from within feudalism, Foucault is perhaps putting distance between the development of the centralized national state and the emergence of capitalism.
In the thirteenth lecture, Foucault reexamines his previous analysis in terms of the question of power/knowledge. What is the knowledge effect of penal justice in the Middle Ages? And what is the power/knowledge effect in the proto-state and latter absolutist State? By ‘knowledge effects’ Foucault is not referring to the ideological dimensions of the justice system, but to the mode of knowledge that develops within it and that constitutes its modus operandi. This question is connected both to the 1970-1971 course and to the lectures that Foucault will deliver in Brazil in 1973, published under the title Truth and Juridical Forms.
Foucault defines ‘knowledge effects’ as ‘the carving-out, distribution, and organization of what is given to be known in penal practice’ (198). Knowledge effects comprise the position and function of the subjects authorized to know (judges, their attendants), the forms of knowledge they use and create in their function, the kind of information, revelation or manifestation that is at stake at this level.
Foucault proceeds to review first the knowledge effects of the Germanic juridical system. According to Foucault, the old system was not intended to elicit a truth. The system was based on the notion of ‘test’ (épreuve) to which the parties could either succeed or fail. The outcome of the test is the outcome of the trial. If the test indicates a truth, it is only in a secondary or derivative way. The test is not a sign of truth, but a mark.
With the establishment of a system in which the King’s procurator is the main actor, the older system of the test is no longer possible. What then makes it possible for the procurator to pass sentence? Foucault answers that it is the inquiry (inquiry-truth; Enquête vérité), which is the repurpose of a pre-existing administrative tool for the function of Justice.
Foucault describes the form of knowledge of this early judicial system that emerges from the replacement of the Germanic-feudal one as one of ‘extraction of truth.’ The procurator can request from the notables what is the common knowledge or notoriety. He has the right to elicit knowledge from those who know. The truth established in this form is a sort of substitute for the capture in the act (flagrance). Truth introduces into the field of the penal law acts that are not injuries committed against specific individuals, but disorders. They may not have a specific victim but are perceived as disrupting the public order.
Foucault has not much to say about the inquiry, which was initially an administrative technique in use in the Church and the Carolingian kingdom. After a brief review, Foucault concludes with two fundamental aspects that the inquiry introduces in the judicial system are: 1) The establishment of the truth through the interrogation of witnesses, those who have seen the deed; 2) The written procedure. The last note of the lecture simply concludes that witnessing the truth and its faithful written recording replaces the event-test (203).
Following the lecture, the editors published several pages that seem to continue and to amplify the previous discussion. Foucault proposes a history of questioning as a form of exercise of power. He suggests that questioning plays a role in the constitution of the subject. The inquiry may have been more critical for the emergence of the subject even than theology, says Foucault, echoing a widespread belief that there is a strong connection between subjectivity and Christianity (206).
Confession is transitional between test and inquiry. Foucault refers here to the judicial aspects of confession, leaving aside the religious ones, that he will explore in detail elsewhere. According to Foucault, confession is depicted as a test of wills between accused and judge. This struggle is the background for the re-appearance of torture in the criminal procedure. Torture should be understood as an ordeal or test of truth (207). This form of knowledge/power gives origin to an arithmetic of proof, based on the nature of the crime, that binds the judge’s decisions. This system of legal proof persists until the end of the 18th century.
Foucault claims that with the first steps of the takeover of justice by the State, the inquiry shapes the practice of the penal procedure. Foucault mentions other uses of the inquiry, in civil law, in legislation, in social struggles (bourgeoisie versus feudalism), in the administrative process of centralization, and in the new forms of inquiry that the Church exercises over the population (inquisition).
Like measure (which was the object of Foucault’s previous year’s course), the inquiry is a form of power/knowledge, which means that power is established through the exercise and acquisition of this knowledge (209). Foucault sees the inquiry, together with taxes and the army, as a central tool in the process of state centralization. Furthermore, conversely, ‘the inquiry, which puts questions, extracts knowledge, centralizes it, turns it into a decision, is an exercise of power’ (209). Foucault speaks of the inquiry as a ‘levy of knowledge,’ similar to the appropriation of resources through taxation. He adds that ‘the knowledge power needs, the knowledge it calls for and to which it gives rise, is knowledge taken, channeled, accumulated, and converted into decision; the governor being the one who calls for this knowledge, goes through it, and judges accordingly what decision has to be taken (211).’ Further, Foucault suggests a typology of types of extraction of ‘surplus-knowledge’ (211). These pages, albeit fragmentary, contain many valuable insights on Foucault’s transition between his earlier archaeology to a genealogy of knowledge.
Finally, Foucault adds a remark that points out to other schemas of power-knowledge, in particular, ‘examination,’ which is the one constitutive of the normative human sciences (125). Foucault will devote the final lecture of his next year course to this subject (The Punitive Society, New York, 2015, pp. 225-241)
The “Course Summary” was written shortly after completing the teaching season and published in the College yearbook. Foucault presents his lectures as being an introduction to the study of 19th century French penal and social control institutions. They are part of the broader project of studying the formation of certain types of knowledge (savoir) based on the juridical-political matrices, which gave them birth and sustain them. Foucault’s working hypothesis is that power does not act only by facilitating or obstructing the production of knowledge. Power and knowledge do not stand in a relation of interest versus ideology. More generally, Foucault argues that knowledge and society do not stand on opposite sides but are unified in the form of ‘power-knowledge.’ Accordingly, explains Foucault, the lectures are divided into two parts. The first part studies the inquiry and its development during the Middle Ages. The other part of the lectures was devoted to the study of new forms of social control in 17th century France. A few concluding lines of the summary refer to the seminar in which Foucault and associates prepared for publication the story and memories of the infamous Pierre Rivière.
In the summary, Foucault inverts the order and the importance of the themes discussed. He also disregards his earlier attempt to study the ceremonial aspects of the reinstatement of the monarchical power carried out by Séguier.
Under the title ‘Ceremony, Theater and Politics in the Seventeenth Century,’ the editors bring a summary, made by an auditor, of a lecture given by Foucault at the University of Minnesota in April 1972. This conference describes in a more streamlined form Foucault’s description in lectures 4 through 6 of the elaborated ritualized strategy followed by Chancellor Séguier in his repression of the Nu-pieds rebels. Foucault’s interest in the symbolic and ceremonial exercise of power does not appear elsewhere, the account of Damian’s execution in Discipline and Punish being an exception.
‘The “Course Context’ is a thirty-seven-page extensive interpretative essay, written by François Ewald (Foucault’s former assistant at the Collège de France) and Bernard E. Harcourt (Columbia Law School professor and the editor of several of Foucault’s unpublished works).
The essay first describes the manuscript and additional materials from which the editors collated and transcribed the lectures. Section II refers to the general societal context in the aftermath of the May 68 events, the subsequent repression of the political movements that originated in the students and young workers revolt, and its impact on Foucault’s development. This section is of paramount importance for those less familiar with the contemporary history of French society. Section III evaluates the place of this course in Foucault’s work. Ewald and Harcourt refer to Foucault’s evolving position about Althusser and Marxism in general. They speak of a ‘counter-Marxism’ which is not an ‘anti-Marxism’ (255). They find a difference of objectives between Foucault and Marx, differencs of method, differences of objects, a different way of referring to class struggle, and a divergence on the subject of ideology. The authors also stress Foucault’s elaboration of an original analysis of law. In TPI, Foucault revolutions our way of viewing law, proposing a political theory of law instead of a juridical theory of power. In that respect, Ewald and Harcourt suggests that Foucault’s embryonic proposal can be compared to other schools, such as the French Marxist critique of law school, or the American Legal Realism school.
Étienne Balibar contributed to his volume a letter in which he reflects on Foucault’s text. Balibar was younger than Foucault, more politically engaged, closer to Althusser. He has the advantage of having witnessed the evolution of the after 1968 struggles, the downfall of the communist regimes in Eastern Europe, and the transformation of China into a capitalistic-bureaucratic society. Therefore, his insights on the background for Foucault’s analysis are an important complement to the ‘Course Context’ essay.
Finally, Claude-Olivier Doron contributes an essay dealing with Foucault’s position about the discussion between the Russian historian Boris Porshnev and the French historian Roland Mousnier and his students. Doron reconstructs and interprets the background for Foucault’s discussion of the Nu-pieds revolt. Those readers interested in this angle of Foucault’s analysis could also profit from Stuart Elden’s commentaries (Foucault: The Birth of Power, 2017, Chapter 2). Doron limits its piece to ‘some elements concerning the debate.’ He emphasizes the need to connect the debate between the historians with the discussion within the Marxist field, notably between Nicos Poulantzas (close to Althusser) and Ralph Miliband, debate that was also referenced by Balibar in his contribution (297 n. 1). Doron concludes that Foucault did not endorse any of the opposed parties. Foucault’s approach centered on the novel way in which the revolt was suppressed. He sought a connection between how the revolt was suppressed and the emergence of a state not yet been endowed with specific repressive organs.
The completion of this publication project is not the end of Foucault’s story. A new and ambitious project sets up to bring to print the ‘cours et travaux de Michel Foucault avant le Collège de France.’ Of these, a volume was already published that contains two lectures on sexuality that Foucault taught in 1964 and 1969. Additional volumes on Nietzsche, on Biswanger, on Foucault’s tenure in Tunis and others are in the program.
Also, a group of researches grouped in L’École normale supérieure de Lyon is digitizing and organizing Foucault reading notes. Out of 25 boxes, three are already available online (open access), and the others will be available in the future. These publication concerns only Foucault reading notes, not his manuscripts or other documents. What is already available can be accessed in http://eman-archives.org/Foucault-fiches/arbre-collections. Box 001 which contains some of the notes taken by Foucault for the preparation of TPI is among the one already accessible.
Jorge Montesó Ventura delivers with his book Interest, Attention, Truth. A Phenomenological Approach to Attention (all translations in the following are mine) a valuable contribution to ongoing debates on the phenomenology of a particular phenomenon, that is, of attention. In general, phenomenological authors (e.g., Husserl, Merleau-Ponty, Waldenfels, Depraz, Blumenberg, and many others) understand attention as a phenomenon that occurs mostly at the level of perception. Montesó’s book is no exception to this approach, although with some necessary distinctions, since for Montesó attention is also related to truth and to anthropological questions. In what follows, I will try to make this clear by pointing out the main ideas of the book, which could be of interest also for scholars who do not read Spanish.
From the start of the book it emerges clearly that Montesó adopts a perspective on attention which is clearly cognitive: on the very first page of the book it is expressively stated that attention occurs when we “want to know” something (2). This cognitive approach is also clearly visible in the title of the book, which gives attention the central role between interest and truth.
These three concepts (attention, interest, and truth) are also the main concepts of the three parts into which the book is divided, although the first (and longest) part of it deals with attention, which therefore emerges as the leitmotif keeping interest and truth connected together. That this is possible is due precisely to the fact that the author understands attention in a cognitive fashion. Attention is powered by our interest to know truth.
But the stress I lay on the author’s cognitive approach should not be taken as the claim that the author’s view is blurred by a lens that allows him to see only the cognitive aspects of the phenomenon he wants to analyze. Quite the contrary: the cognitive dimension is the starting-point for an analysis that is focused throughout on the human being as such. The enquiry is therefore at once existential, anthropological, and cultural. The book ends with a call for the development, out of a phenomenology of attention, of a philosophy of culture as such.
A word should be said about the meaning of “phenomenology” in this book. The author has already published a monograph dedicated to José Ortega y Gassett, surely the most prominent phenomenological and existential philosopher to write in Spanish (La atención en el piensamento de Ortega y Gassett, Centre D’Estudis Antropològics ACAF, Castellò 2016). And Ortega y Gassett remains the point of reference for the way in which phenomenology must be understood in this newer book as well. This means that we are dealing not so much with a phenomenology in the sense of Husserl, with all the different technical means he developed for the analysis of a pure experience, but with an existential phenomenology mediated by Scheler and by Heidegger. An approach of this kind to the phenomenology of attention is quite unusual and therefore deserves careful engagement.
In the first part of the Book Montesó delivers a balanced reconstruction of some of the most important points in the history of the concept of attention and of its philosophical, but also psychological, analysis. Wherever possible, Montesó complements philosophical insights with the results of empirical research in neurosciences and psychology, although he never precisely discusses the methodological problems related to this way of proceeding. This omission is somewhat problematic. Obviously, the aim of the book is not to provide a general methodological framework, but if the reference to empirical literature is to be more than the simple attempt so “spice up” the philosophical soup, then one should make clear when the recourse to empirical sciences makes sense and when not, at least in a very preliminary and superficial way.
Nevertheless, the attempt to merge phenomenology and empirical sciences is obviously laudable and profitable in many respects. This first part of the book is cleverly designed as the piece-by-piece assembly of the definition of attention; the full definition is delivered after the single parts have been introduced and discussed at length.
“[…] Attention presents itself to us as a singularity of intentionality in its cognitive or understanding capacity, as the token or expression of the tendencies of the subject in its possibilities to apprehend something cognitively. For this, it works like a lighthouse which, requested or solicited, emerges to reality (be it sensible or imaginary) through a systemic mobilization of the body, selecting (voluntarily or automatically) the things on which the light falls, the things it discovers” (104).
As we can see from this definition, attention is conceived in a fairly straightforward way, since – as Merleau-Ponty already pointed out in the Phenomenology of Perception – the use of a spotlight metaphor when discussing attention was already common in the 1940s. If we add the idea that this light not only makes things stand out more clearly from the background but selects those things, we add to the classical metaphor of attention as a spotlight the equally classical view of attention as a selection mechanism, a metaphor that goes back (as Montesó briefly but exhaustively reconstructs) to the work of Broadbent in the 1950s. This selection mechanism can be voluntary or automatic – that is, in the parlance of current research, top-down or bottom-up. Moreover, attention is an entirely cognitive capability and does not create anything but only illuminates things (cf. 70).
However, building on the basis of this classical understanding, the phenomenological and existential approach of Montesó adds that attention is a bodily gesture that expresses and betokens the tendencies of the subject. In this aspect of attention, which Montesó rightly stresses more than many other researchers on this phenomenon, we have two moments, on the one hand the necessary relation of attention to interest, and on the other the necessary relation of attention to corporeality.
Indeed, this point of novelty is also the point that allows Montesó to construct his own narrative about attention. Precisely by diving into the phenomenon of interest, in the second part of the book he is able to stress the fact that attention is always already shaped by the culture in which the active subject is embedded, because culture is one of the most important builders of interests, if not indeed the single most important. Indeed, the world in which we live is shaped, according to Montesó (and to Ortega y Gassett), first of all by the way in which the culture we live in interprets the surrounding things and phenomena. And in this collective act of interpretation, interests play a crucial role and are the real “motivators” of attention: the phenomenon of interest “plays the same role as the fuel that gives energy to the attentional gesture, it is the impetus that moves attention from one part of reality to another” (129). The idea is basically that interest is the “hand that moves the attentional lamp” (41). Attention rises, in the eyes of the author, always on the basis of some previous interest. Against some of the most classical ideas, according to which only the material features of the object attract our attention, Montesó stresses the meaningfulness for our lives that is the basis for interests to be built and therefore for attention to rise and, as the Author says, “come to reality”: “The life-project of the subject activates and deactivates in each case the functioning of attention, thereby creating her own landscape, her own truth” (101).
Through the interest, attention raises and allows the subject to select her own perspective on realty, within which each subject then selects her own “truth”: “the couple interest-attention is responsible for our particular view of the universe” (181). The notion of truth, which is clearly derived from Heidegger’s understanding of truth as Unverborgenheit (cf. 229), remains fairly open and unclear. Montesó seems to understand truth in the sense of discovery. Attention and interest allow the subject to discover the surrounding world in her peculiar way. This way is certainly subject-centered and peculiar, but not therefore already completely relativistic (in the negative sense of the term), since an intersubjectively shared culture functions as the motor of interests and, therefore, of discovery of the surrounding world: “every culture represents a specific regime of attention within which every individual acts as a unique organ of perception” (119). Attention and interest gives rise to the particular Weltanschauung of a particular people in a particular time (cf. 246).
In the end, one could argue that the concept of attention for Montesó is excessively vague and that it encompasses many different phenomena, from the perceptual, to cultural forms of attention, all to way to love (some nice analyses are developed on falling in love and neurasthenia – cf. 218 ff. – following Ortega y Gassett) and so on. But precisely this is one of the most important achievements of this book: keeping together many different ways (many different “cognitive phenomena”, 20; cf. also 41) in which we speak about attention in a view that defines accurately the phenomenon itself, but which also keeps this phenomenon in the broader context of other phenomena without which attention would be incomprehensible, such as interest and the anthropological striving for truth and knowledge. Furthermore, the author seems to explicitly go in that direction and to recognize the (necessary) vagueness of the concept of attention when he states that “everything is attention” (254). And this way of understanding attention as a “constant and unavoidable gesture” (16) reflects the main intuition of Ortega y Gassett on attention: “tell me what you attend to and I’ll tell you who you are” (Ortega y Gassett, quoted on 117).
In Heidegger on Truth Graeme Nicholson, professor emeritus at the University of Toronto, provides a close reading of the Heidegger’s works published under the title “On the Essence of Truth” (Vom Wesen der Wahrheit: WW). Heidegger delivered lectures under this title on four occasions in 1930 and the work was published in written form first in 1943 and then in a second edition in 1949 (another version dating from 1940 also exists but is virtually identical to the 1943 version, Nicholson tells us (8)). Nicholson provides a developmental account of Heidegger’s thought on truth by identifying the differences between the 1930 lecture versions of WW and the later published essays. Accordingly, the book is divided into two major parts.
Part I of Nicholson’s book is dedicated to the 1930 lectures and provides a very good detailed analysis of some of the key innovations in Heidegger’s view of truth developed in them. Nicholson explains the fundamental phenomenological strategy that Heidegger uses to account for truth writing, “A phenomenological account will treat experiences as the wellspring of statements and by the same token the birth place of truth” (31). In this context Nicholson explains how in accordance with notions developed in Section 33 of Being and Time (Sein und Zeit) Heidegger points to “conduct” (Verhalten) as the point at which openness to a thing occurs. Conduct has a “revelatory power,” Nicholson points out (35). And he rightly identifies a Kantian moment in Heidegger’s claim that “the essence of truth is freedom” (indeed, Heidegger also lectured on Kant’s notion of freedom in 1930). Graeme explains, “Our conduct can only adjust itself, accommodating the standard set by the thing, if it is free or open, ready to receive orientation” (39). This amounts to “letting-be” (Seinlassen). And it is at this juncture that Heidegger moves from a relatively ahistorical phenomenological approach to truth to an analysis conditioned by historical considerations. Heidegger writes,
It is in the letting-be of beings as such that such a thing as a being ever becomes unconcealed, that is, de-concealed. The unconcealed was known to Western philosophy in its decisive beginning with Heraclitus as ta alêtheia (47).
Nicholson defends Heidegger’s reading of alêtheia as unconcealedness and proceeds to show how this notion accords with Heidegger’s understanding of Dasein.
Nicholson addresses the difficult problem of the relationship between truth and non-truth in Heidegger (expressed as the “Non-essence” (Unwesen) of truth, and as “error” (Irre)). Nicholson is at his best when interpreting texts such as the following where Heidegger writes,
Then, if the essence is to realize its full scope and authority over us, would it not have to retrieve this Non-essence, i.e. untruth, and admit it explicitly into the essence of truth? Certainly! (57)
Nicholson shows how Heidegger’s way of dealing with truth is grounded in a contextualism that takes account of a totality and can be better understood when seen against the background of the treatment of attunement (Gestimmtheit) from Section 29 of Being and Time. Nicholson remarks that attunement in WW is, in contrast to the account in Being and Time, “not phenomenally evident to Da-sein” (63). This leads to the discovery that, as Nicholson puts it, “erring and the mystery are contained within that essence [i.e. of truth]” (73). And it is philosophy that is equipped to deal with this mystery according to Heidegger in 1930. Yet, as Nicholson points out in his conclusion to Part I of his book, “Here and elsewhere through the 1930’s Heidegger tended to speak of philosophy as a body of ontological knowledge rather than the experience of questioning or the encounter with mystery” (87). This foundationalism in understanding truth is, Nicholoson suggests, related to Heidegger’s understanding of philosophy’s leading role in relation to the other disciplines. Nicholson essentially suggests that Heidegger had not yet fully developed the implications of his own thought which consequently contains certain inconsistency.
Before proceeding to Part II, Nicholson inserts a section entitled “Intermission: Political Storms” (83-94). It is however, much more than an intermission, because it is a key in understanding the developmental account that is at the heart of the Nicholson’s reading of Heidegger. In this section Nicholson puts Heidegger’s work on truth in the context of his Rectorship of the Freiburg University 1933-34 and his relationship with the Nazi party. Nicholson comments on the lectures Heidegger gave during this period, on the Black Notebooks as well as other documents. In general, we might say that without releasing Heidegger of responsibilty, Nicholson argues that Heidegger’s thought is not compromised by the “Political Storms” of the period of the rectorship. Nicholson writes,
But the “Heidegger Case” is not one of simple opposition between pro- and anti-phenomenology, or pro- and anti-Nazism, or even pro- and anti-Heidegger. I would suggest instead that Heidegger’s life and work exhibited a cleft or bifurcation that many of this readers, especially his critics, have not noticed, have not understood, and consequently have misunderstood grievously. (93)
This position serves Nicholson as a hermeneutic principle. Accordingly, Part II of his book is entitled “Later Work: the Pathway Rectified.”
Nicholson writes “After 1930, or rather 1934, Heidegger moved to correct the overconfident doctrine of this earlier period that an a priori Seinsverstgeriod that an a prioir 4, Heidegger moved to correct the overconfident doctrine of thi searlier s, have not noticed, have not uändtnis (“understanding of being”) gave guidance to the sciences but can be traced in every human encounter with the world.” Nicholson’s treatment of truth in the later Heidegger follows a historical structure from the Plato lectures (of 1931-32) which begin to expose Plato’s role in distorting the original Greek experience of truth (Part II, A) a section dealing with Medieval thought (Part II, B) and a section dealing with the present-age (Part II, C).
In Part II, A Nicholson shows how Heidegger understands Plato to have compromised truth as alêtheia by mixing with it the idea of truth as correctness (Richtigkeit, orthotês), a problem which subsequently became embedded in Western thought (105). Nicholson argues that Heidegger revises his understandings of freedom, unconcealedness and Dasein. Here Dasein functions differently than in Being and Time, Nicholson tells us, insofar as it the “hidden essential grounding of the human being” (129). Heidegger writes, “In Da-sein, the essential ground, long ungrounded, on the basis of which human beings are able to ek-sist, is preserved for them” (125). The notion of the “clearing” (Lichtung) which does not appear in WW but elsewhere in later Heidegger serves for Nicholson to better understand the idea of openness expressed in the Da- of Dasein. As Nicholson puts it, “Da-sein brings us, through ek-sistence, to belong to the Da-, or the open region” (131).
In Part II, B Nicholson deals with the notion of truth as adequatio rei ad intellectum and various permutations of this formula. Nicholson says that the idea of truth as adequatio persists in Western thought even when detached from notions of creation and God. In this section Nicholson deals briefly with truth as certainty in Descartes, grounding in Leibniz and with Hegel on certainty.
Nicholson opens Part II, C with consideration of the following undated marginal note which Heidegger had written in the 1943 edition: “Between 5 and 6 the leap into the turning (Kehre) (whose essence unfolds in the event of appropriation (im Ereignis wesende)” (142). The numerals refer to chapters of Heidegger’s text. Readers familiar with Heidegger’s Contributions to Philosophy will recognize the terminology of the marginalium, and it is precisely to this work that Nicholson turns to explain the way in which Heidegger deals with truth in the context of his later thought. Nicholson explains why Heidegger begins to spell being (Sein) with a “y” beyng (Seyn), namely “because he which to speak not of an object of thought, noumenon, but of what might prompt thought and give rise to it after the concealment of all the beings” (146). That is, being is thought as en-owning (Ereignis) (146).
Overall, Nicholson provides an insightful and very useful reading of WW. This reader found Part I of Nicholson’s book to be more successful than Part II. No doubt, this is largely a matter of the difficulty of later Heidegger. (Trying to explain WW by referring to Contributions could be considered an attempt to explain obscurum per obscurius!) But the brevity of some explanations towards the end of Part II seem to me unjustified (for example, the one sentence paragraph labeled “On Psychology” on page 164). A remark on the book sleeve suggests that this might be a good pedagogical tool. I am not so sure about this. On the one hand, there are very lucid discussions of key notions in Heidegger. On the other hand, certain aspects of the text assume a lot on the part of readers: knowledge of the certain debates in the secondary literature and knowledge of key Heideggerian works. I do think that the work would certainly be of interest to graduate students and scholars. When the book does deal with secondary literature it tends to be recent secondary literature in English. One might have hoped for somewhat more attention to scholarship in other languages. Nicholson suggests at the beginning of the book (5) that he will apply contemporary issues and the Conclusion is entitled “Against Self-Expression.” However, the conclusion is very brief. One gets the sense that either the author might either have simply left out reference to contemporary issues or developed this section more. In sum, Heidegger on Truth: Its Essence and Is Fate is a very welcome addition to Heidegger studies.
This book consists of two lectures given by Foucault in the last years of his life. The first, a recently discovered recording of a talk on Parrēsia at the University of Grenoble in 1982. A transcript of this lecture was originally published in 2012 in the journal Anabases. It was preceded by a study of the text by Henri-Paul Fruchaud et Jean-François Bert, not included in this volume. The second consists of transcripts of a seminar given in English by Foucault at Berkeley in 1983. These lectures have been published earlier, with the title Fearless Speech (2001). This volume is based on a new and more accurate transcription of the original audio recordings. According to the ‘Preface,’ Foucault’s preparatory French notes, today deposited in the BNF, have been consulted and were relevant, printed as notes (xii).
The original impulse for this publication was to make the Berkeley seminar available to the French public. The English version follows the text established for the 2016’s French translation. This book is part of a sustained effort to create an authoritative Foucauldian text, one that is as close as possible to the original voice and to delegitimize and marginalize the independent publications made over the years following his death.
We will later deal with some of the differences between this new edition and the precedent one. Still, we can point out to the quantity and quality of the Editor’s notes, which not only refer the reader to parallel sections in the lectures in the Collège de France but also to Foucault’s sources.
The book is introduced by Frédéric Gros, who also edited many of Foucault’s Collège de France’s lectures. Gros retraces the history of Foucault’s interest in the concept of parrēsia, first developed in the three last lecture series in the College de France. Parrēsia (in previous publications, the term was transliterated ‘parrhesia’ and in French parrhêsia) is a Greek term that means to ‘say everything,’ in an unfiltered and uncensored way. Parrēsia can also be translated, according to Gros, as ‘frank speech,’ ‘courage of speech’ or ‘freedom of speech.’ Foucault pays a lot of attention to the transformations of this concept from its Greek origins, through the Hellenistic and Roman periods, and finally early Christian forms. Foucault claims that earlier references can be found in Euripides’ tragedy Ion, where parrēsia refers to the prerogative of a citizen to speak his mind publicly. Later, in Plato, the concept indicates the freedom that a wise king grants its counselors to express themselves. Finally, in philosophical circles in the Hellenistic and Roman period, parrēsia becomes a quality or virtue of a person that assumes the role of a ‘spiritual director.’ Gros shows that Foucault explores the concept of parrēsia in two directions: a re-evaluation of wisdom in antiquity and a redefinition of philosophy in the sense of critique. Gros claims that ‘for Foucault, from the clarity of the Greeks to the “Enlightenment” of the moderns, philosophy finds something like a metahistorical resolve through its critical function, one that refuses to dissociate questions of the government of self, the government of others, and speaking-truly…’ (xix).
As Gross points out, Foucault’s understanding of parrēsia evolved in this period. In Grenoble’s lecture, Foucault rejects the idea of a Cynic or Socratic parrēsia. Still, in Berkeley, he discusses for the first time Plato’s Laches and shows interest for the Cynics. Furthermore, in Berkeley, he adds an analysis of Euripides’s Orestes. Foucault will develop these ideas further in the 1983-1984’s lectures in the Collège de France.
Parrēsia (Grenoble conference)
According to Fruchard and Bert, Foucault was invited to lecture in Grenoble in May 1982, shortly after the last session of the Hermeneutique du Sujet lectures. His host was Henry Joly, a Greek philosophy specialist also interested in the study of language. Joly and Foucault knew each other from their previous postings at the University of Clermont Ferrand in the early 1960s. Joly was curious about Foucault’s ‘Greek turn,’ and Foucault was interested in Joly’s feedback.
Foucault asked not to publicize the venue to allow a more intimate gathering and discussion, but more than one hundred people attended. However, as Foucault needed to return the same night to Paris, no real discussion ensued except for some general exchanges between Foucault and Joly (Fruchard and Bert, 2012).
Foucault starts the Grenoble lecture with a programmatic statement connecting his current interests and his previous work. He formulates his project as an inquiry into the question, central in our occidental culture, of the ‘obligation to tell the truth,’ obligation to tell the truth about oneself. This probe into the forms of truth-telling about ourselves, Foucault explains, is what he researched in the domain of 19th century psychiatry, in the modern judicial and penal institutions, and finally in Christianity and the problem of the flesh (2). It is by looking at the history of the forms of telling the truth about ourselves in Christianity that Foucault discovers the existence, before the institutionalization of the sacrament of confession in the 12th century, of two different forms of truth-telling in Christianity. One, the obligation to manifest the truth about ourselves, which originated in the sacrament of penance (exomologesis). Penance consists of dramatic representation of oneself as a sinner. Penance, it was not primarily verbal but rather dramatized in external symbols, such as torn clothes, fast, and corporal expression. Foucault explored this practice in his 1981 lectures at the University of Louvain, now collected in Mal faire, dire vrai (2012). The other form of telling the truth about ourselves originates in the monastic practices (exagoreusis). It consists of the novice’s obligation to disclose to his spiritual advisor every thought, desire, and agitations of his mind. This ‘obligation to tell everything’ retains Foucault’s attention and will serve as a unifying thread for his research in pursuit of the roots of this extraordinary demand and its aftermath in the development of the Western concept of subjectivity. For Foucault, the origins of this confessional practice are correlated with changes in the function of parrēsia, and with the shift on the responsibility to tell the truth from the master to the pupil.
In the Grenoble conference, Foucault proposes to limit himself to the two first centuries of the Roman empire. However, before the Roman, he introduces the early Greek forms of parrēsia. Foucault mentions Polybius, Euripides, and Plato. In Euripides, parrēsia refers mostly to a political right of the citizen, whereas in Plato’s Gorgias seems to refer to a test and touchstone for the soul. In the Roman empire, ‘franc speech’ operates primarily in the context of the techniques of spiritual direction. Even in the political context, advice given to the sovereign does not apply to the conduct of the affairs of the State, but to the prince’s soul. Parrēsia is here restricted to a context of spiritual direction. Foucault explains that his approach would be that of a ‘pragmatics of discourse,’ but he does not elaborate on the meaning of this expression (15). The same claim appears in more detail in the Hermeneutics of the Subject and the Berkeley seminar, but also in those occurrences, Foucault prefers not to develop his position. Regarding the Roman period, Foucault refers to texts from Epictetus’ disciple Arrian, and Galen. Arrian’s problem is the effect of the words of Epictetus on his students and how to communicate them in writing in a non-rhetorical way. In Galen, the problem is how to identify a person who can help us in our self-examination. Instead of a list of technical capabilities, Galen suggests that a proper choice is a person who is capable of speaking the truth, who is not a flatterer, etc.
Summing up, Foucault emphasizes three features of parrēsia: (1) is the opposite of flattery, in a context of self-knowledge; (2) is a discourse attuned not to the rules of rhetoric but of Kairos (the right timing); (3) is a technique used in an asymmetrical interpersonal relation intended to foster the self-knowledge of the student. (20-21). The lecture concludes with a brief exchange with Joly and others regarding the exact meaning of parrēsia in Plato and Aristotle. Foucault and Joly also disagree whether the ‘obligation to tell it all’ has its roots in the judicial sphere.
Foucault’s reply to Joly incidentally reveals how this ancient notion comes to have such an essential place in his late thought:
Notwithstanding the etymology of parrēsia, telling all does not seem to me, really or fundamentally, entailed in the notion of parrēsia…I think it is a political notion that was transposed, if you like, from the government of others to the government of oneself, that it was never a judicial notion where the obligation to say exactly the truth is a technical problem, concerning confession, torture, and so on. But the word parrēsia and, I think, the conceptual field associated with it, has a moral profile (37; my emphasis).
The Berkeley Seminar:
Foucault taught this seminar at Berkeley during October and November of 1983. The ‘Note’ to the English edition explains some of the editorial considerations and also refers to the previous edition of these texts. The editors state the criteria used to select English translations of the classical texts quoted by Foucault. This is important because Foucault used some translations, which in the meantime, have been superseded by new ones. We are told that the criteria finally employed were to retain the translations chosen by Foucault whenever those have been identified, and otherwise to use the ones selected for the English translation of the Lectures in the Collège de France. There is also a discussion of how the Editor decided to render Foucault’s English.
In one of his concluding remarks to the last session of the Berkeley seminar, Foucault explains that:
The point of departure: my intention was not to deal with the problem of truth, but with the problem of the truth-teller or of truth-telling, or of the activity of truth-telling. I mean that it was not for me a question of analyzing the criteria, the internal or external criteria through which anyone, or through which the Greeks and the Romans, could recognize if a statement was true or not. It was a question for me of considering truth-telling as a specific activity, it was a question of considering truth-telling as a role. But even in the framework of this general question, there were several ways to consider the role of the truth-teller in a society. For instance, I could have compared truth-telling, the role and the status of truth-tellers in Greek society and in other Christian or non-Christian societies— for instance, the role of the prophet as a truth-teller, the role of the oracle as a truth-teller, or the role of the poet, of the expert, of the preacher, and so on. But in fact my intention was not a sociological description of those different roles for the truth-teller in different societies. What I wanted to analyze and to show you is how this truth-telling activity, how this truth-teller role has been problematized in the Greek philosophy (222-223).
Elsewhere in the text, Foucault describes his project as the study of the history of the obligation of telling-all, and its roots in Greco-Roman philosophy and the in the theoretical practices and techniques related to the ‘care of the self.’
Foucault opens the first seminar declaring that the subject of the seminar is parrēsia and proceeding to describe the meaning and grammatical forms of the word. Only after, he proposes some English translations. This initial examination leads to a preliminary finding: parrēsia does not refer to the content of what is said, but to the personal relationship between the speaker and his speech. For the Greeks, according to Foucault, such a personal relationship guarantees the truth of the content. Parrēsia also involves an element of danger. There is danger in exercising parrēsia. Parrēsia is the courage of speaking the truth when facing risk from the potential reaction of the interlocutor.
As in Grenoble’s conference, Foucault sets up to study the first two centuries of the Roman empire, and as in Grenoble, he provides some additional background, referring to Euripides, Plato, and Polybius. As in the conference, Euripides’ references to parrēsia are mostly framed as the problem of citizenship. Who is a citizen, why it is vital to be one, what is the relationship between citizenship and being able to speak one’s mind? But Euripides also knows the meaning of parrēsia in the context of unequal relationships between a servant and his master. Foucault summarizes his views: parrēsia is a verbal activity in which the speaker has a particular relationship to truth, to danger, to law, and to other people in the form of critique. This can take the form of self-criticism or of criticism of other persons. We see here how Foucault connects the dots between all the seemingly diverse areas he is exploring at that time: ‘criticism’ as in his reading of Kant, ‘care of the self’ and its eventual metamorphoses in Roman, Christian, Modernity and as forms of resistance. The evolution of parrēsia from its early Greek forms to the Christian form follows three main stages: a) parrēsia as opposed to rhetoric; b) parrēsia in relation to the political field; c) parrēsia as part of the art of life or ‘care of the self’. For Foucault, parrēsia is not the only form of truth-telling. Foucault refers to different roles of truth-tellers, such as prophetic, wise man, teacher, etc. These forms of truth-telling, which in some cases overlap, are also present in our societies. A section of Foucault’s manuscript, placed as a note by the editors, explains that the role of the parrhesiast (here the transliteration adopted for this form is different of the one chosen for the noun) shows in specifics figures like the moralists, or social and political critics (69). The rest of the seminar studies parrēsia in the relationship between man and the Gods.
The main difference with previous analyses are the repeated references to Sophocles’ Oedipus. Foucault evoked in several Collège lectures the figure of Oedipus. Foucault sees in Oedipus the emergence of a new paradigm of truth, as opposed to the old model of the seer. Comparing Euripides’s Ion with Sophocles’ Oedipus, Foucault claims that in Ion, the gods are silent, they cheat, etc. It is not the divine but the emotional reaction of the human characters that opens up the path to truth. However, truth itself requires inquiry, because the inquiry is the specific human way to get to the truth. Foucault sees in Euripides tragedy examples of two different forms of parrēsia: a discourse of blame, which is addressed against somebody that has much more power, and the second in which somebody tells the truth about himself. It is the combination of these two discourses that make possible the disclosure of the total truth at the end of the play (98).
The next session of the seminar refers again to Euripides, but now the context is political. Foucault introduces the term Athurostōmia, as the form of speech that is the opposite of parrēsia. Athurostōmia is to speak in an uncontrolled way. According to the editors, this opposition is idiosyncratic of Foucault and not shared by other scholars. He uses the opposition to illustrate the criticism of democracy, and the emergence of a different relationship to truth, one that is not solely based in courage and frankness, but in attributes that require a process of personal development (114). This section also contains an interesting discussion of the difference between Foucault’s approach –which he calls in this text ‘history of thought’ and ‘history of problematizations’– and the ‘history of ideas’ (115-116; cf. also 224-226).
Foucault turns then to Plato’s criticism of parrēsia. Foucault is trying to illustrate the turn from a relatively unrestricted right to free speech to a situation were ‘franc speech’ is more dependent on the personal qualities of both speaker and receiver. In Laches, Plato introduces a different form of the parrhesiastic game. In this form, bios (life) appear as the main element, besides the traditional elements of logos, truth, and courage (146). The second novelty that Foucault detects in this platonic account is the dyadic element, two individuals, only two, that confront each other. There is a harmony between logos and bios, which serves as ground, as the visible criterion of the parrhesiastic function, and as the goal of the parrhesiastic activity (147).
The following two sessions of the seminar look into the development of this new form of parrēsia, and with the relations individuals can have with themselves. Foucault claims that our moral subjectivity is rooted, at least partially in this relations. To that effect, Foucault looks into the forms of parrēsia that developed in the different philosophical schools of late Greek and Roman society. He differentiates between: a) community relationships in the framework of small groups, characteristic of the Epicureans; b) parrēsia as an activity or attitude in the context of community life, which is typical of the cynics; c) finally, parrēsia in the personal relationships between individuals, like in the stoa.
The first part of the November 21 session explores the first two. Foucault refers to the discussion of the Epicureans using Philodemus’ book in an account similar to that of the Grenoble conference. Foucault dedicates a large section of the November 21 session to a discussion of the cynic practice of parrēsia. Then, finally, on November 30 and the last session, Foucault addresses the interpersonal dimension of franc speech.
Foucault ends his presentation with remarks about the shift between a paradigm were franc speech meant to be able to say the truth to other people, to a different practice, which consists of telling the truth about oneself. This new model appears as askēsis or practical training. Foucault explains that asceticism came to mean a practice of renunciation of the self, and explains the difference between the Greek and the Christian take on this notion.
‘Discourse and Truth’ versus ‘Fearless Speech’:
The Berkeley conferences were published in 2001, and this version was used for a number of translations. As this new edition seems to relegate the former one to oblivion, it is worthwhile to look at some of the main differences between these two editions.
First of all, both editions are based on the same audio recordings (deposited in Berkeley and the IMEC, and also available on the Internet. The new edition benefited from the recent opening of Foucault’s archives, and of a better understanding of the preparatory work, bibliography and alternatives weighted by Foucault.
Beyond those differences, the main difference is that Fearless Speech has the aspect and organization of a summary rather than of transcription of Foucault’s lectures. Particularly in the first lecture, but also to some extent on the next ones, Foucault’s dialogue with the public is wholly elided in Fearless Speech. We miss not only the livelihood of the event but also the background to Foucault’s comments that are made in answer to questions and not part of a prepared text. Therefore, Fearless Speech appears as a more compact text, whereas Discourse on Truth is more rumbling and dialectic.
Engel, Pascal. Michel Foucault. 2011. “Verité, connaissance et éthique.” In: Artières, Phillipe, Jean François Bert, Frédéric Gros, Judith Revel (Eds.), Cahiers de l’Herne: Foucault, Paris, 318-325.
Foucault, Michael. 2012. Mal faire, dire vrai: function de l’aveau en justice, edition etablié par Fabianne Brion et Bernard E. Harcourt. University of Chicago Press and Presses Universitaires de Louvain.
Fruchaud, Henri-Paul et Jean-François Bert. 2012. Un inédit de Michel Foucault: ‘La Parrêsia’. Note de présentation, Anabases, 16: 149-156; (http://journals.openedition.org/anabases/3956; DOI: 10.4000/anabases.3956;
Consulted on September 11, 2019. Their account follows the statement of Patrick Engel, who was at that time teaching in Grenoble. Cf. Pascal Engel (2011), p. 324 note 6.