Author Archives: hollyonclin

Personages

In the second chapter of The History of Sexuality, Foucault argues that the power exerted in the 18th century in distinguishing and classifying non-marital practices was not directed towards repressing these practices but rather a proliferation of “sexual perversions” (42)             . Subsequently, Foucault identifies four operations involved in this exertion of power quite different from simple prohibition which resulted in the latter. Among these operations of power, Foucault includes the specification of individuals, using “the homosexual” (43), as an example. In ancient, civil, and canonical codes, Foucault explains, sodomy was a category of forbidden acts and the perpetrator “nothing more than the juridical subject of them” (43). In the 19th century, however, the proliferation of discourse, transformed the homosexual into a personage: “the 19th century homosexual became a personage, a past, a case history, and a childhood, in addition to being a type of life, a life form, a morphology, with an indiscreet anatomy and possibly a mysterious physiology” (43). In short, sexuality became intimately associated with or constitutive of a person’s identity, and one’s sexuality became a key to interpreting one’s personality and one’s behavior: “nothing that went into his total composition was unaffected by his sexuality…it was everywhere present in him: at the root of all his actions because it was their insidious and indefinitely active principle” (43).

Foucault only discusses the homosexual personage, however, I found Foucault’s description of the latter particularly interesting as I think that he has given as a format to say something much more general about the construction of personages that exist beyond the realm of sexuality. Broadly, on Foucault’s account, the personage seems to be constructed when the “the other” is distinguished, classified, and organized. I believe that evidence can be gathered for this view in virtue of the way in which individuals in minority groups come to define themselves. I spend a lot of time on the social media site, tumblr. Over a short period of time, tumblr has come to be distinguished, as a social media website, by its highly diverse and politically aware community; subsequently, I have had the opportunity to get to know a wide variety of people with different sexualities, genders, and ethnic backgrounds; those individuals who are typically labelled as “others”. While I cannot speak for them, one of the overwhelming feelings I get from these “othered” individuals is a struggle to escape being wholly defined in virtue of their differences. There is not only homosexual personage, but a transgendered personage, a Muslim personage, a Chinese personage.

It seems that we could easily extend the construction of personage to gender, religion, and ethnicity. Are there any other more subtle personages which you might distinguish?

Personages

In the second chapter of The History of Sexuality, Foucault argues that the power exerted in the 18th century in distinguishing and classifying non-marital practices was not directed towards repressing these practices but rather a proliferation of “sexual perversions” (42)             . Subsequently, Foucault identifies four operations involved in this exertion of power quite different from simple prohibition which resulted in the latter. Among these operations of power, Foucault includes the specification of individuals, using “the homosexual” (43), as an example. In ancient, civil, and canonical codes, Foucault explains, sodomy was a category of forbidden acts and the perpetrator “nothing more than the juridical subject of them” (43). In the 19th century, however, the proliferation of discourse, transformed the homosexual into a personage: “the 19th century homosexual became a personage, a past, a case history, and a childhood, in addition to being a type of life, a life form, a morphology, with an indiscreet anatomy and possibly a mysterious physiology” (43). In short, sexuality became intimately associated with or constitutive of a person’s identity, and one’s sexuality became a key to interpreting one’s personality and one’s behavior: “nothing that went into his total composition was unaffected by his sexuality…it was everywhere present in him: at the root of all his actions because it was their insidious and indefinitely active principle” (43).

Foucault only discusses the homosexual personage, however, I found Foucault’s description of the latter particularly interesting as I think that he has given as a format to say something much more general about the construction of personages that exist beyond the realm of sexuality. Broadly, on Foucault’s account, the personage seems to be constructed when the “the other” is distinguished, classified, and organized. I believe that evidence can be gathered for this view in virtue of the way in which individuals in minority groups come to define themselves. I spend a lot of time on the social media site, tumblr. Over a short period of time, tumblr has come to be distinguished, as a social media website, by its highly diverse and politically aware community; subsequently, I have had the opportunity to get to know a wide variety of people with different sexualities, genders, and ethnic backgrounds; those individuals who are typically labelled as “others”. While I cannot speak for them, one of the overwhelming feelings I get from these “othered” individuals is a struggle to escape being wholly defined in virtue of their differences. There is not only homosexual personage, but a transgendered personage, a Muslim personage, a Chinese personage.

It seems that we could easily extend the construction of personage to gender, religion, and ethnicity. Are there any other more subtle personages which you might distinguish?

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

Examples of Foucault’s Project of Problematization: the written and spoken word

(Although it was not assigned I ended up reading the final twelve pages of chapter two of Discipline and Punish, and thought it might be interesting/useful to make a blog post about some aspect of it as I found it very interesting).

I think that Foucault’s project of problematization becomes especially salient in his descriptions of how one or another method of communication, construed in the broadest sense of the term, can both be used to promote and undermine a given institution. One exemplary example which Foucault uses to illustrate the multiplicitous nature of methods of communication is the operation of the written or spoken word in promoting or undermining the penal system viz. the last words of the condemned or “gallows speeches”. At the moment of the execution, the condemned was given another opportunity to speak, not to proclaim his innocence but to acknowledge the crime and justice of his conviction. The victim was made to legitimate the torture he had undergone, consecrating his own punishment by proclaiming the heinousness of his crimes. Whether the speeches were actually delivered or merely fictional, (in many cases, Foucault suggests, the latter was likely), the speeches were circulated and served as exhortation against crime. Sometimes, accounts of crimes and the lives of infamous criminals were even published as propaganda before the advent of a trial, to “force the hand of a court that was expected of being too tolerant”. Just as the written and spoken word could help to enforce the penal system, however, these methods of communication could also help to harm it. The condemned man was sometimes transformed into a kind of hero by the sheer extent of his widely advertised crimes and subsequent repentance; if the condemned man was shown to be repentant, is was as if he had come through some process of purification. In addition, Foucault argues, the struggle of the condemned man against the law and the powerful titles associated with the latter was a struggle with which the common man could easily identify; it was viewed as a magnified version of the tiny struggles “that passed unperceived in everyday life” (67). In this way the criminal was almost entirely transformed into a positive hero. Thus, the written or spoken word justified justice but also glorified the criminal. Just to provide a present day example of the latter, one might mention the particular fascination which contemporary American culture seems to take in the lives and notorious deeds of serial killers and other notable criminals. Whether or not these criminals are portrayed in a positive or negative light, there seems to be a blatant fetishism of the condemned man which suggests that the common individual finds something in the latter to perhaps relate to. Notably, musical artist Sufjan Stevens wrote a song about John Wayne Gacy Junior, an especially publicized serial killer, in which I believe he tries to alleviate some of the confusion surrounding the sympathy and attention offered to such a criminal and which compliments Foucault’s genealogical analysis:  https://www.youtube.com/watch?v=otx49Ko3fxw

Subsequently, Foucault suggests, the literature of crime is a paradigmatic locus in which the multiplicitous natures of the written word can be seen to do battle through two pure minds belonging to the criminal and the detective. While the detective generally triumphs, crime literature also glorifies the criminal for his crime is portrayed much like a fine art that can only be the work of an exceptional nature; the criminal was wicked but also intelligent and subsequently powerful. One needn’t search very far for an example; the struggle between the genius detective Sherlock Holmes and his equally intelligent adversary, the criminal mastermind, Professor James Moriarty, has experienced a cultural resurgence in the past ten years with two movies and two separate television series.

On the Body Condemned: pain

There are so many interesting elements in the first chapter of Discipline and Punish that I have had a difficult time deciding what to write about. I find Foucault’s description of “the slackening of the hold on the body,” through the “double process [of] the disappearance of the spectacle and the elimination of pain” (11), an especially interesting topic, however, with some potentially intriguing and strange implications. As Foucault reports, “one no longer touches the body…physical pain…is no longer the constituent element of the penalty. From being an art of unbearable sensations punishment has become an economy of suspended rights” (11). In addition, punishment has gained a certain degree of anonymity; while people were once executed in public, “the condemned man is no longer to be seen…capital punishment is fundamentally a spectacle that must actually be forbidden” (15). Subsequently, the law “is not directed so much to a real body capable of feeling pain as to a juridical subject, the possessor, among other rights, of the right to exist” (13).

People often hail the current systems of discipline and punishment as a monumental improvement on the systems of the past in which people often endured excruciating physical pain for their crimes and, personally, I don’t disagree with them; I can’t say that I would like to be draw and quartered or have any of my limbs hacked off in public in case of any future misgivings.  Pain is generally unpleasant and to have one’s pain exhibited, is demeaning and, as most people would probably agree, anti-humanistic. I think there is also, however, a very strange way in which, based on Foucault’s descriptions, current systems for discipline and punishment also have an unexpectedly anti-humanistic element which actually appears in virtue of the disappearance of pain and the elimination of spectacle. When we intentionally inflict pain upon another human being in public, we are forced and force others to acknowledge a human subject who feels pain. But when the condemned man is no longer observable, the human body/subject starts to disappear. Discipline and punishment become impersonal, as Foucault describes, they are directed towards “a juridical subject…not so much a real body capable of feeling pain”. Wow! How strange! (And, potentially problematic?) I don’t know! What do you think?

On the Body Condemned: pain

There are so many interesting elements in the first chapter of Discipline and Punish that I have had a difficult time deciding what to write about. I find Foucault’s description of “the slackening of the hold on the body,” through the “double process [of] the disappearance of the spectacle and the elimination of pain” (11), an especially interesting topic, however, with some potentially intriguing and strange implications. As Foucault reports, “one no longer touches the body…physical pain…is no longer the constituent element of the penalty. From being an art of unbearable sensations punishment has become an economy of suspended rights” (11). In addition, punishment has gained a certain degree of anonymity; while people were once executed in public, “the condemned man is no longer to be seen…capital punishment is fundamentally a spectacle that must actually be forbidden” (15). Subsequently, the law “is not directed so much to a real body capable of feeling pain as to a juridical subject, the possessor, among other rights, of the right to exist” (13).

People often hail the current systems of discipline and punishment as a monumental improvement on the systems of the past in which people often endured excruciating physical pain for their crimes and, personally, I don’t disagree with them; I can’t say that I would like to be draw and quartered or have any of my limbs hacked off in public in case of any future misgivings.  Pain is generally unpleasant and to have one’s pain exhibited, is demeaning and, as most people would probably agree, anti-humanistic. I think there is also, however, a very strange way in which, based on Foucault’s descriptions, current systems for discipline and punishment also have an unexpectedly anti-humanistic element which actually appears in virtue of the disappearance of pain and the elimination of spectacle. When we intentionally inflict pain upon another human being in public, we are forced and force others to acknowledge a human subject who feels pain. But when the condemned man is no longer observable, the human body/subject starts to disappear. Discipline and punishment become impersonal, as Foucault describes, they are directed towards “a juridical subject…not so much a real body capable of feeling pain”. Wow! How strange! (And, potentially problematic?) I don’t know! What do you think?