Michel Foucault was once one of many 20th century's so much influential and provocative thinkers. His paintings on freedom, subjectivity, and gear is now relevant to pondering throughout a very wide selection of disciplines, together with philosophy, background, schooling, psychology, politics, anthropology, sociology, and criminology. "Michel Foucault: Key Concepts" explores Foucault's primary principles, similar to disciplinary strength, biopower, our bodies, spirituality, and practices of the self. every one essay makes a speciality of a selected thought, studying its that means and makes use of throughout Foucault's paintings, highlighting its connection to different recommendations, and emphasizing its capability functions. jointly, the chapters give you the major co-ordinates to map Foucault's paintings. yet greater than a advisor to the paintings, "Michel Foucault: Key Concepts" introduces readers to Foucault's considering, equipping them with a suite of instruments which could facilitate and improve extra examine.
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Ann Heberlein undersöker och ifrågasätter våra föreställningar om ondskan. Hur ska guy kunna förstå personer som Anders Eklund, Marc Dutroux och Josef Fritzl som fullt medvetande begått avskyvärda handlingar mot barn? Hur ska guy se på barnen som själva blir förövare: Harris och Klebold från Columbine excessive eller Mary Bell? Hur var den institutionaliserade ondskan vi mötte i Abu Ghraib, det forna Jugoslavien eller Förintelsen överhuvudtaget möjlig?
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Många frågor. males Ann Heberlein hjälper oss också att formulera några av svaren. Hon menar att ondskan inte alls är obegriplig. Den är inte heller ett eget väsen. Snarare har den sitt ursprung i ojämlikhet och utsatthet och den hämtar näring ur människors rädsla och maktlöshet.
Det enda obegripliga är vår ovilja att göra mer för att stoppa den.
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Additional resources for Michel Foucault: Key Concepts
The importance of the insight into the essence of representation is, not that it will enable us to legislate concerning the boundary between sense and nonsense, but that it makes clear both the possibility and the importance of a certain sort of critical attitude towards the words we utter. It is not that Wittgenstein can tell us in advance whether words, as they are uttered on a particular occasion, do or do not express a thought, but that he wants us to come to recognize that, if our words express a thought, then we can make that thought clear.
Diamond and Conant take these opening remarks to be an ironic expression of a philosophical perspective on the relation between language and the world; they are intended to exemplify the sort of philosophy of language that, on their reading, Wittgenstein is out to undermine. Thus, the aim of Wittgenstein’s work as a whole is ultimately to show that these remarks are plain nonsense and that the possibility of the perspective they purport to adopt is an illusion. The interpretation to be developed here will argue, by contrast, that the kind of reassessment that Wittgenstein ultimately intends us to make concerning the opening remarks is one on which we recognize that they do not have the metaphysical status we initially suppose.
It might be argued that there is a danger of missing exactly what is most original in Wittgenstein’s early thought, if we approach the task of interpreting Wittgenstein’s ideas from a perspective in which the question of inﬂuence is central. The obscurity of Wittgenstein’s text makes the danger even greater than it might otherwise be, for there is a temptation to use what is familiar from the thought of his contemporaries as a guide to Wittgenstein’s views. Yet there is good reason to believe that the Tractatus is Wittgenstein’s attempt to pursue the question about the nature of a proposition and the status of logic in a way that he believes to be both innovative and distinct from the approaches of Frege and Russell.