In Foucault's understanding of the power that circulates throught the subject of regulation, there can be no actual apparatus because there is no sharp distinction between what is produced and what is regulating - we are not simply targets but vehicles of power. Thus, to paraphrase Nietzsche awkwardly, we must be able to conceive regulation without the regulator, to understand regulation as only and always materializing in its effects, and to understand these effects as specific to that which is being regulated.
Wendy Brown, "The Impossibility of Women's Studies" (1997) 9 Differences 79 at 87
еще одна красивая цитата (да, красивая!)04-07-2005 05:23
Comtemporary critical theory teaches that identity is created through borders and oppositions. The outside constructs the inside and then hides this work of fabrication in an entity that appears to give birth to itself.
Wendy Brown, 'At the edge' (2002) 30(4) Political Theory 556, 556
Года два назад была на лесбиркоме такая поэтесса - Mah. Одно из ее незабвенных стихотворений заканчивалось так: "Мой самолет летит спонтанно и вертикаль накрыла хвост". На что Air сразу же сделала следующий комментарий: "А горизонталь, похоже, накрыла мозг".
"Фуко утверждает, что, к примеру, тип человека, который мы называем "гомосексуальным", является изобретением медицины девятнадцатого века. Когда ученые начали изучать анатомию, формы выражения и деятельность, связанные с сексуальностью человека, были произведены статистические обобщения о сексуальном созревании. В ходе этого процесса ученые заметили, что некоторые люди отклоняются от нормы. Они начали изучать таких людей и распределили их по категориям: фетишисты, геронтофилы, зоофилы, зооерасты, автомоносексуалисты, миксоскопофилы, пресвифилы, сексоэстетические перевертыши и, конечно же, гомосексуалисты."
Первые три, предположим, я знаю, что такое. Но остальные "категории" - о чем это?!!
And I thought exactly the same. I don't know you at all. But why? Why don't I know you, I do! I know your every gesture, every intonation of your voice, every shade of your taste, every response of your body... Why is it then that I don't know you at all? I do know you...
И я подумала точно также. Я тебя совсем не знаю. Но почему? Почему я тебя совсем не знаю, ведь знаю же! Я узнаю каждый твой жест, каждую интонацию твоего голоса, каждый оттенок твоего вкуса, каждую реакцию твоего тела… Почему же тогда я тебя совсем не знаю? Ведь знаю…"
On St. Valentine's Day, 1989, the last day of her life, the legendary popular singer Vina Apsara woke sobbing from a dream of human sacrifice in which she had been the intended victim. Baretorsoed men resembling the actor Christopher Plummer had been gripping her by the wrists and ankles. Her body was splayed out, naked and writhing, over a polished stone bearing the graven image of the snakebird Quetzalcoatl. The open mouth of the plumed serpent surrounded a dark hollow scooped out of the stone, and although her own mouth was stretched wide by her screams the only noise she could hear was the popping of flashbulbs; but before they could slit her throat, before her lifeblood could bubble into that terrible cup, she awoke at noon in the city of Guadalajara, Mexico, in an unfamiliar bed with a half-dead stranger by her side, a naked mestizo male in his early twenties, identified in the interminable press coverage that followed the catastrophe as Raul Paramo, the playboy heir of a well-known local construction baron, one of whose corporations owned the hotel.
As for Chekov, he never did take a wife. In spite of this supposed handicap, however, he did well in his chosen profession. His rapid rise continued. But one day in May 1991 he was, by chance, a member of the entourage accompanying Mr Rajiv Gandhi to the South Indian village of Sriperumbudur, where Rajiv was to address an election rally. Security was lax, intentionally so. In the previous election, Rajivji felt, the demands of security had placed an alienating barrier between himself and the electorate. On this occasion, he decreed, the voters must be allowed to feel close.
After the speeches, the Rajiv group descended from the podium. Chekov, who was just a few feet behind Rajiv, saw a small Tamil woman come forward, smiling. She shook Rajiv's hand and did not let go. Chekov understood what she was smiling about, and the knowledge was so powerful it stopped time itself.
Because time had stopped, Chekov was able to make a number of private observations. 'These Tamil revolutionists are not England-returned,' he noted. 'So, finally, we have learned to produce the goods at home, and no longer need to import. Bang goes that old dinner-party standby; so to speak.' And, less dryly: 'The tragedy is not how one dies,' he thought. 'It is how one has lived.'
He would never be able to inflict pain on himself. He would never experience its serenity, its sanctity, its purity. All he could do was read about it and fantasise. Mr Jalal wondered wistfully why pain had to be so painful. (p.88)
Chinese Alumni meet with Duke of York
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His Royal Highness, Duke of York attended a special Chevening
reception in Wan Fung Art Gallery in Beijing recently. After
visiting the Gallery, His Royal Highness came to the court yard, and managed to
speak to every guest one by one. All of the guests were impressed
by his humour and relaxed nature.