By Michel Foucault
With monstrous erudition, Foucault cuts throughout disciplines and reaches again into 17th century to teach how classical platforms of data, which associated all of nature inside of a good chain of being and analogies among the celebs within the heavens and the good points in a human face, gave option to the fashionable sciences of biology, philology, and political economic system. the result's not anything lower than an archaeology of the sciences that finds outdated styles of which means and divulges the stunning arbitrariness of our obtained truths.
In the paintings that demonstrated him because the most vital French philosopher due to the fact Sartre, Michel Foucault bargains startling proof that "man"—man as a subject matter of medical knowledge—is at most sensible a contemporary invention, the results of a primary mutation in our tradition.
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Additional info for The Order of Things: An Archaeology of the Human Sciences
Example text
In the depth that traverses the picture, hollowing it into a fictitious recess and projecting it forward in front of itself, it is not possible for the pure felicity of the image ever to present in a full light both the master who is representing and the sovereign who is being represented. Perhaps there exists, in this painting by Velàzquez, the representation as it were, of Classical representation, and the definition of the space it opens up to us. And, indeed, representation undertakes to represent itself here in all its elements, with its images, the eyes to which it is offered, the faces it makes visible, the gestures that call it into being.
For in it there occurs an exact superimposition of the model’s gaze as it is being painted, of the spectator’s as he contemplates the painting, and of the painter’s as he is composing his picture (not the one represented, but the one in front of us which we are discussing). These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible.
Moreover, from each of them there springs an ineluctable line: the line issuing from the mirror crosses the whole of the depth represented (and even more, since the mirror forms a hole in the back wall and brings a further space into being behind it); the other line is shorter: it comes from the child’s eyes and crosses only the foreground. These two sagittal lines converge at a very sharp angle, and the point where they meet, springing out from the painted surface, occurs in front of the picture, more or less exactly at the spot from which we are observing it.