Lynne Huffer's ambitious inquiry redresses the rift between feminist and queer theory, traversing the space of a new, post-moral sexual ethics that includes pleasure, desire, connection, and betrayal. She begins by balancing queer theorists' politics of sexual freedoms with a moralizing feminist politics that views sexuality as harm. Drawing on the best insights from both traditions, she builds an ethics centered on eros, following Michel Foucault's ethics as a practice of freedom and Luce Irigaray's lyrical articulation of an ethics of (...) sexual difference. Through this theoretical lens, Huffer examines everyday experiences of ethical connection and failure connected to sex, including queer sexual practices, sodomy laws, interracial love, pornography, and work-life balance. Her approach complicates sexual identities while challenging the epistemological foundations of subjectivity. She rethinks ethics "beyond good and evil" without underestimating, as some queer theorists have done, the persistence of what Foucault calls the "catastrophe" of morality. Elaborating a thinking-feeling ethics of the other, Huffer encourages contemporary intellectuals to reshape sexual morality from within, defining an ethical space that is both poetically suggestive and politically relevant, both conceptually daring and grounded in common sexual experience. (shrink)

Michel Foucault was the first to embed the roots of human sexuality in discipline and biopolitics, therefore revolutionizing our conception of sex and its relationship to society, economics, and culture. Yet over the past two decades, scholars have limited themselves to the study of Foucault's _History of Sexuality_, volume 1 paying lesser attention to his equally explosive _History of Madness_. In this earlier volume, Foucault recasts Western rationalism as a project that both produces and represses sexual deviants, calling out the (...) complicity of modern science and the exclusionary nature of family morality. By reclaiming these deft moves, Lynne Huffer teases out exciting new strands of Foucauldian thought. She then revisits the theorist's ethical work in light of these discoveries, divining an ethics of eros that sees sexuality as a lived experience we are repeatedly called on to remember. Throughout her study, Huffer weaves her own experiences together with Foucault's, sampling from unpublished interviews and other archived materials in order to intimately rework the problem of sexuality as a product of reason. (shrink)

This two-part article summarizes the major arguments of Lynne Huffer’s 2010 book, Mad for Foucault: Rethinking the Foundations of Queer Theory. The second part of the piece is a dialogue between Huffer and feminist theorist Elizabeth Wilson about the implications of the book’s arguments about rethinking queer theory, interiority, psychic life, lived experience and received understandings of Michel Foucault’s work.

This essay examines the Foucauldian foundations of queer theory in the work of Eve Kosofsky Sedgwick. The essay argues that Sedgwick’s increasing disappointment with Foucault’s critique of the repressive hypothesis is in part produced by the slippery rhetoric of The History of Sexuality, Vol. 1: An Introduction . Specifically, Foucault’s use of free indirect discourse in that volume destabilizes both the theory of repression and the critique Foucault mounts against it, thereby rendering ambiguous any political promise his critique might seem (...) to offer. Returning to the fraught relation between Foucault and Sedgwick, the essay concludes by reading Foucault and Sedgwick together through the lens of a reparative ethics in which the felt experience of knowing the world is also an experiment in new ways of living. (shrink)

Joanna Crosby and Dianna Taylor: The theme of this special section of Foucault Studies, “Foucauldian Spaces,” emerged out of the 2016 meeting of the Foucault Circle, where the four of you were participants. Each of the three individual papers contained in the special section critically deploys and/or reconceptualizes an aspect of Foucault’s work that engages and offers particular insight into the construction, experience, and utilization of space. We’d like to ask the four of you to reflect on what makes a (...) space Foucauldian, and whether or not you’d consider the space created by the convergence of and intellectual exchanges among an international group of Foucault scholars at the University of New South Wales in the summer of 2016 to be Foucauldian. (shrink)

This essay explores Foucault’s conception of the historical a priori through the lens of an archival ethics of eros. Highlighting the paradoxical nature of the historical a priori as both constitutive and contingent, it harnesses the temporal dynamism of experiences of the untimely as erotic. Drawing on the work of Anne Carson, the essay brings out the strangeness of eros as an ancient Greek word that remains unintelligible to us. That strangeness signals an ethics of dissonant attunement to the untimeliness (...) of the historical a priori. Such an ethics of eros names those experiences of connection and rupture that both bind and unbind us in relation to a biopolitical present that is radically unstable. Reading eros as strange thus ultimately allows us to find resources for an ethics of self-transformation in Foucault’s reflections on the temporal instability that the historical a priori names. (shrink)

This essay asks about the return to nature and “life itself” in contemporary feminist philosophy and theory, from the new materialisms to feminist science studies to environmental ethics and critical animal studies. Unlike traditional naturalisms, the contemporary turn to nature is explicitly posthumanist. Shifting their focus away from anti-essentialist critiques of woman-as-nature, these new feminist philosophies of nature have turned toward nonhuman animals, the cosmos, the climate, and life itself as objects of ethical concern. Drawing on Foucault, the essay probes (...) the ethical meanings of the term “life itself” invoked in many of these renaturalizing projects. Focusing especially on the archival matter that guides Foucault’s thinking, I suggest that we rethink “life itself” not as a transhistorical substance but as the unstable materiality of history. I then reframe Foucault’s archival, genealogical perspective through the lens of the Anthropocene and geological time. Reconceiving our archive as a fossil record, I suggest that Foucault has much to contribute to environmental challenges to human exceptionalism and the anthropogenic destruction of other species and ourselves. (shrink)

The contradictions that arise from that construction. Another Colette offers a revisionary reading of Colette in light of poststructuralist and feminist criticism, particularly that of Derrida, Lacan, and Kristeva, and makes a significant contribution to current questions regarding the relationship of gender, sexuality, and language. In moving beyond the traditional gesture of reading the work of a woman writer as no more than her own experience, the study argues for a.

In lieu of an abstract, here is a brief excerpt of the content:Foucault's Bad Angels of HistoryLynne HufferDo not believe everything I say.... Look for multiple, resistant, rhizomatic readings. This is not the text I intended to produce, and it is not the same as the text you are reading. Read the white spaces, hear the silences, peer into the shadows, look beyond the margins. Reach for "[t]hat voice at the edge of things." I am there as well.—Juana María RodríguezWhat (...) I put into words is no longer my possession.—Susan HoweIn Mad for Foucault, I make much of the Foucauldian image of book-as-firecracker, bomb, or little explosion, something that lights up for a moment and then disappears into the series of events to which it belongs. If we take this seriously, it amounts to saying, as Rodríguez implies: there are multiple books here, or multiple bits of book, swirling through the ether like meteors. But if we think we might still find the "I" who wrote it, even "at the edge of things"—"I am there as well," Rodríguez says, in the spaces, the silences, and the shadows of the book—that "I" is fractured and dispossessed: "What I put into words is no longer my possession."I begin with an evocation of shattered light and the negative spaces it leaves in its wake as a way to organize my response to these inspiring and challenging commentaries on my engagement with Foucault and queer theory in Mad for Foucault. Both Hengehold and Winnubst offer a double focus, one that splits into questions directed at both the positive and the negative spaces of the book. [End Page 239] The positive space—that which leaps off the page, that which makes Winnubst squirm and raises disagreements for Hengehold—is my discussion of the place of Freudo-Lacanian psychoanalysis in Foucault and in queer theory. I will treat this question of queer Freudo-Foucauldianism in Part 1 of my remarks below. But I also want to heed my interlocutors' invitation to enter the spaces opened up by the book's unsaids. In Part 2 I will address some of Hengehold's concerns about my silence on Foucault and Kant, and in Part 3 I will explore another silence, the historicity of race, in response to Winnubst's questions. This is not to imply that everything has to be said, as if there were some absolute limit between speech and silence. Nor is it to suggest that, once spoken, the silence that haunts me will disappear, like "a shadow in a daydream" (Foucault 1978, 19) dispelled.1. Queer Freudo-FoucauldianismNeither Foucauldian philosophy nor queer theory has paid much attention to History of Madness, despite its obvious importance in Foucault's thinking and in the story he tells about sexuality. One of the effects of bypassing Madness in both fields has been a lack of clarity about the role of psychoanalysis in Foucault's critique of the Western subject and in queer antifoundationalist thinking about sexuality. In that context, Winnubst raises some questions to contest my claims about the place of psychoanalysis in queer theory. Hengehold, for her part, provides a link between psychoanalysis and Kant via a queer Lacanian, death-driven antisocial thesis with "the austerity of a proto-Kantian code."First, regarding Winnubst's assertion that many psychoanalytic concepts work toward the same desubjectivation I find in Foucault: I agree that from a certain perspective, the Lacanian Real, the Borromean knot, the objet a, and the drive can be deployed in myriad contexts for desubjectivating projects of various kinds. As Foucault puts it in The Order of Things, along with anthropology, psychoanalysis is an "inexhaustible treasure hoard of experiences and concepts" (Foucault 1970, 373). But as I insist in my engagement with Judith Butler in Mad for Foucault, the performative, psychoanalytically driven disruption of identity is not the same as Foucauldian desubjectivation; we can see this most clearly if we contrast the undoing of subjectivity that madness signals with a Butlerian dialectical logic whereby the political agency of a subject is achieved by virtue of that subject's failure to cohere as an identity. That dialectical logic is reinforced by... (shrink)

This chapter reappraises Foucault's first major book, History of Madness, published in French in 1961, as a foundational text for understanding sexuality in modernity. At stake in this reappraisal is the place of sexual ethics in contemporary queer theory, a field that takes Foucault's writings about sexuality as perhaps its most important philosophical source. Starting with the story about the production of perversions as deviations from a rational moral order, this chapter focuses on the ethical stakes of rationalized sexuality in (...) biopower. In “Foucault's Ethics of Eros,” the author develops the conception of a Foucauldian ethics of eros as a transformative thinking‐feeling of life in biopower. (shrink)

This essay attends to the place of virginity at the center of the fourth volume of Michel Foucault’s History of Sexuality, Confessions of the Flesh. Reading virginity through a rhetorical lens, the essay argues for an ethics and a politics of counter-conduct in Foucault characterized by chiasmus, a rhetorical structure of inverted parallelism. That chiastic structure frames Foucault’s Confessions, and all of his work, as a fragmented, self-hollowing speech haunted by death and the dissolution of the subject. The essay reads (...) Foucault as apophatic speech that returns to us, no longer itself, made strange. In that deathly movement of eternal recurrence, Foucault’s Confessions speak after death from the x’d out place of the queer virgin: on a threshold that separates life from death, in a movement of metanoia or ethical conversion. As an unfinished history in fragments, the essay’s form brings attention to incompletion as a crucial aspect of Foucault’s work. The fragmentation that characterizes an unfinished history underscores poetic discontinuity as the hallmark of Foucault’s genealogical method and thought. (shrink)

What is the strange eros that haunts Foucault's writing? In this deeply original consideration of Foucault's erotic ethics, Lynne Huffer provocatively rewrites Foucault as a Sapphic poet. She uncovers eros as a mode of thought that erodes the interiority of the thinking subject. Focusing on the ethical implications of this mode of thought, Huffer shows how Foucault's poetic archival method offers a way to counter the disciplining of speech. At the heart of this method is a conception of the archive (...) as Sapphic: the past's remains are, like Sappho's verses, hole-ridden, scattered, and dissolved by time. Listening for eros across fragmented texts, Huffer stages a series of encounters within an archive of literary and theoretical readings: the eroticization of violence in works by Freud and Eve Kosofsky Sedgwick, the historicity of madness in the Foucault-Derrida debate, the afterlives of Foucault's antiprison activism, and Monique Wittig's Sapphic materialism. Through these encounters, Foucault's Strange Eros conceives of ethics as experiments in living that work poetically to make the present strange. Crafting fragments that dissolve into Sapphic brackets, Huffer performs the ethics she describes in her own practice of experimental writing. Foucault's Strange Eros hints at the self-hollowing speech of an eros that opens a space for the strange. (shrink)