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Note
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Michel Foucault, The Care of the Self, The History of Sexuality vol. 3, trans. Robert Hurley (New York: Pantheon, ). In Foucault Live: Interviews, 1966-1984 (New York: Semiotext(e), 1989), Foucault argues that crafting the self within existing rules of social conduct and regulations requires knowledge so that we might understand and re-make our behaviors in order to act against social injustice, disciplinary or normalizing regimes, as they occur in specific contexts. Mindful of the reservations feminists such as Lois McNay in Foucault and Feminism (Cambridge: Polity, 1992) and Carolyn Ramazanoglu in Up Against Foucault (New York: Routledge, 1993) have raised about Foucault's conceptualization of the life project as a work of art, I submit that "aesthetic" as metaphor is useful if we want to re-envision an ethics not based on traditional male, Western, and exclusionary moral codes, but one based on an aesthetic of creativity and reconstruction, or what Foucault would call a positive productivity of new and hybrid forms of subjectivity and sociality. Moreover, if we accept that the making of the self is crucially dependent upon the getting of knowledge, then the pedagogical relation in which knowledge is crafted, performed, enacted, contested or accepted, loved or hated, is itself part of the aesthetic of everyday life: an experience in the aesthetics of knowledge and the art of pedagogy as craft teaching and self-learning. Not least, a work of art as an act of creativity and unique formation renders aesthetics a productive metaphor for conceptualizing an ethics grounded in the specificity of difference(s) and diversity. 1986
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(1986)
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Foucault, M.1
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