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姚雲帆：從真理的劇場到治理的劇場：福柯對《俄狄浦斯王》的解讀（9）
尾聲·走向「直言」的福柯
福柯對《俄狄浦斯王》態度的轉變，某種程度上是他思想歷程的曲折寫照。從1970年開始，福柯利用自己的權力—知識學說對西方形而上學的認識論暴政進行抨擊，進而塑造一種從實踐—鬥爭角度出發的批判性真理學說。《俄狄浦斯王》便是這一立場的劇場化展示。然而，權力譜系學最終導致了「權力塑造真理」這一讓知識分子在實踐中進退維谷的尷尬境地：不斷造反意味著不斷獲得更為強大的權力，從而被新生的政治秩序所吸納。而福柯20世紀70年代晚期對伊朗伊斯蘭革命的深度介入，最終導致權力意志與批判性知識的結合變得荒謬而無奈：反對西方現代理性主義的伊朗革命，最終造就了更為反現代的伊斯蘭暴政{35}。1980年的講課正是福柯與不久前的伊朗伊斯蘭革命告別之時，他仿佛是現代的俄狄浦斯，為反對暴君所獻上的智慧成為支持暴政的祭品。這最終促使他重新思考知識、真理和政治實踐的復雜關係。…
ContinueAdded by Host Studio on April 3, 2023 at 2:00pm — No Comments
姚雲帆：從真理的劇場到治理的劇場：福柯對《俄狄浦斯王》的解讀（8）
「質詢」是《俄狄浦斯王》中最為奇特的一種「演真」方式。首先，神諭作為一種「演真」機制既具有獨斷性，又具有實踐上的普遍性，除了俄狄浦斯王之外，它能讓城邦中所有人都相信和服從，具有法和正義的地位{28}；其次，奴隸表述真理只能是被強迫的，因此，如果沒有象征法和正義的神，或是神的代表者的命令，這些真理沒有任何合法性{29}。
俄狄浦斯的「質詢」不同，它具有獨斷性和某種普遍性，卻沒有合法性，原因有二：一是俄狄浦斯的「質詢」的出發點，不是神，而是我…
Added by Host Studio on April 2, 2023 at 1:00pm — No Comments
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