Click to increase image sizeClick to decrease image size Notes 1 In 2001, they were published in book form, Michel Foucault, Fearless Speech, ed Joseph Pearson, Semiotext(e), Los Angeles 2001, as a text compiled from tape‐recordings made of six lectures delivered in English by Foucault. 2 Alan Milchman and Alan Rosenberg, ‘Michel Foucault: Crises and Problematizations’, Review of Politics, Spring 2005, p 67 3 Michael A Peters, ‘Truth‐telling as an Educational Practice of the Self: Foucault, Parrhesia and the ethics of subjectivity’, Oxford Review of Education, 29:2, 2003. Also see Nancy Luxon, ‘Truthfulness, Risk, and Trust in the Late Lectures of Michel Foucault’, Inquiry, October 2004, 47, pp 464–89 4 Gerald Raunig, ‘The Double Criticism of parrhesia Answering the Question “What is a Progressive (Art) Institution?”’, http://www.republicart.net 5 Foucault, Fearless Speech, op cit, p 17 6 Ibid, p 16 7 ‘He’, because, in ancient Greece parrhesiastes was not only grammatically but also actually always masculine. But Gerald Raunig noted in his article that today, contrary to ancient Greece, both the term and the phenomenon are increasingly addressed in feminist discourses and he gives the example of ‘Postkolonialer Feminismus und die Kunst der Selbstkritik’, in Hito Steyerl and Encarnación Gutiérrez Rodríguez, Spricht die Subalterne deutsch? Migration und postkoloniale Kritik, Münster 2003, pp 270–90. We can also add Valerie Harwood’s use of the term in queer politics: Valerie Harwood, ‘Telling Truths: Wounded Truths and the Activity of Truth Telling’, Discourse: studies in the cultural politics of education, 25:4, December 2004. 8 David R Novak, ‘Engaging Parrhesia in a Democracy: Malcolm X as a Truth‐teller’, Southern Communication Journal, 71:1, March 2006, pp 25–43 9 Foucault, Fearless Speech, op cit, p 16 10 Ibid, p 106 11 Ibid, p 120 12 Ibid, p 17 13 For a detailed discussion of art festivals in Istanbul see Sibel Yardımcı’s related work in: ‘Launching the “Spectacle” in Istanbul: Physical Restructuring, Symbolic Economy, Art Festivals’, 9th EASA Biennial Conference, Bristol University, Bristol, 18–21 September 2006; ‘The New Symbolic Economy of Oriental Cities’, paper presented at the IFEA Conference, Vienna, 6–9 March 2003; and ‘Sponsoring Festivals, Selling Istanbul: Arts Or Market?’, paper presented at Cultural Returns Conference, Open University, Oxford, 18–20 September 2002. 14 Except for a comprehensive critique written by artist Burak Delier in the socialist daily Birgün, ‘Liberal mi radikal mi?’ (Liberal or radical?), Birgün, 11 January 2007. 15 Foucault, Fearless Speech, op cit, p 108 16 Raunig, op cit 17 Ibid 18 Grant H Kester, Conversation Pieces, Community + Communication in Modern Art, University of California Press, Berkeley, 2004, p 6 19 M A Neiwirth, ‘Parrhesia: An Old Word and a New Way of Making News’, Boise State University, 2004, available at: http://www.indymedia.org.uk/media/2004/11/301351.pdf 20 David Graeber, ‘The New Anarchists’, New Left Review, January–February 2002, available at: http://www.newleftreview.net/NLR24704.shtml
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