Using Foucault's Methods is an excellent introduction to what is an extensive and complex methodology. Recent times has seen an explosion of work relating to Foucault and this book seeks to expose the foundations of what may be termed a Foucaultian methodology. Though Foucault rarely wrote about his methods in any detail this book has succeeded in introducing the many aspects of his thought in a concise, authoritative and easily understandable manner. I would recommend this work to anyone approaching the work of Foucault for the first time as it illuminates much of those aspects of Foucault's scholarship that people may find difficult. The book is formed by a great style of writing that encourages the reader to pause and absorb the details on a regular basis. The concluding pages of the book include a very useful further reading list, categorised by subject area. An excellent introduction to Foucaultian scholarship, best utilised in conjunction with Foucault's original works.

I picked up this book to help me prepare for a short presentation I had to give on Foucault. Since I had very little time to do reasearch (only 2 weeks), reading through a book such as Discipline and Punish or even the Foucault Reader was out of the question. This was a great introduction to Foucault's general theories, and it included brief synopses of specific works. The writing style is quick-to-the-point and full of light humor, and the comic book style added to this feeling. I especially enjoyed the way this book used certain stories and situations to put some of Foucault's points into "lamens terms". It also tells you which of Foucault's books make the best starting points, for anyone who wants to read "the real thing".

I will agree with some of the other reviewers that some of the explanations were a little TOO brief, but that's to be expected with such a short book. Despite this minor imperfection, I was able to walk away completely understanding the major points of Foucault's study. Not to be counted on as a single source, this book is best used as an introduction, or a companion, to the works of Foucault.

Beginners books sets out to simplify Foucaults work and essentially does so. Sometimes almost too simple. I enjoyed the material, as I had no clue what Foucault was about previous to reading, however, I also felt the writing was a little too sparse. The pictures are nice, which makes this series attractive, yet, they filled the page often with splash words and large fonts which sometimes seemed unnecessary or only to fill a page. Regardless, the text is good and informative and reccomended for anyone who is interested in reading Foucault for the first time but does not know where to begin.

FOUCAULT FOR BEGINNERS

Foucault's range is amazing. Very few disciplines escaped his epistemological examination. His examination includes literary criticism, criminology, and gender studies. Arguing that definitions of abnormal behaviour are socially constructed, Foucault explored the power relations between those who meet and those who deviate from social norms. Foucault's examination of the birth the prisons includes a very graphic description of early punishment and the orgy of suffering does not escape Moshe Süsser's and is cleverly written by Lydia Alix Fillingham. This book gives a very brief introduction to Foucault's work (or the part of it that interests us), plus a very good bibliography.

According to Foucault, people do not have a 'true' identity. In essence, the self is a product of discourse. Identity, is performative our interaction with others, but this is not static. It is a dynamic, temporary and shifting. Foucualt centers his epistemology around power, knowledge and language. People do not really have power per se. Power is a force which people engage in - as in power knowledge and language. Power is not owned; it is used. Where power is, there is also an equal and opposite reaction.

I was particularly impressed by the treatment of "The Birth of the Clinic" since this is one of the few of his works that I missed and hope to read soon, it placed for me the significance of his play on power and the gaze. I get the sense that "The Birth of the Clinic" is a spin-off from "Madness and Civilization" based on his take of the dis-empowerment of the sick (not well, not normal) as well as the mad. I understand when this comic book mentions that reading "The Order of Things" is not the best starting point to understanding Foucault and I will venture to "The Archeology of Knowledge" aremd with this introduction and the other readings I have done on Foucault. A primer, I think it is a really good start. However, in reality, Foucault and French deconstruction is NOT infinitely incomprehensible. Conversely, be warned, if you think you can read this as a substitute and come to class to discuss Foucault, you might be disappointed.I highly recommend this to start and hopefully it leads you to the fascinating maze that is Foucault.

Miguel Llora

I agree with the above reviewer from Ontario. De Prado has did it well, and formulated an understanding of Foucault which enhanced my own.

Ever try to stick a square peg in a round hole? Well Prado pulls it off marvelously in this excellent book on Foucault's genealogy. With a constant eye on the mind-set and objections of analytic philosophers Prado slowly and very convincingly details Foucault's problematic (principally in Discipline and Punish and the History of Sexuality). He ends the book with a long discussion of the various senses of truth in Foucault's work, and thoughtfully treats the problem of Foucault's relativism. Even if you're a Foucault enthusiast who's read a stack of other commentaries, Prado's style is so clear, direct, and accomodating that you're sure to walk away with a better take on Foucault's thought as a whole. Buy it.

Foucault is not an easy philosopher to grasp, especially out of context. Prado does an excellent job placing Foucault's middle (or genealogical) works in the context of Foucault's other writings, as well as in the context of modern philosophy. For readers new to Foucault, Prado's book is an enviable introduction. For those already familiar with the philosopher, Prado's own take on Foucault is both insightful and thought-provoking. I highly recommend the book.

Okay, the reason why Foucault did not interpet the reasoning behind the crime was because the issue of guilt or innocence was not his topic. He was more interested in how people treat crimes and approach the issue of criminality.

It is not Riviere who is at trial *again* in Foucault's book, but rather it is a trial described, which could be any trial. A crime after the fact is a story, a memory for those who were involved, but we all become involved in an event as if it were a story we have heard before. What other way to approach a murder that is to us words and the heaving bosom of a witness, the placid tension of the accused? We confront a forced performance with confused or feigned characterizations.

Yet even said, this is not Foucault, nor what Foucault was reaching for. All Foucault does is show how people act in response to crime and reveal the obvious ploys that repeat themselves throughout history, because the story that composes our lives has not died.

And if a man approached you with a mark on him, and claimed to have killed his brother, and the soil did cry out to you, would you raise your hand against him?

This book is a good accompanyment to his work Discipline and Punish.

It is early in February, 2001. Can it be said that America is in love with its Serial Killers? Sure. With the range of "Reality TV" and movies, the writing is on the wall. What about a healthy alternative to all this bloodbath? What about a truelly intellectual examination into the complexity of the criminal mind. Part Dostoyevsky, part unbelievable, "I, Pierre Riviere, Having Slaughtered My Mother, My Sister, and My Brother ... : A Case of Parricide in the Nineteenth Century" is a highly thought provoking analysis of the social construction of the criminal. The book guides you through the labyrinth/maze that is the criminal justice system and the mechanism involved in the prosecution of the criminal. The book is comprehensive, it includes testimony (from several angles), a suspect written confession, trial examination and post archival examination. Foucault has brought together through his talent to uncover archives and present them in an interesting manner. If you are looking for an alternative without sacrificing the excitement of a murder mystery - this is your entry ticket to the Post Modern examination of crime. Nothing less than 5 stars!

The story of the young Frenchman who murdered his family is a fascinating piece of documentary work by Foucault and his student assistants. However, I would have liked to know much more about how they interpret this "unusual" behavior.

It is not so easy to determine where Foucault is attempting to go with his published books. In this sense, the books from "Madness and Civilization" to the 3rd "History of Sexuality" can be thought of as practical works that have specific institutional and discursive aims. Thus, they are short in explanation of the methodology and instead such intentions are available as they are practiced in the texts. For example, philosophers such as Nietzsche and Marx, to name a few, are hardly mentioned in Foucault's book; however, they are often evoked and utilised without obvious references or footnotes. As Deleuze once commented: Foucault doesn't say what to do, he just does it.

Thus, Foucault's occasional essays, covering academic journals, popular press, lectures, introductions, and so on, serve to clue us, the readers, as to where Foucault is coming from, and, furthermore, in which direction his thought is heading.

This edition, covering Foucault's superb writings on literature, his mentors, music, as well as other philosophical movements, situates a thinker within an intellectual context from his very own words. In "The Archaeology of Knowledge" Foucault begins by saying "do not ask me who I am..." To be sure, with this volume, we can begin to better understand Foucault without the interface of commentators and scholars. Directness of discourse is an important element in Foucault's thought...

Although much of the pieces that appear here have been previously translated and released in a variety of formats, I predict that any scholar or occasional reader would be pleased to accept this redundancy for the very convenience that this collection presents.

Some most interesting pieces include, the previously hard to find Foucault's response to Derrida's reading of "Madness and Civilization"; Foucault's responses to the Epistemology circle; and an illuminating interview in which Foucault situates his thought in 20th Century French intellectual life. In addition, this collection includes popular 'staple' such as "Theatrum Philosophicum," "Nietzsche, Freud, Marx," and "Nietzsche, Genealogy, History," all of which provide endless insight into Foucault even despite numerous re-readings.

While serious followers of Foucault's works would benefit greatly from this collection, this would also serve as a good introduction to Foucault--maybe second only to the cartoon books on Foucault!

And to close: if Nietzsche was the greatest philosophical stylist, this collection demonstrates conclusively that Foucault was a close second...

Michel Foucault , i think should be read by anyone read and liked Nietzsche.

I read this in college while studying semiotics and surrealism, yet the message of Foucault should not be relegated to the exotic and extreme "isms" of academia. I found "Pipe" to be a marvelous and playful illustration of the tryanny of language and the Orwellian control of thought which follows. Readers of Postmodern thought, Zen, Marxism, Film Theory, Psychoanlysis, and Modern Art will find moments of illumination throughout.

This essay entitled "This Is Not A Pipe" is a fascinating excursion into the intriguing art of the great 20th C. Belgian painter. In this essay Foucault blurs the space between the critic and the subject being criticized. His thorough analysis inculcates his own hypertextual "isms" and replicating terminology that adequately reciprocates Magritte's offbeat beauty. From Foucault's view of what he considers the two principles that ruled painting (European painting?) from the 15th C. to the 20th C., to the relationship between resemblance and similitude, the mystery and static of a Magritte painting is transported onto the pages of this book. Ultimately this text is an interesting display of the interplay between text, image and the elements inculcated in the analysis thereof.

if you consider this treacle then you certainly lack any real insight into philosophy or art criticism of the 20th century; either that, or you're carrying some kind of baggage or childish grudge.

foucault offers us just one interpretation of magritte's _pipe_, and some thought in general about art, representation and the sign. it's really just part of an on-going discussion. it's a shame he's dead; he'd have loved usenet.

in any case, this book is one voice in a chorus of discussion on the matter; his is also an informed, intelligent, and original voice - albeit controversial (see review below for ruffled feathers).

this book stands on its own, but is definetly not a good introduction to foucault per se; I think it's best to start with a history of sexuality volume I, then read the introduction of history of sexuality volume II, and then you can pretty much read any foucault from there.

I'm not too crazy about this inaugural edition of the Essential Works of M. Foucault series in English. For one, the three volumes are to be collected from the French 'Dits et Ecrits' series; that is to say, the English translations will be a selection from the complete French. It blows my mind why they didn't just translate the entire French series.

This volume is divided into two sections: the first is the complete collection of Foucault's resumes from the courses he conducted at the College de France; and the second part consists of numerous interviews and essays that have been gathered around the theme of ethics. The resumes are the official submissions by Foucault to the College, meaning that they weren't meant for publication but rather for administrative reasons. As summaries of a year's worth of teachings, covering 1970 to 1984, they only provide crude chunks of what may have proceeded in these courses and public lectures. Thus, they are rather innocuous, and useless for most scholars. The second part is equally erratic as the theme of ethics just doesn't hold up: for example, what does the piece "The Masked Philosopher" have to do with Foucault's study of Greek and Christian ethics?

The 2nd volume of this series, on aesthetics, methhod and epistemology, is a far superior collection of Foucault goodies.

The best selections from this volume is a good summary of Foucault's last two projects: on Greek and Roman sexual practices. Even the introduction by Paul Rabinow is a minor disappointment.

And I gotta say this: the cover layout is atrocious. And why couldn't they just find another photo of Foucault for the back cover, instead of merely reversing the image? Which makes me wonder: which is the original?

The First of three volumes (the second and third are also available on Amazon.com) that will introduce selected translations from the original four French volumes. This first volume has 11 course summaries that M. Foucault submitted to the College de France from 1970 to 1982. Moreover, Rabinow has skillfully included several key essays and interviews from M. Foucault's last years, when his work turned exclusively toward issues of ethics and the "care of the self." The outlines often explore subjectivity, but M. Foucault's thought turned more moral and political, zeroing in on technology and the social institutions. The selection starts with the difference M. Foucault made between the "will to knowledge" (a passion for authoritative organization) and the "will to truth" (concern for the integrity of subjective expression).

In exposing to us how these systems of knowledge are shaped by political structures of power (which in turn serve to justify themselves), M. Foucault provided dazzling critiques of some of our most highly regarded institutions in the areas of health, justice, government and education. This is really the first concrete anthology of M. Foucault's ethics of the care of the self and sexuality that really joins everything to his critical analysis of power/knowledge. In this volume, M. Foucault describes how philosophers, from antiquity to modernity, developed the practice of self-care through various literary modes: keeping journals of useful thoughts and quotations, exchanging correspondence of self-disclosure and advice between friends, writing texts of self-examination and confession (as if to imply that this was the forerunner of the modern day "examination of conscience"), drafting meditative and exploratory essay. Moreover, M. Foucault insists that "a pleasure must be something incredibly intense" or it is "nothing": "the real pleasure would be deep, so intense, so overwhelming that I couldn't survive it, I would die." Leaving no doubt why he is linked with such notables as Bataille, de Sade and Nietzsche. One of the more disturbing problematics that M. Foucault brings up in an interview is his thought points of resistance to power:

Q. It would seem that there is something of a deficiency in your problematic, namely, in the notion of resistance against power. Which presupposes a very active subject, very concerned with the care of itself and of others and, therefore, competent politically and philosophically.
M.F. This brings us back to the problem of what I mean by power. I scarcely use the word power, and if I use it on occasion it is simply as shorthand for the expression I generally use: relations of power. But there are ready-made models: when one speaks of power, people immediately think of a political structure, a government, a dominant social class, the master and the slave, and so on. I am not thinking of this at all when I speak of relations of power. I mean that in human relationships, whether they involve verbal communication such as we are engaged in at this moment, or amorous, institutional, or economic relationships, power is always present: I mean a relationship in which one person tries to control the conduct of the other. So I am speaking of relations that exist at different levels, in different forms; these power relations are mobile, they can be modified, they are not fixed once and for all.... These power relations are thus mobile, reversible, and unstable. It should also be noted that power relations are possible only insofar as the subjects are free. If one of them were completely at the other's disposal and became his thing, there wouldn't be any relations of power. Thus, in order for power relations to come into play, there must be at least a certain degree of freedom on both sides. Even when the power relation is completely out of balance, when it can truly be claimed that one side has "total power" over the other, a power can be exercised over the other only insofar as the other still has the option of killing himself, of leaping out the window, or of killing the other person.... Of course, states of domination do indeed exist. In a great many cases, power relations are fixed in such a way that they are perpetually asymmetrical and allow an extremely limited margin of freedom.... But the claim that "you see power everywhere, thus there is no freedom" seems to me absolutely inadequate. The idea that power is a system of domination that controls everything and leaves no room for freedom cannot be attributed to me. (291-293)
(quote abridged)

For M. Foucault, ethical self-care is formed by the system of knowledge and the power relations (as outlined above) in which the self is situated. The really expansive genealogical studies of M. Foucault's earlier books deal with how science related to disease, madness and criminality and how institutional powers sought to govern populations. Despite the almost about-face that M. Foucault makes, this book is helpful in making the change clear and how it fits within his oeuvre. M. Foucault's alternatives usefully problematize them; and problematization rather than conceited solutions is the hallmark of M. Foucault's philosophy. Rabinow's selection is a helpful one and no respectable M. Foucault selection should be without it, Volume 2 - Aesthetics, Method and Epistemology, and Volume 3 - Power (all available on Amazon.com)

Miguel Llora

The acute awareness of the world and the role of the thinker in the world Foucault displays in this collection, especially in this volume, has inspired me. I see this collection as the personal side of Foucault, where the histories/archaeologies are of a slightly more academic tone. Berkeley's Rabinow, one of the leading MC scholars around, provides some great commentary and insight in his introduction.

In "Discipline and Punish" Foucault analyzes the evolution of punishment from the 17th century to modern times and emphasizes the growing importance of the prison as an institution of punishment/reform. He builds an argument that the importance of discipline, that found its origin in the military, gradually spread to various institutions like schools, hospitals, factories and prisons. He discusses how the prison evolved from the dark dungeon, in which prisoners were thrown and were supplied with the bare essentials for survival, into machines of education , supervision and reform. Using the model system of the panopticon he explains the idea of discipline/reform through implied observation, and individualization. He further discusses how the prison was instrumental in creating the delinquent. While one can question Foucault's argumentation at many points, this book is rich in challenging ideas that should give food for thought, even to those that argue that crime can be solved by simply building more prisons. After reading this book, one can not help but wonder in how far the lofty goals of the prison as instrument of reform, that were formulated during the age of enlightenment, have lived up to their high expectations.

While Foucault's writing is miles away from Heidegger, it is not always as clear as one would desire. While he often provides numbered lists of arguments, a lot of the argumentation is far from the linearity that typifies colleagues like Spinoza and Kant. Don't let these minor points keep you from reading this book. While you may not agree with a lot of the arguments made in this book, Foucault forces you to analyze and (re)think yourself, which is the most important task for any meaningful philosopher. Required reading in the Ashcroft era!

Foucault learns from history by looking backwards in time until a salient rupture appears, then goes forward detailing all of histories accounts. In Discipline and Punish, he takes us through the early 1800's to a time when the methods of upholding law and order were much more severe. He describes to us certain rituals of torture that were implemented not to uphold justice, but to extract truth. He contends that punishment was directed at the body and the spectacle of torture was the keeper of order. He then has us move past the Middle Ages to a rupture in history where the prison is born. Foucault now contends that punishment is no longer directed at the body; that it is aimed towards the soul. He posits that in our society we no longer have the spectacle of torture to keep us in line--no, a more economical restraint is applied: guilt & responsibility. It is the responsibility of being a model citizen that wills us to abide by the law. It is the fear of guilt that craves us to be 'good'. It is the fear of being defined as 'bad'; for fear of being suspect is as heavy as the physical chains worn by the malefactor-the ubiquitous invisible-chains; the inculcating chants of the anthems; the responsibility of the citizens to uphold the law and the guilt of not doing so. Foucault also inquires about other institutions-other architectural structures of power networks. One can wonder why the carceral system can be seen in schools, factories, hospitals, and so forth; these environments that we enter, spend a part of our lives in, and then leave to enter another. How many different institutions do you enter and leave in a day? How many hierarchical environments do you exist in the typical 24 hours? How many hierarchical roles do you play? How many different disciplines and regulations do you adhere to? One begins to feel fragmented, even schizophrenic, to the countless performances that we act out. Who are you really? Better yet, when are you? At work? When you are sitting home alone in your room? At any rate, it's a great book, but I wouldn't recommend it for the casual reader.

I am not a big fan of Foucault; however, I was fascinated by Crime and Punishment. One of the principal ideas which Foucault discusses in Discipline & Punish is that public executions have constituted as much a method of crime prevention as a public spectacle. I find that his ideas can be easily transposed to explain the public's fascination with media violence, wrestling, boxing and so on.
As the ideas of the enlightenment spread throughout the 19th century executions and torture became less frequent and conducted ever further from the public spotlight while more 'humane' methods of killing were also adopted. No longer were prisoners dragged behind horses, crushed on cart wheels or had their limbs severed one by one. The Guillotine, firing squads and poisonous concoctions vastly accelerated the dying process and reduced physical pain. Foucault does not in any way suggest that man is any more or less violent today than he was two centuries ago or 2000 years ago. Nonetheless, he shows that the violence of justice has changed its modus operandi.

The West has seen the longest period of peace in history, economic conditions have improved for the majority and violence (physical and psychological) is not tolerated. At the same time, criminals enjoy more rights privileges and there have been efforts to ensure humane treatment of prisoners. Therefore, taking Foucault into consideration, violence in film is none other than the public's basic, and instinctively human, appetite for violence that always looks for ways of manifesting itself in accordance to society's norms. If the public torture of a man whose bones were crushed or limbs cut off (in such a way that the victim could clearly see what was being done) or a public hanging constituted an popular occasion for spectacle in the 18th century, so then do graphic violent films appeal to people in the same way in the 21st century.
Therefore, in many ways, Foucault's ideas as expressed in Discipline and Punish support the notion that violence in contemporary cinema has a cathartic function.

Patricia Duncker's HALLUCINATING FOUCAULT explores the relationship between scholar and subject matter, reader and writer, mentor and protégé - and the madness that connects them all. The narrator is a male graduate student at Cambridge studying the novels of (fictitious) French "wild boy" Paul Michel and his enigmatic literary relationship to the philosopher Foucault. When the narrator's girlfriend pushes him to locate the institutionalized Paul Michel, he begins to unravel the mystery of his subject with a growing and inescapable obsession.

The psychological twists of this novel are astoundingly powerful. Duncker writes with a delicate authority that never loses it momentum. Her characterizations are deft, and, in the case of Paul Michel, delightfully cryptic. She melds the substance of philosophy and scholarship with a moving love story that transcends both gender and sanity. To her credit, Duncker never overburdens her story with her themes but instead allows the story itself to carry their weight.

I highly recommend this novel for readers of literary fiction. You don't need to know anything about Foucault or scholarship to appreciate Duncker's exploration of madness, love, and the written word.

I sat down to read _Hallucinating Foucault_ one sleepy evening and became to engrossed I could not stop reading until I finished a couple energizing hours later. Duncker makes my brain work. She brilliantly brings forth the human side of late twentieth century post-structural philosophy and post-modern literature, binding the reader into a love triangle that's both solid and ethereal. What does the reader bring to the text? What sort of relationship does the reader have with the writer? What happens if the reader really does go to seek the author--who isn't dead after all--and blends his intellectual dream with "reality"? As a doctoral student, my favorite thing about this book is that the plot has the best possible happy ending--the protag. finishes his diss. and gets a job!! This is better than Byatt's _Possession_ and up there with Winterson's _The Passion_ for me.

Many novels can hold a reader but very few, the great rare ones, can keep the reader enthralled, fascinated, and eager for every succeeding page. This is one of those rare, beautiful works that restores faith in the power of the novel, the subtle, beguiling beauty of fiction, and confidence that amid the trash being published, there are wonderful, creative new writers. While Michel Foucault, the great French writer and philosopher, is in the title of this book, it is more about the person reading it than about anyone else. Duncker explains the relationship between the writer and the reader so clearly that she also expresses it through her own creative relationship with the person who is reading her work. Hallucinating Foucault shows how a novel can be written simply and clearly while being deeply felt, philosophical, and astounding all at the same time. A wonderful, gorgeous, meaningful book that lingers in the memory long after the final page is turned and the last pieces of the puzzle- and the puzzle here is much more intriguing than those in most of other novels that rely on puzzles- are fit perfectly in place. The title may be somewhat intimidating but from the very first page, Duncker wraps the Reader in prose that makes her book almost impossible to put down.

Foucault's three-part History of Sexuality begins here with an examination of the ways in which our contemporary interpretation of sexuality has been shaped by historical trends. Foucault makes a compelling case for the construction of sexual identity as a function of political and economic forces. This book is a must-read for anyone interested in sexuality, psychoanalysis, gender studies, queer theory, or feminisms, or indeed anyone who wishes to confront his or her own personal assumptions about gender and sexuality. Think you know what normal is? After Foucault, you may not be so sure. (One more thing: while this book is a fascinating read which can stand alone, I strongly advise anyone interested in this subject to go on to read the second and third volumes)

It would be easy to consider this book part and parcel of the literature on sexuality but that would be very reductive. In the Will to Knowledge, sexuality is a mere example of Foucault's archeology of knowledge. It is the new bourgoise pre-empting the inevitable by engendering sexuality as a field of knowledge only to regulate, discipline and control the manner in which it is consumed, talked about and propagated. Sexuality was not silenced nor repressed, it was invented in the Victorian era along with new rationalities pertaining to it. Compared with the second volume of the history of sexuality, "the use of pleasure", it is easy to decipher the problematization of sexuality that occured in the 19th century concering sexual idenitites, queerness, gender and conseuqntly the whole social fiber. Foucault once again lends credence to the power of discourse to color reality almost irreversibly.

In "The History of Sexuality", Foucault enlightens us with sexuality as a tribute benefiting from knowledge and power. Sexuality before the 18th century, was in a sense, located in the body and the flesh. There was no established fetish. Sex had not come under the scrutiny of science (psychoanalysis). Sex was just sex; for procreation and physical enjoyment. When the confessionals started to become a ritual in religion we see a shift or rupture in history. Priests in the middle ages became concerned with what people did sexually. It was the confession that would free, but it was the power that reduced an individual to silence. Thus the titillating game began and repeated and repeated. Freud and his psychoanalysis came along, which defined and categorized sexuality and its dysfunctions. Psychoanalysis became a scientific confessional. Thus society has become a singularly confessing society; Western man has become a confessing animal. Foucault then begins to posit anchorage points in institutions such as in the home; anchorage points which standardizes roles of family classification. It's roughly 160 pages long and readable. This was probably my favorite of Foucault's work.