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DISCOURSAL STUDY ON RENAISSANCE AND CLASSICAL PAINTINGS IN MICHEL FOUCAULT’S ARCHEOLOGICAL THOUGHT WITH EMPHASIS ON CONCEPTS OF “MADNESS” AND “REPRESENTATION”

2016; Volume: 6; Issue: AGSE Linguagem: Inglês

10.7456/1060agse/056

2146-5193

Arash Eghbal Jahromi, Shamsolmoluk Mostafavi,

Philippine History and Culture

Regarding and its function, Foucault believes that it is created in relation to various sciences, organizations and other institutions of a society. Accordingly, he is not after the author's intention or a final meaning within the work when faces neither a work of art, nor he believes in a theory like art for art's sake, which considers as separated from the social context. Rather, he intends to analyze why and how a work is allocated to a special content? Or why a work could not be something different from what it is?. In other words, how the work of becomes what it is in relation to other sciences and social institutions, and it is due to this functions that Foucault considers the artwork as a representative of a historical period; as he regards the painting Las Meninas by Velazquez as a representative of the classical era mindset, and also Hieronymus Bosch's The Ship of Fools as a reflection of the concept of madness in the Renaissance era. By an emphasis on the writings of Michel Foucault's archeological period of thought - specially The history of Madness and The Order of Things - this article attempts to study the drawings which he analyzes in relation to other sciences and institutions. Therefore, the present article takes the drawings of the Renaissance and classical era into consideration regarding to Michel Foucault's ideas.