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1、THEORDEROFTHINGSAnArchaeologyoftheHumanSciencesMICHELFOUCAULTAtranslationofLesMotsetleschosesVINTAGEBOOKSADivisionofRandomHouse,Inc.NewYorkI"16460-MADRID-Vclayuez-LssMeninas-Gall.delPrado-fiprintodrrtn-AndemRam.CHAPTERILasMeninasThepainterisstandingalittlebackfromhiscanvas[^].Heisg
2、lancingathismodel;perhapsheisconsideringwhethertoaddsomefinishingtouch,thoughitisalsopossiblethatthefirststrokehasnotyetbeenmade.Thearmholdingthebrushisbenttotheleft,towardsthepalette;itismotionless,foraninstant,betweencanvasandpaints.Theskilledhandissuspendedinmid-air,arrestedinra
3、ptattentiononthepainter'sgaze;andthegaze,inreturn,waitsuponthearrestedgesture.Betweenthefinepointofthebrushandthesteelygaze,thesceneisabouttoyieldupitsvolume.Butnotwithoutasubtlesystemoffeints.Bystandingbackalittle,thepainterhasplacedhimselftoonesideofthepaintingonwhichheisworking.
4、Thatis,forthespectator'atpresentobservinghimheistotherightofhiscanvas,whilethelatter,thecanvas,takesupthewholeoftheextremeleft.Andthecanvashasitsbackturnedtothatspectator:hecanseenothingofitbutthereverseside,togetherwiththehugeframeonwhichitisstretched.Thepainter,ontheotherhand,isp
5、erfectlyvisibleinhisf;llheight;oratanyrate,heisnotmaskedbythetallcanvaswhichmaysoonabsorbhim,when,takingasteptowardsitagain,hereturnstohistask;hehasnodoubtjustappeared,atthisveryinstant,beforetheeyesofthespectator,emerging&omwhatisvirtuallyasortofvastcagepro-jectedbackwardsbythesur
6、faceheispainting.Nowhecanbeseen,caughtinamomentofstillness,attheneutralcentreofthisoscillation.Hisdarktorsoandbrightfacearehalf-waybetweenthevisibleandtheinvisible:emergingfromthatcanvasbeyondourview,hemovesintoourgaze;butwhen,inamoment,hemakesasteptotheright,removinghimselffromour
7、gaze,hewillbestandingexactlyinfrontofthecanvasheispainting;hewillenterthatregionwherehispainting,neglectedforaninstant,will,forhim,becomevisibleoncemore,freeofshadowand3THEORDER.OFTHINGSfreeofreticence.Asthoughthepaintercouldnotatthesametimebeseenonthepicturewhereheisrepresentedand
8、alsoseethatuponwhichheisre
