By Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David
Rejects Levinas’s argument for the preeminence of ethics in philosophy.
“Imagine listening at a keyhole to a talk with the duty of transcribing it, and the outcome could be a textual content just like the current one.” — from half I: Stagework
In a chain of meditations responding to writings through Emmanuel Levinas, David Appelbaum means that a improper grammar warrants Levinas to converse of language on the provider of ethics. it's the nature of functionality that he blunders. Appelbaum articulates this flaw by way of acting in writing the act of the philosophical brain at paintings. Incorporating the voices of different thinkers—in specific Levinas’s contemporaries Jacques Derrida and Maurice Blanchot—sometimes truly, occasionally indistinctly, Appelbaum creates on those pages one of those soundstage upon which illustrations seem of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, principles for giving voice—and no longer ethics—as the proper matrix for knowing the otherness and beyond-being that Levinas seeks in his paintings
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Additional resources for A Propos, Levinas
Thus, reduction that must take place takes place, intelligibility is accomplished by the work of philosophy, but it remains incomplete. Exoticism of art is partial. It is what remains after the Pyrrhic victory of philosophy, in the deformed and throttled speech—monkey gibberish—of the il y a. Part II: À Propos 33 What becomes of art as “essence in dissemination”? (OB, 41). Bruns’s argument that Levinas refuses the refusal of philosophy lumps art with ethics, as though both belonged to a canonical category of axi‑ ology.
Ereignis. Something like Heidegger’s idea of poiesis must follow, in how art spe‑ cializes in bursting a linguistically established order by what has not yet appeared nor ever will. The poem is what dares. Art, the evil genius, a genius in shading truth (or mockery), then stalks the proposition like a predator its quarry. ). When thought through “to the end,” a limit doesn’t have to border inside from outside. Limits can crisscross an interior without breaking it into partitions. The limitless as art would take to task that pretension of discursive reason.
30 The crisis of egology must circle back to the face‑to‑face of a “me” (moi) in front of a stranger or a neighbor irreducibly another. But if the abyss and the ruination of identity are accomplished through death and the il y a, does this not nullify the confrontation with a human other, of someone uniquely invested unto the heights? The possibility of such investiture would seem precluded if the meeting is with (Heidegger’s) “the impos‑ sibility of every possibility”—death. If death is “without face,” can the other be assumed human?