Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)


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Add to Cart. In his philosophy of ethics and time, Emmanuel Levinas highlighted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships-associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B.

Girgus applies Levinas's ethics to a variety of international films. His efforts point to a transnational pattern he terms the "cinema of redemption" that portrays the struggle to connect to others in redeeming ways. After the Second World War, he studied the Talmud under the enigmatic Monsieur Chouchani, whose influence he acknowledged only late in his life.


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He began teaching at the University of Poitiers in , at the Nanterre campus of the University of Paris in , and at the Sorbonne in , from which he retired in He was also a Professor at the University of Fribourg in Switzerland. In he was awarded the Balzan Prize for Philosophy. According to his obituary in The New York Times , Levinas came to regret his early enthusiasm for Heidegger, after the latter joined the Nazis. Levinas explicitly frames several of his mature philosophical works as attempts to respond to Heidegger's philosophy in light of its ethical failings.

Among his most famous students is Rabbi Baruch Garzon from Tetouan Morocco , who learnt Philosophy with Levinas at the Sorbonne, and later went on to become one of the most important Rabbis of the Spanish-speaking world.

Levinas And The Cinema Of Redemption Time Ethics And The Feminine Film And Culture Series

In the s, Levinas emerged from the circle of intellectuals surrounding Jean Wahl as a leading French thinker. His work is based on the ethics of the Other or, in Levinas's terms, on "ethics as first philosophy".

For Levinas, the Other is not knowable and cannot be made into an object of the self, as is done by traditional metaphysics which Levinas called "ontology". Levinas prefers to think of philosophy as the "wisdom of love" rather than the love of wisdom the literal Greek meaning of the word "philosophy".

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In his view, responsibility toward the Other precedes any "objective searching after truth". Levinas derives the primacy of his ethics from the experience of the encounter with the Other. For Levinas, the irreducible relation, the epiphany, of the face-to-face, the encounter with another, is a privileged phenomenon in which the other person's proximity and distance are both strongly felt. One instantly recognizes the transcendence and heteronomy of the Other. Even murder fails as an attempt to take hold of this otherness.

While critical of traditional theology, Levinas does require that a "trace" of the Divine be acknowledged within an ethics of Otherness. This is especially evident in his thematization of debt and guilt. It is as though I were responsible for his mortality, and guilty for surviving.

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The face of the Other comes toward me with its infinite moral demands while emerging out of the trace. The trace of the Other is the heavy shadow of God, the God who commands, "Thou shalt not kill! The very metaphysics of signification subtending theological language is suspected and suspended by evocations of how traces work differently than signs.

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Nevertheless, the divinity of the trace is also undeniable: "the trace is not just one more word: it is the proximity of God in the countenance of my fellowman. Following Totality and Infinity , Levinas later argued that responsibility for the other is rooted within our subjective constitution. It should be noted that the first line of the preface of this book is "everyone will readily agree that it is of the highest importance to know whether we are not duped by morality. Subjectivity, Levinas argued, is primordially ethical, not theoretical: that is to say, our responsibility for the other is not a derivative feature of our subjectivity, but instead, founds our subjective being-in-the-world by giving it a meaningful direction and orientation.

Emanuel Levinas: The Face Of Another

Levinas's thesis "ethics as first philosophy", then, means that the traditional philosophical pursuit of knowledge is secondary to a basic ethical duty to the other. To meet the Other is to have the idea of Infinity. The elderly Levinas was a distinguished French public intellectual, whose books reportedly sold well. He had a major influence on the younger, but more well-known Jacques Derrida, whose seminal Writing and Difference contains an essay, "Violence and Metaphysics", that was instrumental in expanding interest in Levinas in France and abroad.

His work has been a source of controversy since the s, when Simone de Beauvoir criticized his account of the subject as being necessarily masculine, as defined against a feminine other. While other feminist philosophers like Tina Chanter have defended him against this charge, increasing interest in his work in the s brought a reevaluation of the possible misogyny of his account of the feminine, as well as a critical engagement with his French nationalism in the context of colonialism.

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Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series) Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)
Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine (Film and Culture Series)

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