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 end result could be a textual content just like the current one.” — from half I: Stagework
In a sequence of meditations responding to writings through Emmanuel Levinas, David Appelbaum means that a unsuitable grammar warrants Levinas to communicate of language on the provider of ethics. it's the nature of functionality that he errors. Appelbaum articulates this flaw via 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 in actual fact, 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 right kind matrix for figuring out the otherness and beyond-being that Levinas seeks in his paintings
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Extra resources for A Propos, Levinas
He attempts to make the distinction sound by revolving it around the more common “I promise” as exemplary of the former. 13 Interesting in its own right, the argument doesn’t go far enough to show how the performative is of extralinguistic origin. This needs emphasis. 14 The origin is posited by linguisticality, but the “what” that posits linguisticality remains at issue with the performative. The performative doesn’t belong to language as a voice, mood, or mode. That it registers on language and shares the register with language, is true, but it shares it as a reticent, discreet partner.
The butt of offensive humor is that, as Blanchot sees, the image that floats over nothing is ambiguous in its reference, and the duality undoes the Sinngebung. Its “meaning does not escape into another meaning, but into the other of all meaning and, because of ambiguity, nothing has meaning, but everything seems to have infinitely much meaning” (GO, 89). Art as shadow, moreover, Part II: À Propos 35 lives wherever discourse does, a parasite in a host. It lives with a similar suspension of the teleological since ultimately it is happy to destroy order and restore anarchy.
20 An anteriority that wishes to defer the posterior inescapably prompts the proposition—which enunciates its declamation of the world. Myth is not literary narrative (the birth of Aphrodite, the death of Semele) but a movement whereby the repressed is put into format. Elements formatted so as to ensure an eternal recommencement appears to hold sway even though the time in some sense recorded cannot be gathered unto a beginning. , metaphor—retells or replaces a repression of a “dangerous supplement”—the trace—by way of metaphor.
A Propos, Levinas by Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David