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 chain of meditations responding to writings through Emmanuel Levinas, David Appelbaum means that a mistaken grammar warrants Levinas to communicate of language on the provider of ethics. it's the nature of functionality that he blunders. Appelbaum articulates this flaw by way of appearing 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 a type of soundstage upon which illustrations seem of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, ideas for giving voice—and now not ethics—as the proper matrix for figuring out the otherness and beyond-being that Levinas seeks in his paintings
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Additional resources for A Propos, Levinas
But what fact? In this case, it is the response to a breakdown of the universal order of linguisticality. The ethical com‑ munity, God, and the demonic are uncannily intertwined in the call. For Levinas, significance lies chiefly in how the I hereby instantiates itself not as pure nominative presence but under an accusation syntacti‑ cally inscribed in the accusative. The performative involves a play, not of an intention but of a non‑intention, somehow enunciated and ready to operate on the Sinngebung, the making‑sense of the situation, and take its linguistical non‑place.
A sheltered immediacy will not be possible tonight. There (if the word there resounds in the depths), an immediacy impressed upon the insomniac is as an awakening to sleepless‑ ness. It has to do with the critical scene, the scene of crisis, which for Levinas is determinate of one’s ethical role, “where nothing and no one can replace him” (OG, 24). The troubling delimits an irreplaceability in the psyche of one wakeful to the face of an otherness that adheres to an inner surface of the skin. The cataclysm of depth is an indubitable triumph for the evil genius.
From a dream of an evil genius to intoxication by wine. Inebriation by language: the advent of a Dionysian stupor. A more vigilant intelligence is more scandalous and diabolical in relation to otherwise than measure, démesuré. It does not call for a dialectical interchange in which derangement would be cured by a Hegelian (or Apollonian) uplifting, on the way to absolute knowledge. 36 À Propos, Levinas It has come to live deranged, délire, but functional in that reason cor‑ responds to “an incessant putting in question, without ultimacy, of the priority and the quiet of the Same, like the burning without consumption of an indistinguishable flame” (OG, 32).