scholarly journals Levinas and the Significance of Passivity in the Christian Religious Experience

Open Theology ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 511-519
Author(s):  
James Cyfko
Keyword(s):  
Religious Experience ◽  
Active Agent ◽  
The Self ◽  
The Other ◽  
The Face

Abstract Analyzing the tendency of Christian believers to rationalize the religious experience of the face of the Other, I reveal through Levinas, how, in doing so, they paradoxically neglect to perceive God, who is love. I will focus on the appropriate response shown by both Levinas and Christ in the inter-human drama, specifically, that of passive kenosis, as opposed to self-preserving activity. In undergoing the an-archic passion of the Other, I encounter a possibility of transformation from my self qua ego which disconnects me from reality, to my self qua responsibility which throws me back into my finitude. This becomes most powerful upon experiencing the Crucifixion of Christ, as ‛I’, as active agent, become traumatically substituted by ‛me’, as passive recipient. When I surrender to this accusative gaze of the face of Christ which pierces my egoistic shell, I encounter, according to Levinas, the infinite demands of the vulnerable Other haunting me before ontological qualification. In this, I experience the trace of the inescapable Infinite who calls me to holiness. This holiness can only be reached if I cease to manipulate God, instead allowing him the freedom to do with me as he wills through the self-emptying passivity which Levinas describes.

scholarly journals The face-to-face encounter in indigenous health care: a perspective in Lévinas

2018 ◽  
Vol 71 (suppl 6) ◽  
pp. 2848-2853
Author(s):  
Diomedia Zacarias Teixeira ◽  
Nelson dos Santos Nunes ◽  
Rose Mary Costa Rosa Andrade Silva ◽  
Eliane Ramos Pereira ◽  
Vilza Handan
Keyword(s):  
Indigenous Health ◽  
A Priori ◽  
The Self ◽  
The Other ◽  
Face To Face ◽  
Radical Alterity ◽  
The Face ◽  
Care Practices ◽  
Reflective Study ◽  
Outpatient Settings

ABSTRACT Objective: To reflect on the sensitive behaviors of indigenous healthcare professionals based on the philosophy of Emmanuel Lévinas, to ratify completeness, equity, and humanity. Method: reflective study. Reflection: Studies have identified inadequacies in meeting the indigenous singularities. In the hospital and outpatient settings, they are diluted in the search for care. The difficulty of the professionals to admit them generates conflicts and non-adherence of indigenous individuals to treatments that disregard their care practices. In Lévinas, consciousness requires, "a priori," sensitivity to access the Infinity on the Face of the Other, which in the face-to-face encounters is presented to the Self as radical Alterity, proposing an Ethical relationship through transcendence. The freedom of the Self as to the Other is finite, as the Self cannot possess the Other, and infinite for its responsibility for the Other. Final considerations: The Self builds essence and existence in responsibility. In the Ethics of Alterity, in Lévinas, reflections are proposed that influence sensitive behaviors.

From the Double Movement to the Double Danger: Kierkegaard and Rebounding Violence

2009 ◽  
Vol 102 (3) ◽  
pp. 327-352
Author(s):  
Matthew C. Bagger
Keyword(s):  
Nineteenth Century ◽  
Religious Experience ◽  
Soren Kierkegaard ◽  
The Other ◽  
Double Movement ◽  
The Face ◽  
Selection Of

In the introduction to Prey into Hunter: The Politics of Religious Experience, Maurice Bloch makes some forthright admissions about the methodological and theoretical pitfalls threatening a project of the scope he undertakes in this slim, provocative volume. He acknowledges, for instance, the temptation, when arguing for what he describes as a “quasi-universal” religious structure, to present “a tendentious selection of examples, and make this structure appear to be present everywhere.”1 In the face of this danger, independent readers, who “choose to continue the exercise by trying to see whether what is proposed here stands up to the test of the other cases they know” become the most important critical constraint.2 In what follows I test Bloch's theory of rebounding violence against the thought of Søren Kierkegaard, the nineteenth-century Danish theologian.

scholarly journals Ali Smith’s There But For The: Identity, Hospitality and Transcendence in the Age of Surveillance

2020 ◽  
Vol 20 (1) ◽  
pp. 53-74
Author(s):  
Andrei-Bogdan Popa
Keyword(s):  
Narrative Identity ◽  
Personal Information ◽  
The Self ◽  
The Other ◽  
Face To Face ◽  
The Right To Privacy ◽  
The Face ◽  
The Right ◽  
The Stranger ◽  
Subjective Identity

Abstract The aim of this essay is to prove that, throughout Ali Smith’s There But For The (2011), the “narrative” subjective identity (Alphen 83) accessed via the face-to-face relation (Levinas and Hand 42), as well as through storytelling itself, is liable to be turned into archivable information under the pressures of a surveillance state in which its citizens are complicit. I will use this archival/narrative identity dyad as articulated by theorist Ernst van Alphen in order to investigate at length the novel’s staging of hospitality as corrupted by surveillance. I will oppose the notion of identity as information against Emmanuel Levinas’s conception of the face-to-face relation (Levinas and Hand 42), whereby true hospitality depends upon the mutual respect one person has for the absolute singularity of the other, which involves personal information and the right to privacy. As it will become apparent, these identities lose or gain agency according to the engagement of the self with a newly arrived foreign alterity. Thus, the arrival of strangers throughout Smith’s novel thematizes the scenario of hospitality in tension with the stranger as surveyor or as surveyed. The doubling of language, the self-editing of one’s discourse and the risky openness towards the Other are modes of resistance that eschew the artificial categorizations upon which the archival identity is contingent. However, the bridge from interiority to exteriority is mediation. Smith therefore develops a conception of secularized Grace that works by exploring the revolutionary potential of this very mediation and can disrupt the logic of tyrannical surveillance. Part of this approach to history and language is informed by the witnessing of the traces left on the bodies of martyrized dissidents by unjust systems at their apex. There But For The is narrated by four characters in the mediatic aftermath of a bourgeois dinner party in an affluent suburb of London that witnessed the sudden and unexplainable reclusion of Miles Garth into the spare room of his stunned hosts. The event, as well as those leading up to and following it, is recounted by a grieving nature photographer in his sixties named Mark; May, a rebellious old woman suffering from dementia; an unemployed, middle-aged Anna; and Brooke, a ten-year old girl and voracious reader. The essay will approach these characters’ meditations upon the nature of identity as split between its narrative and archival forms.

scholarly journals Algorithmic anxiety: Masks and camouflage in artistic imaginaries of facial recognition algorithms

2019 ◽  
Vol 6 (1) ◽  
pp. 205395171985153 ◽  
Author(s):  
Patricia de Vries ◽  
Willem Schinkel
Keyword(s):  
Facial Recognition ◽  
The Self ◽  
The Other ◽  
Big Brother ◽  
Other Hand ◽  
Recognition Algorithms ◽  
The Face ◽  
The One

This paper discusses prominent examples of what we call “algorithmic anxiety” in artworks engaging with algorithms. In particular, we consider the ways in which artists such as Zach Blas, Adam Harvey and Sterling Crispin design artworks to consider and critique the algorithmic normativities that materialize in facial recognition technologies. Many of the artworks we consider center on the face, and use either camouflage technology or forms of masking to counter the surveillance effects of recognition technologies. Analyzing their works, we argue they on the one hand reiterate and reify a modernist conception of the self when they conjure and imagination of Big Brother surveillance. Yet on the other hand, their emphasis on masks and on camouflage also moves beyond such more conventional critiques of algorithmic normativities, and invites reflection on ways of relating to technology beyond the affirmation of the liberal, privacy-obsessed self. In this way, and in particular by foregrounding the relational modalities of the mask and of camouflage, we argue academic observers of algorithmic recognition technologies can find inspiration in artistic algorithmic imaginaries.

Face to Face, Hand to Hand: Relations of Exchange in Hamlet

2019 ◽  
pp. 109-131
Author(s):  
Emily Shortslef
Keyword(s):  
The Self ◽  
The Other ◽  
Ethical Relation ◽  
Face To Face ◽  
Mutual Awareness ◽  
The Face ◽  
Sense And Respond ◽  
The Way

In this essay, Emily Shortslef reads three linked encounters between Hamlet and Laertes in Act 5 of Hamlet—their fight at Ophelia’s grave, Hamlet’s recollection of this event in his subsequent expression of remorse, and their fatal duel before Claudius—in relationship to Levinas’s conceptualization of the face-to-face encounter as the ethical relation. She shows how Levinas’s notion of the self as constituted through the encounter with irreducible and unknowable alterity makes these scenes visible as moments in which the self is called into question by the other. At the same time, in contrast to Levinas’s famously asymmetrical concept of relationality and responsibility, the relationality that emerges in these scenes—one generated by the risk inherent in fighting on stage—necessitates mutual awareness of the other’s presence, careful attunement to movement, and reciprocal gestures of provocation and response. Each character discloses himself through the way that their facing bodies sense and respond to the other’s motion. In these antagonistic but collaborative encounters between Hamlet and Laertes, Shakespeare stages a relation of exchange that at the end of the play will also enable an exchange of forgiveness.

scholarly journals Phenomenology and the Possibility of Religious Experience

Open Theology ◽  
2017 ◽  
Vol 3 (1) ◽  
Author(s):  
Ronald L. Mercer
Keyword(s):  
Religious Experience ◽  
Religious Language ◽  
The Self ◽  
Human Beings ◽  
Theological Turn ◽  
Human Situation ◽  
The Face ◽  
The Subject ◽  
The Way ◽  
Idea Of God

AbstractWork in what has been known as the theological turn in French phenomenology describes the way in which human beings are always, already open to a religious encounter. This paper will focus on Levinas as a proper transcendental phenomenologist as would be characterized by parts of Husserl and Husserl’s last assistant Eugen Fink. What Levinas does in his phenomenology of the face/other (which gets tied up in religious language) is to describe an absolute origin out of which the subject arises. This point of origin structures the self in such a way as to always, already be open to that which overflows experience and, thus, makes possible the very experience of an encounter with the numinous. Such an approach to religious experience for which I am arguing simply takes Levinas at his word when he declares “The idea of God is an idea that cannot clarify a human situation. It is the inverse that is true.” (“Transcendence and Height”) Understanding the structure of the subject as open to that which cannot be reduced/totalized/ encapsulated is to recognize that the human situation is ready for the possibility of religious experience.

scholarly journals The role of the Other in getting to know the self

KÜLÖNBSÉG ◽  
2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Eszter Rembeczki
Keyword(s):  
Twentieth Century ◽  
The Self ◽  
The Other ◽  
The World ◽  
The Face ◽  
Practical Life

The paper investigates the role of the other in the emergence and understanding of the self both in Descartes’ philosophy and in phenomenological theories based on Descartes. For Descartes, the thinking entity is almost closed into itself, but upon close inquiry it turns out that ideas of other entities filter into its thinking and eventually influence it. Therefore, the ego’s experience of itself depends of its experience of other ideas, while the ego active in practical life is constituted through its relation to things encountered in the world. In some twentieth-century approaches the ego can only understand itself through another ego. For Husserl, the self comprehends itself as the not-Other, while for Levinas the face of the Other constitutes the self of the Ego receiving it, through their radical difference.

Levinas, Emmanuel (1906–95)

2018 ◽  
Author(s):  
Robert Bernasconi
Keyword(s):  
The Self ◽  
The Other ◽  
Face To Face ◽  
Phenomenological Philosophy ◽  
Starting Point ◽  
The Face

In the 1930s Levinas helped to introduce the phenomenological philosophy of Husserl and Heidegger to the French. Subsequently his work attained classic status in its own right for his attempt to explore the meaning of ethics from a phenomenological starting-point. In Totalité et infini (1961) (Totality and Infinity, 1969) Levinas locates the basis of ethics in the face-to-face relation where the Other puts me in question. My obligations to the Other are not contracted by me. They not only precede any debts I incur, but also go beyond anything I could possibly satisfy. In later works, most notably Autrement qu’être (1974) (Otherwise than Being, 1981) Levinas explores further the preconditions of this account, most especially by investigating the I that was said to be put in question in the encounter with the Other. In analyses that stretch phenomenology to its limits and beyond, Levinas finds alterity within the self.

Feeling ‘Like a Work-Girl’: Class, Intimacy and Alienation in ‘The Garden Party’

2016 ◽  
Author(s):  
Rebecca Thorndike-Breeze
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Turn Of The Century ◽  
The Self ◽  
The Other ◽  
Class Relations ◽  
The Core ◽  
The Uncanny ◽  
The Face ◽  
Upper Middle Class

This essay argues that ‘The Garden Party’ confronts us with the uncanny intimacy and alienation created by class relations in the upper-middle-class household at the turn of the century. The consequences of protagonist Laura Sheridan’s desire and failure to transcend what she calls ‘absurd class distinctions’ (288) are well established in Mansfield criticism, and psychological readings of ‘The Garden Party’ often consider how the working class Other influences Laura’s developing subjectivity. In this essay, I draw upon similar psychological frameworks to examine how ‘The Garden Party’ deals with the idea of working-class selves – not just Others. I contend that, though it does not render the inner lives of its working-class characters, ‘The Garden Party’ still raises important questions about the selfhood of the Other, and the uncanny, sometimes abject, sense of the Other within one’s self.Through a series of uncanny parallels between middle and working-class life, ‘The Garden Party’ collapses the distance between Laura and the working class. As it does, it confronts us with questions about what it means to stare the working class Other in the face – as Laura stares into the swollen, grief-stricken face of Scott’s widow – and to realize that the Other is at the core of the self.

Theatre of Witness: Passage into a New Millennium

1996 ◽  
Vol 12 (47) ◽  
pp. 266-278 ◽  
Author(s):  
Karen Malpede
Keyword(s):  
New York ◽  
Gulf War ◽  
The Self ◽  
The Other ◽  
Former Yugoslavia ◽  
Feminist Theatre ◽  
The Arts ◽  
The Face ◽  
Women In Theater ◽  
New Millennium

Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to writing and experiencing plays she calls ‘theatre of witness’ – in which the witnessing imagination affirms connections ‘based upon the human capacities to experience compassion and empathy for the self and for the other as powerful, motivating forces’. Karen Malpede is a widely performed and published American playwright and director, currently with the Theatre Three Collaborative in New York, where she also teaches at NYU's Tisch School of the Arts. Her People's Theater in America (1972) was a seminal study of its subject, as was her Women in Theater (1984) of the feminist theatre aesthetic.

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