Emmanuel Levinas (1906-1995): The Other as the Lost Mirror of the Self

Keyword(s):  
The Self ◽  
2020 ◽  
Vol 20 (2) ◽  
pp. 234-247
Author(s):  
Erica Resende

The aim of this article is to survey the implications of the identity/alterity nexus in international relations (IR) as related to processes of othering for understanding conflict and violence in global politics. I will offer what I could call an ontology of difference in global politics, where I stress the reliance of understanding othering practices in global politics, as I explore two cases from which I ask the following questions: How do identity and identity formation processes occur and develop at different levels, times and dimensions? How do discourses of differentiation and identification help construct state identities and interests? Following Emmanuel Lévinas, I will argue that by seeking ways to reach out towards the Other, we free ourselves from the restraints of selfishness, from indifference and isolation. Finding and coming to terms with a composition of the Self that also includes the Other enables us to take responsibility for him/her inasmuch it prevents the conditions for violence and conflict.


Author(s):  
Pamela Anderson

A reading of Luce Irigaray suggests the possibility of tracing sexual difference in philosophical accounts of personal identity. In particular, I argue that Irigaray raises the possibility of moving beyond the aporia of the other which lies at the heart of Paul Ricoeur's account of self-identity. My contention is that the self conceived in Ricoeur's Oneself as Another is male insofar as it is dependent upon the patriarchal monotheism which has shaped Western culture both socially and economically. Nevertheless there remains the possibility of developing Ricoeur's reference to 'the trace of the Other' in order to give a non-essential meaning to sexual difference. Such meaning will emerge when (i) both men and women have identities as subjects, and (ii) the difference between them can be expressed. I aim to elucidate both conditions by appropriating Irigaray's 'Questions to Emmanuel Levinas: On the Divinity of Love.'


2009 ◽  
Vol 2 (1) ◽  
pp. 132-145 ◽  
Author(s):  
Petrus Van Ewijk

In David Foster Wallace’s Infinite Jest, the presence of Alcoholics Anonymous can be considered as an attempt to come up with a solution for both the addiction and the solipsism of the characters. AA tries to accomplish this by reconnecting the addict with the “Other”. The assimilation of the “Other” by the totalizing tendency of the self is dropped in favor of an earnest connection. This article focuses on the similarities between AA’s methods, Ludwig Wittgenstein’s philosophy of the language-game, Emmanuel Levinas’ ethics of the “Other” and Martin Buber’s I and Thou. It illustrates how, in light of this knowledge, a reader might be able to uncover moments of earnestness in Infinite Jest, as well as pick up on the rules necessary to counter contemporary American solitude.


Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 114
Author(s):  
Mette Blok

This essay aims to give an overview of the topic ethics and literature in Stanley Cavell’s complete oeuvre. It argues that Cavell’s preoccupation with literature is, from beginning to end, primarily ethical, even though he takes his point of departure in epistemological skepticism. Recent research on the affinities between Cavell’s early writing on Shakespearean tragedy and the ethics of Emmanuel Levinas has helped to establish this but the question of how this part of Cavell’s work is related to his later development of Emersonian perfectionism is rarely touched upon. Consequently, this essay further argues that skepticism and perfectionism in Cavell’s thinking are two sides of one and the same ethics, which are bound together by the genre of romanticism. While Cavell’s work on skepticism is primarily concerned with the other, his work on perfectionism is primarily concerned with the self. Finally, this essay marks the point where Cavell’s and Levinas’ overall thinking part ways due to the fact that Cavell embraces Emersonian perfectionism.


2020 ◽  
Vol 8 (1) ◽  
pp. 82
Author(s):  
Mehrdad Bidgoli

In this essay, I aim to study comedy and humour from an ethical perspective. My main proposal is that comedy and humour can be understood alternatively in the light of ethics, and in one sense, they actually begin, more effectively, with an ethical sensibility. Effective comedy and humour initiate through an ethical sensibility called “hospitality”; ideally, they are preceded by this ethical openness. I will argue that it is this pre-original ethical hospitality and openness that can give rise to more effective moments of comedy, humour, carnival, festivity and also laughter, opening the Self to the Other in order to be able to enter into a disinterested humorous (dialogic) experience. Hospitality is of prime importance here because it turns out to be part and parcel of comedy as it also underlies the ethics of alterity. I therefore suggest that the thoughts of both Emmanuel Levinas and Mikhail Bakhtin can give rise to a fruitful study of ethics, comedy and humour. I will “reduce” socio-political complexities of our daily life-world to comic moments through Bakhtin, and then expose the reader to a Levinasian simplicity and ethical openness that actually takes place before effective comedy and humour can begin. In this essay, I mainly have literary/critical aims, and to fulfil that aim, I will briefly discuss two Shakespearean works and contextualize my thesis. The matter of studying comedy, humour and ethics in a broader cultural, social and/or philosophical context is open for other thinkers.


Author(s):  
Claire Katz

Emmanuel Levinas (b. 1906–d. 1995) was a French-Jewish thinker known primarily as the philosopher of the ‘other.’ He studied with Husserl and Heidegger in the 1920s. He introduced phenomenology to France through his translation of Husserl’s Cartesian Meditations into French, and he developed a lifelong friendship with Maurice Blanchot. Prior to the rise of Hitler and Nazi Germany, Levinas’s philosophical work focused on Husserlian phenomenology. His thought took a dramatic turn in the mid-1930s when he focused on the philosophical threat of Nazism. He spent 1940–1945 in a German POW camp. Returning to Paris after the war, he immediately went back to work for the Alliance Israélite Universelle (AIU), where he became director of the École Normale Israélite Orientale (Enio), the Jewish day school. He resumed working on his question from the 1930s—the philosophical problem of identity and transcendence—with an added urgency in the wake of World War II. From 1946 until his death in 1995, Levinas’s ethical project searched for a way to address this philosophical problem of escape, developing a view of the self as an ethical subject that allows one to transcend the self without leaving the body behind. From the 1940s to the early 1960s, he developed the first version of his ethical project. In the late 1960s and early 1970s, he responded to criticisms of that early work. Central to Levinas’s description of the ethical relationship are references to literary works including Dostoyevsky and Shakespeare. Although Levinas was an observant Jew, the biblical narratives, in addition to being part of a sacred text, also serve as rich sources of examples for the philosophical descriptions of the ethical relationship he develops. Levinas is not obviously identified with literary theory—not in the way that Derrida is, for example. He did become popular within literary theory circles in the 1990s and might be taught more frequently in comparative literature departments than in philosophy departments, especially in the United States. His friendship with both Blanchot and Derrida had a significant impact not only on their thinking but also those who whose work was influenced by them. References to terms like the other/Other, the trace, hospitality, ethics, and alterity found throughout Blanchot and Derrida, and now more commonly in literary theory, can be traced back to Levinas’s ethical project.


2013 ◽  
Vol 30 (2) ◽  
pp. 231-238 ◽  
Author(s):  
Emanuel Meireles Vieira ◽  
Francisco Pablo Huascar Aragão Pinheiro

The paper discusses the possibilities of host of alterity in the therapeutic process of the Person Centered Approach. The debate is based on the ethics of Emmanuel Levinas, for whom subjectivity would be formed from the relationship with the absolute other. The therapeutic change process that aims to further integrate the experience by the self is questioned. On the other hand, from a reading of a Rogerian clinical case, it is pointed out the externality of experience as an estrangement that allows one to recreate themselves. This research shows the interiority eroded by the organism that arises as other-of-self, sieve for the experience. It is conclude that the person-centered psychotherapy, beyond an encounter with oneself, seems to point as one of its purposes the clash with the radically different. Such discussion alludes to a political repositioning of the Person Centered Approach in its ways to deal with the difference.


Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 422
Author(s):  
Ephraim Meir

Mahatma Gandhi and Emmanuel Levinas have much in common. They interpret religion in a radical ethical way and develop an ethical hermeneutics of religious sources. Levinas’s thoughts on a holy history, not to be confused with history, are comparable with Gandhi’s swaraj as the spiritual independence and self-transformation of India. Escaping war logics, they maintain a “beyond the state” in the state and insert ethics in politics. Yet, Gandhi’s ethico-politics works with radical interrelatedness, whereas Levinas differentiates more between the self and the other. Gandhi trusted that, in the end, the good would vanquish evil. Levinas, in turn, did not venture into the future: the present was under “eschatological judgment.” Gandhi’s love of the enemy and his attempt to soften the opponent’s heart are absent in Levinas’s metaphysics. In addition, Levinas does not radically deconstruct the term self-defense, although Gandhi notoriously made also exceptions to his ahimsa. A dialogue can be established between Levinas’s ethical metaphysics and Gandhi’s ahimsa and satyagraha. Both thinkers make a radical critique of a peace based on rational contracts and equate peace with universal brother- and sisterhood. Without underestimating the many similarities between Levinas and Gandhi, I also highlight their dissimilarities. I argue that precisely the differences between both thinkers allow for a “trans-different” dialogue, which respects specificities and promotes communication, in a movement of hospitality and mutual learning.


2021 ◽  
Vol 25 (3) ◽  
pp. 362-385
Author(s):  
Michael Burke

In this article, I explore what I call the persecutory trope – which underscores the alterity of the phantom and its relentless haunting and spectral oppression of the protagonists – in recent American ghost films, connecting it to the ethical thought of the continental philosophers, Emmanuel Levinas and Jacques Derrida. Films like The Ring (Gore Verbinski, 2002), The Grudge (Takashi Shimizu, 2004), It Follows (Robert Mitchell, 2014), and Sinister (Scott Derrickson, 2012) depict terrifying spectral antagonists whose relentless persecution of the protagonists often defies comprehension and narrative closure. I suggest that these films comprise a specific supernatural subgenre due to the particular way in which their specters haunt the victims. The relentlessness of the spectral assailant, and the foreclosure of actions by which the specter is either expelled from or reintegrated into symbolic understanding of its victim, can be construed in terms of the ethical relationship between the other and the self in the work of Levinas and Derrida. Their focus on the moral agent's responsibility to an other, an obligation that the agent does not undertake voluntarily, entails the spectralization of ethical responsibility insofar as it does not rest on solid, evidential grounds. This article shows how the spectralization of the ethical resonates in recent American ghost films through the disruptive effects of the specter's haunting and responsive mourning enacted by protagonists.


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