In recent years there has been a resurgence of interest in the work of Emmanuel Levinas, widely recognized as one of the most important yet difficult philosophers of the 20th century. In this much-needed introduction, Davis unpacks the concepts at the centre of Levinas's thought - alterity, the Other, the Face, infinity - concepts which have previously presented readers with major problems of interpretation. Davis traces the development of Levinas's thought over six decades, describing the context in which he worked, (...) and the impact of his writings. He argues that Levinas's work remains tied to the ontological tradition with which he wants to break, and demonstrates how his later writing tries to overcome this dependency by its increasingly disruptive, sometimes opaque, textual practice. He discusses Levinas's theological writings and his relationship to Judaism, as well as the reception of his work by contemporary thinkers, arguing that the influence of his work has led to a growing interest in ethical issues among poststructuralist and postmodernist thinkers in recent years. Comprehensive and clearly written, this book will be essential reading for students and researchers in continental philosophy, French studies, literary theory and theology. (shrink)

In recent years there has been a resurgence of interest in the work of Emmanuel Levinas, widely recognized as one of the most important yet difficult philosophers of the 20th century. In this much-needed introduction, Davis unpacks the concepts at the centre of Levinas's thought - alterity, the Other, the Face, infinity - concepts which have previously presented readers with major problems of interpretation. Davis traces the development of Levinas's thought over six decades, describing the context in which he worked, (...) and the impact of his writings. He argues that Levinas's work remains tied to the ontological tradition with which he wants to break, and demonstrates how his later writing tries to overcome this dependency by its increasingly disruptive, sometimes opaque, textual practice. He discusses Levinas's theological writings and his relationship to Judaism, as well as the reception of his work by contemporary thinkers, arguing that the influence of his work has led to a growing interest in ethical issues among poststructuralist and postmodernist thinkers in recent years. Comprehensive and clearly written, this book will be essential reading for students and researchers in continental philosophy, French studies, literary theory and theology. (shrink)

This lucidly written book looks at the interpretative audacity of five major "overreaders"—Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj Žižek and Stanley Cavell—and asks what is at stake and what is to be gained by their ...

Can the reality of complex moral situations be represented by means other than those of imaginative literature?If we could readily agree with Martha Nussbaum that "certain novels are, irreplaceably, works of moral philosophy" (148), then we might already have an answer to the question of whether or not literature matters. It would matter to us to the exact extent that it might help to make our lives richer, better and fuller. Nussbaum, though, refers only to "certain novels" and not to (...) literature in general. She readily admits that not all novels will suit her interests (45). For every novel that is a major work of moral philosophy, there may be more that are morally indifferent or even reprehensible and damaging. .. (shrink)

This paper derives from an interest in murder. This interest began through reading fictional narratives which ceaselessly stage and restage scenes of murder; but it has also become clear that a range of theoretical texts are no less preoccupied with the basic question, ‘Why kill?’. In particular, the three theorists I shall discuss here, Freud, Girard and Levinas, directly address the question of murder, its causes and consequences. In each case, the theoretical question turns out to depend upon a minimal (...) core narrative in which the stakes of murder are crystallized; rival theoretical accounts are thus also bound up in a competition of stories. As this paper traces a common concern from Freud's Totem and Taboo, through Girard's La Violence et le sacré, to Levinas's Totalité et infini, the question ‘Why kill?’ gets entangled with the dynamics of storytelling and the issue of what it means to do theory. (shrink)

A century after his birth, Emmanuel Levinas is now widely read and established as one of the major thinkers of recent times. The Cambridge Companion to Levinas, edited by Simon Critchley and Robert Bernasconi, gives an informed introduction to the current state of research into his thought. However, despite the widespread acceptance of Levinas's views, some controversial aspects of his work are simplified or avoided. Moreover, telling criticisms have been levelled against him from political and philosophical perspectives. The article suggests (...) that the best way to remain true to his legacy may be to confront and to contest it a little more. (shrink)

The great Roman historian Livy describes a radical attempt at conflict resolution in his version of the story of the Horatii. The warring cities of Rome and Alba agree to settle their differences by pitting two sets of triplets against each other in a battle to the death. Two of the Roman champions, the Horatii, are killed, but the remaining brother wins the day for his city. In a further twist, he then goes on to kill his sister when he (...) finds her grieving for one of the dead Alban brothers, to whom she was betrothed. Although guilty of a dreadful crime, by the will of the people the murderer is spared because of his services to the state. In the version of the story dramatized by the seventeenth-century French playwright Pierre Corneille, it is rather the Roman king who saves the surviving Horatius by deeming that his heroism places him above the law. This article considers whether the interests of the state can offset private crimes, as appears to be the case in the versions of the story told by both Livy and Corneille; and it concludes by referring to Livy's continuation of the story, which shows the resolution of the conflict to be short-lived. (shrink)

Although Levinas showed relatively little interest in secular literature, and indeed he was sometimes distinctly hostile towards it, some of his essays sketch a phenomenological account of the reading experience which is applicable to non-sacred texts. This article compares Levinas’s phenomenology of reading to that of Wolfgang Iser, and argues that it may be susceptible to some of the same criticisms. It then examines Levinas’s 1947 essay “L’Autre dans Proust” in the light of Proust’s Un amour de Swann, suggesting that (...) Levinas’s reading is blind to aspects of Proust’s writing which contradict his ethics. This finally raises questions about the viability of a genuinely enlightening, ethical encounter between reader and text, or between self and other. (shrink)

Love is not stronger than death. In Death and Time Levinasreminds us that, contrary to how it is often quoted or remembered, The Song of Solomonsays that love is as strong as death not stronger than it . Love doesnot conquer death, it does not give to loss a sense which makes it bearable. And yetLevinas goes on to describe the claim that love is stronger than death as a ‘privilegedformula’ , suggesting that even if it is nottrue it is (...) worth saying and believing all the same. He refers to deliberately paradoxicalformulations by Vladimir Jankélévitch according to which love, thought, freedom andGod are all stronger than death, whilst death is also stronger than all of them . So Levinas suggests that love isstronger than death, death is stronger than love, and each is as strong as the other.There is no triumph of one over the other. Against Heidegger, Levinas insists that thedeath which concerns me is not my own so much as that of the beloved other. The deathof the beloved makes of me a guilty survivor, bereft of the possibility of dialogue with thedeceased. But even as I am torn apart in grief, death does not conquer love any morethan love conquers death. Death is not pure nothingness; something persists. Love is as strong as death. (shrink)

This contribution to a symposium on “lyric philosophy” argues that there is much in Jan Zwicky's work that should make it attractive to literary critics, in particular her insistence that form and content are inextricably bound up with one another. Lyric compositions should not be assessed by reason and logic alone, she holds, and they should not be understood solely in terms of their propositional content. She acknowledges that full understanding employs the imagination and takes account of metaphor. However, some (...) critics may be less willing to accept Zwicky's suggestion that there is a world, and an experience of the world, that is available to us without linguistic mediation and structuring. This article questions whether there a kind of meaning that can be understood preverbally and intuitively. The discussion concludes with a consideration of Zwicky's comments on Rainer Maria Rilke's sonnet “Archaic Torso of Apollo.” Contrary to her own principles, she offers a prose summary of the poem that does not take account of its lyric form and thereby misses some of its most enigmatic features. Whereas Zwicky would have it that the reader of such a poem can achieve a preverbal intuition of its meaning, the article suggests that, when we attend carefully to the words of the poem, we will be intriguingly perplexed. (shrink)

The dead will remain with us, Sartre remarks at the end of Les Mots, for as long as humanity roams the earth. The dead are never quite dead; they survive in what Sartre, in L'Etre et le néant, calls 'la vie morte' (dead life). In Huis clos, Sartre envisages an afterlife in which, although they can no longer act, the dead continue to agonize over the meaning of their lives and their now irrevocable actions. Sartre's script of Les Jeux sont (...) faits, filmed by Jean Delannoy and shown at the Cannes Film Festival in 1947, goes a step further. It depicts two dead people given the chance to return to earth in the pursuit of love and, at the same time, the opportunity to rectify their earlier mistakes, to change the meaning of their lives by intervening more effectively in their worlds. Despite its supernatural story line, the stakes of Les Jeux sont faits are recognizably Sartrean. The film serves as an opportunity to probe the themes of freedom, responsibility, choice, the role of the individual agent in history, the self's opacity to itself, the conflict endemic in the human condition and the ways in which external circumstances make a mockery of our endeavours. It asks the question, if we were given a second chance, could we revisit the scenes of our failures and transform them into successes? Could we learn from our mistakes and lucidly remodel the world in the form of our desires? Or are we condemned only to fail again, to make the same mistakes twice over? (shrink)

Something is happening which tears morality from its secure mooring and projects us into uncharted territory. All rules are suspended. We are reminded that no examining magistrate is present; this has now escalated to become a greater metaphysical absence, as the film develops its earlier reference to the murder of God. If God is dead, if God has willed and commanded his own death, what moral nightmare awaits us?

Freedom and the subject in Jean-Paul Sartre -- Freedom and necessity in Jacques Derrida -- Freedom and the subject in contemporary philosophy and theory -- Theorizing pathologies and therapeutics of freedom.

In this introduction to part 2 of the Common Knowledge symposium “Peace by Other Means,” the journal's editor reflects on the difference between the contributions to parts 1 and 2. Whereas the first installment concentrated on ethnography, the second focuses on the peacemaking repertoire of the Greco-Latin tradition, whose basis is psychological. That tradition is characterized by its refusal of wishful thinking about human nature and, in particular, by its doubt about claims that human drives other than thumos — the (...) rage for self-aggrandizement — motivate the initiators of wars. Given this assumption about motive, the Greco-Latin tradition tends also to regard negotiations based on the rational discussion of material interests as unlikely to succeed. Success requires symbolic and ritual gestures — acts of self-humiliation on the part of those apparently with the greatest power — by which thumos is propitiated and pacified. Most of the introduction considers cases of such settlements, including two contemporary efforts at ritual peacemaking, a successful one by Queen Elizabeth II in Ireland and an unsuccessful one by Pope Francis in the Middle East. (shrink)