This article argues that literature is the necessary foil to Emmanuel Levinas’s development of the category of religion, as the site of relation between the same and the other. The essay tracks Levinas’s dependence on literature to illustrate alterity, but also shows that literature functions as religion’s rival in Levinas’s thought. Playing the terms of religion, literature, and philosophy off one another, the article argues, Levinas was also making an interception into a larger post-World War II debate over which of (...) philosophy’s competing discourses, literature or religion, would win the ascendant seat in the post-war context. (shrink)

Across four decades of writing, Levinas repeatedly referred to the Holocaust as ‘the Passion of Israel at Auschwitz’. This deliberately Christological interpretation of the Holocaust raises questions about the respective roles of Judaism and Christianity in Levinas’ thought and seems at odds with his well-known view that suffering is ‘useless’. Basing my interpretation on the journals Levinas wrote as a prisoner of war and a radio talk he delivered in September 1945, I argue that his philosophical project is best understood (...) as an ontological rendering of Judaism that accounts for the opening or transcendence of sense and intelligibility. Judaism provides Levinas with a salient critique of liberal and idealist philosophies of the subject and an alternative to fundamental ontology. I show how Levinas’ account of the ‘Passion of Israel’ can be read within the exegetical history of Jewish accounts of divine suffering and thereby effects a reversal of the Christian typological gaze. I conclude by suggesting that Levinas’ recourse to Judaism as a philosophical category does not assume a dogmatic origin to philosophy but ‘formally indicates’, in the Heideggerian sense, the phenomenological origins of normativity. In this respect, the ‘Passion of Israel’ involves not only a reversal of the Christian typological gaze but also a deconstruction of Judaism. (shrink)

I argue that the il y a is intrinsically connected to Levinas’s understanding of the tragic, and that Levinas offers an original reading of Shakespearean tragedy that goes beyond traditional aesthetic conceptions of artistic and tragic form and breaks with ancient tragedy. The il y a is implicated in the limit moment Levinas encountered while in captivity, suspended from the world, when time was out of joint. Focusing on Hamlet, who some have argued represents a failure of aesthetic form, I (...) suggest rather that in construing Hamlet as the tragedy that constitutes a reflection on the meaning of the tragic il y a, Levinas identifies Shakespeare’s originality as a tragedian by pointing to the ungraspability of the formless. For Levinas, the tragic lies not in death but in having to be. Levinas’s incipient theory of Shakespearean tragedy provides insight into the complex role art plays for Levinas. (shrink)