By Michael Fagenblat
"I am now not a very Jewish thinker," acknowledged Emmanuel Levinas, "I am only a thinker." This e-book argues opposed to the assumption, affirmed via Levinas himself, that Totality and Infinity and in a different way Than Being separate philosophy from Judaism. by way of studying Levinas's philosophical works during the prism of Judaic texts and concepts, Michael Fagenblat argues that what Levinas referred to as "ethics" is as a lot a hermeneutical product wrought from the Judaic history as a chain of phenomenological observations. deciphering the Levinas's philosophy of Judaism inside of a Heideggerian and Pauline framework, Fagenblat makes use of biblical, rabbinic, and Maimonidean texts to supply sustained interpretations of the philosopher's paintings. finally he demands a reconsideration of the relation among culture and philosophy, and of the that means of religion after the demise of epistemology.
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Additional resources for A Covenant of Creatures: Levinas's Philosophy of Judaism (Cultural Memory in the Present)
16 l o o k i n g away tion, the teleology of judgment is eluded, and the world feels lighter. We’re a hair’s breadth here from Kant’s aesthetic reﬂective judgments, which also enjoy the lightness of nonconceptual perception. I’ll explain in a moment why this hair’s breadth nonetheless makes the difference between Kant’s aesthetic and its other. For now, I only want to point out that the suspensiveness and potential evasiveness of appearance with regard to fact—the manner in which object perception holds itself apart from fact perception without negating it, and so lends itself to personiﬁcation as gentle and noncommittal—gives appearance its fanciful appeal.
In what turns out to be a frequent association, Coleridge attributes his enthrallment with spectra and his fear of spectres to something like but worse than the credulity of children. It’s childlike to attach “belief of reality” to ghosts; it’s worse than childlike—it’s incomprehensible—not to believe in ghosts and still be affected by them. Caring about phenomena he doesn’t believe in divides him from “most men,” Coleridge notes with both pride and exasperation. Although caring beyond belief shows off his autonomy, demonstrations of that autonomy, ironically, diminish Coleridge’s credibility with other people, or so he thinks.
The sections of this book are arranged not quite chronologically. 34 The plot designates not a progressive historical development, but the errant route of the recurring association between phenomenality and dissatisfaction, from which glimpses of the history of philosophy can be seen, like the ocean from the road. The texts I consider contribute to larger cultural movements, each of which potentially opens a new arena. Coleridge’s fondness for optical transience informs his invention of a type of modern lyric—a ﬁrst-person poem that rotates around a single transitory “image” (the prototype is “Frost at Midnight,” and it models a privileged brand of lyric poem into the 1970s).
A Covenant of Creatures: Levinas's Philosophy of Judaism (Cultural Memory in the Present) by Michael Fagenblat
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