By Michael Fagenblat
"I am now not a very Jewish thinker," stated Emmanuel Levinas, "I am only a thinker." This booklet argues opposed to the assumption, affirmed via Levinas himself, that Totality and Infinity and differently Than Being separate philosophy from Judaism. by way of analyzing Levinas's philosophical works throughout the prism of Judaic texts and ideas, Michael Fagenblat argues that what Levinas known as "ethics" is as a lot a hermeneutical product wrought from the Judaic history as a sequence of phenomenological observations. interpreting 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 which means of religion after the loss of life of epistemology.
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Extra resources for A Covenant of Creatures: Levinas's Philosophy of Judaism (Cultural Memory in the Present)
Hence, perhaps we do not live in a world or in several worlds. Perhaps it is rather that the world or worlds unfold, diverge, or intersect in us and through us. Are we therefore distinct from the world? This is our first question. This new plurality—this other way of naming and thinking a multiple that has always been subjacent, subtending—resonates, it seems to us, as a possible meeting place for analytic and continental philosophies. Is there fodder here for discovering if not a point of agreement at least a convergence between intellectual currents or circles that are both so distant in their methods—and sometimes in their wagers— and yet so close in the material that they create or dismantle to the point of contact, to the point of touching?
There is a strange tension between an implied unity of purpose and the proliferation of manners, methods, and practices. Whereas Batteau writes “art” in the singular, thus leaving an indelible mark on Diderot, the Schlegel brothers, Kant, and Hegel, Lessing departs definitively from the ut pictura poesis by demonstrating that the agape mouth of Laocoon obeys an independent logic of its own. Take the hierarchy of Horace, whose friend was Virgil and whose benefactor was Maecenas. This hierarchy, which no longer has any significance, was debated throughout history and overthrown more than once up until the 30 Less Than One, Then Renaissance—to establish it definitively was the goal of Leonardo da Vinci’s Treatise on Painting.
Still it does not differentiate on its own nor does it resolve itself in differences. It differs from and defers itself—which must be understood according to the logic of différance: This differing and deferring does not occur to it but is itself this differing and deferring. If one may say so, it “is” only—but integrally—the movement. It is the push, the pulsion that carries itself and that carries forward— one that communicates itself to all existence and to all existences. One must not overlook the fact that in the famous “one differing from itself” of Heraclitus, the verb diapherō must also or first be understood according to its value of transporting, movement, and trembling that carries one away.
A Covenant of Creatures: Levinas's Philosophy of Judaism (Cultural Memory in the Present) by Michael Fagenblat