Relevant bibliographies by topics / Lévinas, Emmanuel – Aesthetics

Academic literature on the topic 'Lévinas, Emmanuel – Aesthetics'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Lévinas, Emmanuel – Aesthetics"

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Pfeffer, Renato Somberg. "Martin Buber e Emmanuel L�vinas: semelhan�as e distanciamentos." Caminhos 13, no. 1 (May 12, 2015): 185. http://dx.doi.org/10.18224/cam.v13.n1.2015.185-197.

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Steinsholt, Kjetil. "�Shelter from the Storm�: Pedagogikk i m�te med Bob Dylan og Emmanuel L�vinas." Nordisk tidsskrift for pedagogikk og kritikk 7 (2021): 315. http://dx.doi.org/10.23865/ntpk.v7.3258.

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Aleksandr CHERNYAVSKY. "Albert Schweitzer and Emmanuel Lévinas: Ethics as a Topic of Jewish-Christian Dialog." Social Sciences 51, no. 001 (March 31, 2020): 93–106. http://dx.doi.org/10.21557/ssc.58131360.

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Louis, Agn�s. "Une critique juive de l�Occident chr�tien. Lecture d�Emmanuel L�vinas et de Benny L�vy." Le Philosophoire 51, no. 1 (2019): 97. http://dx.doi.org/10.3917/phoir.051.0097.

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Belmer, Stephanie. "EMMANUEL LEVINAS AND THEODOR ADORNO ON ETHICS AND AESTHETICS." Angelaki 24, no. 5 (September 3, 2019): 29–43. http://dx.doi.org/10.1080/0969725x.2019.1655268.

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Costa, João Paulo. "A turning point? Interview with Emmanuel Falque." Revista Filosófica de Coimbra 31, no. 62 (October 28, 2022): 279–90. http://dx.doi.org/10.14195/0872-0851_62_6.

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An interview with the professor and philosopher Emmanuel Falque, in the context of his passage through the University of Coimbra, in the context of the Journée Internationale d’études philosophiques, which will take place on 26 May 2022, at the Faculty of Letters, entitled: «L’im‑pensable : Aux confins de la phénoménalité». In this interview, In this interview, our author coming to his entire philosophical project, from its origins to his most recent scientific production. The philosopher tells us about the provenance of his thought through his main philosophical works and his existential interpretation and phenomenological reading of patristic and medieval philosophy as well as his debates with phenomenology and contemporary philosophy, particularly French philosophy. Here the epistemological and metaphysical question between philosophy and theology, literature and aesthetics, psychoanalysis and phenomenology is also addressed; the concept of «corps épandu», the corporeality or the embodiment as the cardinal point of human finitude and its incessant search to think our «humanity in common». Emmanuel Falque also presents us in this interview the genesis and the fundamental idea of Hors phénomène, as the central axis of his global philosophical project, but also as the revelation of a certain «turning point», inflexion or even of «radicalization» of his démarche, as well as its possible consequences to rethink aesthetics, ethics, politics and theology. The French thinker also talks to us here about the future of philosophy and the new horizons of his reflection (the new triptych...), about the authors and figures in the history of thought (philosophers or others) who have influenced and impacted his own philosophical‑existential path. Thus, the work of a thinker-philosopher is always an ex-position of himself to others, permanently thinking the world of life, the embodiment of reason in the folds of history.
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O’Brien, Eugene. "‘A Pause for Po-Ethics’: Seamus Heaney and the Ethics of Aesthetics." Humanities 8, no. 3 (August 12, 2019): 138. http://dx.doi.org/10.3390/h8030138.

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In this paper, I examine the connections between ethics and aesthetics in the writing of Seamus Heaney. Looking at Heaney’s neologism of ‘po-ethics’, I move through his poetry and especially his translation of Sophocles’ Philoctetes, entitled The Cure at Troy, and focus on his Fourth Irish Human Rights Commission Annual Human Rights Lecture: Writer & Righter, wherein he traces a number of strong connections between human rights workers and creative writers. The essay is written through a theoretical matrix of the ethical theories of Jacques Derrida, Emmanuel Levinas and Simon Critchley. It looks at poems from Heaney himself, as well as work from Shakespeare, Dante Alighieri, Czeslaw Miłosz, and Primo Levi. It focuses on poetic language as a discourse that can act as a counterweight and as a form of redress on behalf of the dignity of the individual human being against the pressures of mass culture and society.
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Hale, Dorothy J. "Aesthetics and the New Ethics: Theorizing the Novel in the Twenty-First Century." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 896–905. http://dx.doi.org/10.1632/pmla.2009.124.3.896.

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In the introduction to a 2002 special issue of diacritics on ethics and interdisciplinarity, mark sanders asks us to consider, “What points of contact, if any, are there between the current investment in ethics in literary theory, and the elaboration of ethics in contemporary philosophy?” (3). Yet the question behind this question—the one that motivates his selection of essays for the issue—is why literary critics and theorists have drawn their ideas about ethics from Emmanuel Levinas, Jacques Derrida, Michel Foucault, Giorgio Agamben, and Alain Badiou but have felt little or no need to consult past or present moral philosophers. As Sanders goes on to note, while “in North America and the Anglophone world generally, the tendency in ethics has been to bring moral reflection to bear on questions in political theory,” there “has been relatively little attention among literary theorists to developments in disciplinary philosophy” (4).
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Gallagher, Charles R. "Anti-Semitism and Catholic Aesthetics: Jacques Maritain’s Role in the Religious Conversion of Emmanuel H. Chapman." U.S. Catholic Historian 32, no. 2 (2014): 67–90. http://dx.doi.org/10.1353/cht.2014.0010.

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Day, Jason K. "Book Review: Emmanuel Alloa, Frank Chouraqui, and Rajiv Kaushik (eds.), Merleau-Ponty and Contemporary Philosophy (Albany: SUNY Press, 2019)." Journal of French and Francophone Philosophy 29, no. 1-2 (December 10, 2021): 198–202. http://dx.doi.org/10.5195/jffp.2021.984.

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Merleau-Ponty and Contemporary Philosophy is an ambitious collected volume of fourteen chapters, accompanied by an epilogue by Jean-Luc Nancy, in which current Merleau-Ponty scholars together aim to demonstrate the urgent relevance of Merleau-Ponty to contemporary philosophy across a range of fields including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art. Divided into four thematic sections, namely, “Legacies”, “Mind and Nature”, “Politics, Power, and Institution” and “Art and Aesthetics”, this collected volume provides a rich resource for Merleau-Ponty scholars who are interested in novel applications and understudied aspects of his thought. It also opens up Merleau-Ponty’s oeuvre to the general reader, presenting many possible entry-ways into the diversity of his work. In my review of Merleau-Ponty and Contemporary Philosophy, I suggest that each of its thematic sections could have been the subject of a separate volume themselves, and that the volume would then perhaps have not suffered from a number of poorly developed lines of argumentation. But I consider that the inclusion of all these thematically diverse sections in a single volume nonetheless presents a forceful display of the wide-ranging relevance of Merleau-Ponty’s work to contemporary philosophy.
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Dissertations / Theses on the topic "Lévinas, Emmanuel – Aesthetics"

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Eaglestone, Robert. "Emmanuel Lévinas and the ethics of criticism." Thesis, University of Wales Trinity Saint David, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683154.

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Hofmeyr, Augusta Benda. "Ethics and aesthetics in Foucault and Levinas /." Nijmegen : Faculty of philosophy, 2005. http://catalogue.bnf.fr/ark:/12148/cb40087927b.

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Denardi, Marcos Rog?rio. ""O outro crucificado" e "o olhar do outro" : um estudo comparativo entre Jon Sobrino e Emmanuel L?vinas." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2007. http://tede2.pucrs.br/tede2/handle/tede/5871.

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Made available in DSpace on 2015-04-15T12:50:26Z (GMT). No. of bitstreams: 1 388522.pdf: 723229 bytes, checksum: 6eccb9867a509c27546838e8f24258aa (MD5) Previous issue date: 2007-01-10
A presente disserta??o: O Outro Crucificado e o olhar do Outro : um estudo comparativo entre Jon Sobrino e Emmanuel L?vinas, pretende refletir uma categoria filos?fica, que aplicada a teologia compromete na defesa do ser humano: do seu pensar, agir e da sua f?. Nas categorias de: Outro , Olhar , Alteridade e Totaliza??o , tematiza as rela??es e o comprometimento interpessoal, a partir de Emmanuel L?vinas, fil?sofo franc?s e Jon Sobrino, Crist?logo, de El Salvador. Dividido em tr?s se??es, o trabalho inicia clareando a categoria de alteridade e suas constela??es, segundo o pensador franc?s lido com a ajuda de Luis Carlos Susin, Ricardo Timm de Souza e outros int?rpretes, bem como sua aplicabilidade ?s rela??es humanas. A segunda se??o procura descrever em linhas gerais a Cristologia de Jon Sobrino, destacando o conceito de lugar como decisivo para seu pensamento, enquanto a terceira, pretende coadunar o pensamento destes dois autores. Na conclus?o destacam-se as aproxima??es descobertas, com destaque para a rela??o ao seu ambiente e ?s pessoas a partir de onde elaboraram suas reflex?es, em favor dos encurvados , vitimizados e crucificados do nosso tempo
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Purcell, Michael. "Mystery and method : the mystery of the other, and its reduction in Rahner and Levinas." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/12250.

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Karl Rahner, responding to the problems raised by Kant's critical philosophy, sought to present a Thomistic metaphysics of realism in a modern thought-form through a reduction of the interrogative thrust of the intellect to its possibility conditions, and so, like Marechal before him, attain an absolute affirmation of Being. Rahner's transcendental system, however, would seem to have been overtaken by a more existential stress in phenomenological thinking. Emmanuel Levinas, with his thought of the Other and his attempt at an excendence from Being, would seem at first glance to sit uncomfortably alongside Rahner's system, yet, a closer reading of both unearths a remarkable convergence in their thinking. The deeper phenomenological reduction which Levinas undertakes to reveal the inter-subjective context of consciousness helps to humanise Rahner's approach. This thesis attempts a fruitful confrontation of both thinkers by, firstly, indicating the tension between Rahner's own philosophical propaedeutic and his theological writings, particularly on grace, mystery and the love of God and neighbour, where he affirms that human existence is ultimately reductio in mysterium and that human fulfilment is to be found in a personal relationship with a human Other. A second purpose is to show how these same theological themes can be developed from within Levinas' own thought, and how his own philosophy can provide a worthwhile context for Christian theology. The thesis unfolds by considering the various methods - metaphysical, transcendental and phenomenological - which surround both thinkers (Chapter 1) and then proceeds to outline their various philosophical influences (Chapter 2). Since the notion of Being as self-presence is fundamental in Rahner, and since Levinas refuses a philosophy of presence, Chapter 3 questions the privilege of presence. This will lead, in its turn, to a rethinking of the notion of subjectivity: the subject is not to be consider as presence-to-self but as a relationship with the Other (Chapter 4). This relationship is experienced in Desire (Chapter 5) and in the responsibility experienced before the face of the Other (Chapter 6). The relation between ethics (the good) and Being is pursued in chapter 7. Finally, the notion of mystery is indicated as the theme which inspires the work of both Rahner and Levinas (Chapter 8). Rahner's unmastered mystery will become Levinas' incomprehensible infinity in the presence of which the subject is called to response and responsibility.
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Castro, Serrano Francisco de Borja. "Sentido y Alteridad desde el pensamiento de Emmanuel L?vinas: Un intento arqueol?gico para dar cuenta de la figura de la Alteridad Radical como constituyente de sentido del ?sentido?" Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/108483.

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Tesis para optar al grado de Mag?ster en Filosof?a menci?n en Metaf?sica
[...] Luego de explicitar nuestro sentir con el trabajo que estamos concluyendo, podemos decir que nuestra tesis se instala en una discusi?n actual que a su vez es transversal a la historia de la filosof?a Occidental: lo que constituye el Sentido y la Alteridad. Ahora bien, respecto al primer eje tem?tico, podemos decir ?a modo general- que la pregunta por el sentido circula al ser humano desde que ?ste se concibe como un ente que debe hacerse cargo de s? mismo y de los otros, y a partir de la poca delimitaci?n y trazos de los nuevos caminos emprendidos. En esta l?nea, la pregunta por el sentido es un eje articulante de nuestra tesis y adquiere relevancia en tanto pregunta fundamental del siglo XX. El hombre es un buscador de sentido y constantemente intentamos dar respuesta a esta pregunta, la que no es f?cil, justamente porque, en su radicalidad, es una pregunta que al plantearla nos ubica en el ?afuera absoluto? . Y es aqu? donde nos interesa indagar: ?c?mo nos desenvolvemos en la existencia? ?Qu? forma adquiere el sentido en ese ?afuera absoluto?? Eso que est? afuera de nosotros, ?qu? sentido ha ido adquiriendo en el recorrido filos?fico contempor?neo? Desde esta perspectiva, el sentido comenzamos a interrogarlo dando cuenta de que es algo que nos circula con insistencia, pero que no siempre estamos dispuestos a responder y ni siquiera a preguntar. El sentido es un ?mbito que provoca temor, preferimos definirlo como ?pantallas del sentido? al decir de Holzapfel, como ?buen sentido? al decir de Deleuze, para as? calmar las ansiedades que despierta este afuera que nos interpela, que nos invade y que a la vez, nos sostiene. As?, la cotidianidad nos ordena bajo un cierto ?sentido com?n? que permite un funcionamiento en la sociedad, pero cuando nos atrevemos a preguntar por ese ?afuera absoluto? del sentido, ya estamos interrogando un ?mbito metaf?sico, y este es el lugar que nos interesa ?escuchar?.
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Gosta, Tamara. "Persistent Pasts: Historical Palimpsests in Nineteenth-Century British Prose." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/55.

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Persistent Pasts: Historical Palimpsests in Nineteenth-Century Prose traces Victorian historical discourse with specific attention to the works of Thomas Carlyle and George Eliot and their relation to historicism in earlier works by Sir Walter Scott and James Hogg. I argue that the Victorian response to the tense relation between the materialist Enlightenment and the idealist rhetoric of Romanticism marks a decidedly ethical turn in Victorian historical discourse. The writers introduce the dialectic of enlightened empiricism and romantic idealism to invoke the historical imagination as an ethical response to the call of the past. I read the dialectic and its invitation to ethics through the figure of the palimpsest. Drawing upon theoretical work on the palimpsest from Carlyle and de Quincey through Gérard Genette and Sarah Dillon, I analyze ways in which the materialist and idealist discourses interrupt each other and persist in one another. Central to my argument are concepts drawn from Walter Benjamin, Emmanuel Levinas, Richard Rorty, and Frank Ankersmit that challenge and / or affirm historical materiality.
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Vilaró, i. Moncasí Arnau. "La Carícia del cinema: figures de l'amor i de l'alteritat al cinema francès després de la modernitat." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/314385.

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Si tal com va escriure Giorgio Agamben el cinema té per element el gest i no la imatge, el cinema francès nascut en la modernitat ha convertit l’expressió gestual en l’exercici d’una carícia. Un exercici que cerca el secret de les imatges al mateix temps que l’esguarda sense revelar-lo; fundat en la inquietud per veure, i més concretament, en una dialèctica de proximitat i d’exterioritat, que refusa tota tematització, possessió i totalitat del visible. ¿Quina és la lògica d’una mirada la direcció de la qual ve determinada per la significança i la infinitud de la imatge a venir? ¿Quins sistemes generen els films i com es pensa el treball figural quan el desig que provoca el moviment de les imatges implica una separació entre el subjecte i l’objecte, el vident i el visible, el jo i l’altre? El programa filosòfic d’Emmanuel Lévinas sobre una fenomenologia de l’amor entronca amb la transformació del llenguatge que, segons Serge Daney, va suposar la Nouvelle Vague en passar d’un cinema de l’ideal a un cinema de l’alteritat. Si la representació de l’amor al cinema francès configura una tendència estètica en la modernitat en pensar les imatges des de l’aproximació i el desconeixement de l’altre, és perquè aquesta tendència ha dut a replantejar les dialèctiques del llenguatge cinematogràfic que determinen els sistemes figuratius (imatge/paraula, camp/fora de camp, pla/contraplà, pla fix/moviment de càmera, ràcord/tall). D’acord amb aquesta transformació, la tesi que segueix exposa i dilucida les principals línies traçades pels autors que han mantingut l’interès pel relat en un terreny de discussió figurativa on el film esdevé un mètode i un problema a resoldre. En aquest sentit, i per consegüent, la reconsideració fenomenològica d’aquest estudi, i del cinema com a carícia en particular, proposa no només una nova lectura i aproximació historiogràfica, sinó la reconsideració dels principis ontològics del cinema segons André Bazin i més concretament de la imatge-temps que Gilles Deleuze hauria fet ineludible per qualsevol estudi sobre el pensament del cinema modern.
If, as Giorgio Agamben put it, cinema is gestuality rather than image, then the French cinema of modern times has turned gestural expressions into a caressing exercise. Indeed, an exercise which attempts to detect the secret hidden in the images yet one which, once discovered, won’t be revealed given that the impulse of seeing and, more to the point, the dialectics of proximity and exteriority rebuff any attempt to wholly possess or otherwise typecast that which is visible. What is the logic of a glance where the direction is determined by the significance and the infinitude of the image yet to come? What systems are generated by films and how is image work thought out when the desire generated by the movement of images implies a separation between the subject and the object, the viewer and the visible, the I and the other? Emmanuel Lévinas’ philosophical programme of the phenomenology of love clings onto the transformation of language in a way which, according to Serge Daney, was embodied by the Nouvelle Vague when it moved from the film of ideals to that of alterity. In French film, the representation of love tends to conform a modern aesthetic image because it is understood from standpoints based on proximity and the unknowness of the other. This can be explained from the fact that the dialectics of cinematic language have been reconsidered as far as figurative systems (image/word, on screen/out of screen, shot/reverse shot, still shot/moving camera, continuity/cut) are concerned. According to this transformation, the thesis that follows exposes and elucidates the main lines drawn by those authors who have maintained an interest in the field of figurative discourse where film as such becomes a method and a problem to be solved. In this sense and consequently, the phenomenological reconsideration of this study and, in particular, of film seen as a caress, proposes not only a new reading and a historiographical approximation but also the reconsideration of ontological film principles according to André Bazin and more to the point, of image-time which Gilles Deleuze would have deemed essential in any study about thought in modern film.
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Enström, Anna. "Kant och papegojan : Om exemplen i Kritik av omdömeskraften." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9756.

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This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.
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Lee, Robyn Katherine. "Sacrifice and ethical responsibility : Kierkegaard, Levinas and Derrida : three perspectives on singularity and its conflicted relationship to universalism." 2005. http://hdl.handle.net/1828/817.

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Miller, Paul McLean. "Shifting boundaries : an ontology of with-being." Phd thesis, 2007. http://hdl.handle.net/1885/148224.

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Books on the topic "Lévinas, Emmanuel – Aesthetics"

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Seán, Hand, ed. The Levinas reader. Oxford, UK: B. Blackwell, 1989.

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Lessons on the analytic of the sublime: Kant's Critique of judgment, [sections] 23-29. Stanford, Calif: Stanford University Press, 1994.

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The trace of Judaism: Dostoevsky, Babel, Mandelstam, Levinas. Evanston, Ill: Northwestern University Press, 2008.

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Hansel, Joelle. Levinas in Jerusalem: Phenomenology, Ethics, Politics, Aesthetics. Springer, 2010.

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Hansel, Joëlle. Levinas in Jerusalem: Phenomenology, Ethics, Politics, Aesthetics. Springer, 2008.

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Levinas in Jerusalem: Phenomenology, Ethics, Politics, Aesthetics (Amsterdam Studies in Jewish Thought). Springer, 2008.

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Sparrow, Tom. Levinas Unhinged. Hunt Publishing Limited, John, 2013.

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Levinas Unhinged. John Hunt Publishing, 2013.

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Book chapters on the topic "Lévinas, Emmanuel – Aesthetics"

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Marcelle, Daniel. "Emmanuel Levinas (1906–1995)." In Handbook of Phenomenological Aesthetics, 181–85. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_36.

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"Le´vinas, Emmanuel (1905–95)." In Encyclopedia of Modern Jewish Culture, 532–36. Routledge, 2004. http://dx.doi.org/10.4324/9780203494356-71.

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Dorf, Samuel N. "Performing Scholarship for the Paris Opéra." In Performing Antiquity, 79–106. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190612092.003.0004.

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This chapter examines an opera based on an ancient Greek subject created by two scholars of ancient Greek music, dance, and history: Maurice Emmanuel, a composer, musicologist, and dance historian specializing in ancient Greek music and dance, and Théodore Reinach, a librettist, archaeologist, musicologist, classicist, and numismatician. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to the reconstruction of ancient Greek dance and contributions to musicology. It then demonstrates how tensions between conflicting trends manifested in the 1929 production of Emmanuel’s opera Salamine, with choreography by Nicola Guerra and a libretto by Théodore Reinach based on Aeschylus’s The Persians. During this time the Opéra had a eurhythmic dance section, a style that Emmanuel and critics such as André Levinson viewed with skepticism. In contrast to the Greek inspirations of Duncanism, Delsartism, and eurhythmics, Levinson used Emmanuel’s research to argue that classical ballet was the true inheritor of the ancient Greek tradition. Exploring Emmanuel’s aesthetics of dance (ancient and modern) affords a unique opportunity to see how these creative media were theorized and practiced during the eurhythmic years, while illustrating some of the conflicts between abstract and embodied knowledge.
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