By Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David
Rejects Levinas’s argument for the preeminence of ethics in philosophy.
“Imagine listening at a keyhole to a talk with the duty of transcribing it, and the end result could be a textual content just like the current one.” — from half I: Stagework
In a chain of meditations responding to writings through Emmanuel Levinas, David Appelbaum means that a wrong grammar warrants Levinas to communicate of language on the carrier of ethics. it's the nature of functionality that he errors. Appelbaum articulates this flaw by way of acting in writing the act of the philosophical brain at paintings. Incorporating the voices of different thinkers—in specific Levinas’s contemporaries Jacques Derrida and Maurice Blanchot—sometimes in actual fact, occasionally indistinctly, Appelbaum creates on those pages one of those soundstage upon which illustrations look of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, principles for giving voice—and now not ethics—as the proper matrix for realizing the otherness and beyond-being that Levinas seeks in his paintings
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Additional resources for A Propos, Levinas
Since its meaning surpasses linguistical means, its expression in the said necessarily is syntactically marred. By inversion of signifi‑ cance, the contretemps is an abusive in that only by an indiscretion of (user-) language is it intimated. By inversion or by reversion, since the performative reverts, by default, to an “earlier” language, one not united in a bond of communicative fraternity with its particles but rather set apart—a kind of originary babble that the Biblical myth reverses in its moralism.
As insistent as the neutral is (insistence itself ), its exigency for Blanchot provides for the work of literature. Literature “is the being which protests against revelation, it is the defiance of what does not want to take place outside. In this way, it sympathizes with darkness, with aimless passion, with lawless violence, with everything in the world that seems to perpetrate the refusal to come into the world” (GO, 49). Without content of its own (without own‑ness), emanation of the neutral, the performative grants a work— literature—its specificity.
A low voice in the reader’s ear produced by the voice reading or voice‑reading, that operates a character‑recognition program to convert inscriptions to phonetic (in)audibles. The subject of ghost words casts a long shadow, impossible to follow at length, except to mention one important example in Levinas. In a work where ghosts abound (in the massive repression of myth that loosens persecution on the ethical subject), the small word “in” sits unno‑ ticed on the shelf were it not for a simple reference to it (OG, 63).
A Propos, Levinas by Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David