Ranging over philosophy, literary theory, social theory, and historiography, this is an ambitious and provocative work that holds profound lessons for how we think about ethics and how we seek to live responsibly.

'The Levinas Reader' collects, often for the first time in English, essays by Levinas encompassing every aspect of his thought: the early phenomenological studies written under the guidance and inspiration of Husserl and Heidegger; the fully developed ethical critique of such totalizing philosophies; the pioneering texts on the moral dimension to aesthetics; the rich and subtle readings of the Talmud which are an exemplary model of an ethical, transcendental philosophy at work; the admirable meditations on current political issues.

In this profound appraisal of post-September 11, 2001 America, Judith Butler considers the conditions of heightened vulnerability and aggression that followed from the attack on the US, and US retaliation. Judith Butler critiques the use of violence that has emerged as a response to loss, and argues that the dislocation of first-world privilege offers instead a chance to imagine a world in which that violence might be minimized and in which interdependency becomes acknowledged as the basis for a global political (...) community. (shrink)

Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...) agent, or a cultural creator, that propels thought and experience forward. Examining a broad range of works, van Alphen—a renowned art historian and cultural theorist—demonstrates how art serves a socially constructive function by actually experimenting with the parameters of thought. Employing work from artists as diverse as Picasso, Watteau, Francis Bacon, Marlene Dumas, and Matthew Barney, he shows how art confronts its viewers with the "pain points" of cultural experience-genocide, sexuality, diaspora, and transcultural identity-and thereby transforms the ways in which human existence is conceived. Van Alphen analyzes how art visually "thinks" about these difficult cultural issues, tapping into an understudied interpretation of art as the realm where ideas and values are actively created, given form, and mobilized. In this way, van Alphen's book is a work of art in itself as it educates us in a new mode of thought that will forge equally new approaches and responses to the world. (shrink)

From a Levinasian perspective, the interaction between two people is an ethical encounter, a face-to-face interaction that calls the subject into question and renders them vulnerable to the ritual of rupture. But what if your embodiment renders you, in the moment of encounter, less than human? How can we bring the imperative of pre-ontological responsibility to bear on the present moment, fractured as we are in our understandings of embodiment and the hauntings of history? In this paper, I hope to (...) respond to the previous question by articulating the problems and possibilities of Levinas’s thought in conversation with urgent considerations of racially-bodied Others. To begin, I briefly explore critiques of Levinas’s Eurocentrism. Then, drawing on the concept of incarnate historiography, I examine the difficulties of skin as “seen.” Next, I elaborate the prospect of how diachronous time affords a second register that takes seriously the historical experience of pain and oppression as responsibility. Finally, I argue that the recognition of responsibility is essential to education, proposing pedagogy that preserves alterity and makes space for the new. (shrink)