Violence is signaled by a mark of discontinuity, interruption, rupture. The tripartite temporality of violence, with its strong focus on the present, points to the originary violence. Moreover, the violent event is structuring the order of the action sequences in an actual violent (embodied) interaction. The interactional dynamics in violent encounters between co-present actors shapes the specific forms of the experiencing in (and of) the violent interaction. Based on how violence is experienced in an interactive situation, the phenomenon of violence (...) articulates itself according to three coordinates: directedness, co-performativity and de-capabilisation. The outlining of the structure of the lived experience of violence is revealing something irreducible in it. To understand the experience of violence as such, I propose that we accept the idea of violence per se and depart from the idea that the acts of violence are essentially moral actions. The core of the ethical-moral discussion concerning violence should be grounded instead on the moment of conversion identifiable when we take into account the reaction to violence. (shrink)

_ Source: _Volume 48, Issue 1, pp 57 - 76 The aim of this article is to address the question of the anthropological difference by focusing on the intersubjective relation between the human and the animal in the context of a phenomenological analysis of violence. Following some Levinasian and Derridian insights, my goal is to analyze the structural differences between interspecific and intraspecific violence by asking how the generic phenomenon of violence is modalized across various levels: from human to human, (...) from human to animal, from animal to human, from animal to animal. I will address questions of incarnated vulnerability and altered states of affectivity, and I will relate the various forms of violence emerging in the context of the anthropological difference to the question of territoriality, arguing that violence is structurally modified in relation to particular articulations of our worldly spatiality. (shrink)

The claim of this article is that the perpetrators of violence are “liminal” figures, being inside and yet outside of the world in which they act. It is this liminality, this existing on the border, that makes their violence senseless. Because of it, their actions can be understood in terms neither of the actual reality of their victims nor of the imagined reality that the perpetrators placed them in. Sense, here, fails, for the lack of a common frame. Liminality exists (...) in a number of forms: economic, religious, and political—each with its potential for violence. What distinguishes political liminality is the scale of its violence. As Carl Schmitt shows, the liminal sovereign or ruler is both inside and outside the state, employing its means for violence even as he is unconstrained by its laws. I contend that this sovereign exists in a continuum with the practitioners of terrorist violence, who are also liminal figures. To analyze this liminality, I explore the intertwining between the self and the world that sets up the common frame that gives sense to actions. I then examine the causes of its breakdown. (shrink)

Edith Stein and Gerda Walther explain how community comes to be and how it is structured, but they do not develop significant accounts of how communities disintegrate or die, albeit they make passing allusions to how this may happen. I argue that what makes communities vulnerable to their possible demise, following both Stein’s and Walther’s social ontology, is the breakdown of the sense of the communal bond, that is, the failure of the community members’ ability to make sense of their (...) relationship to one another. Just as sense-making and sense-building can help give birth and meaning to communities, sense disintegration and the dying of the sense of a community bespeak a vulnerability that lies at the very core of all communities. In addition to the vulnerability of sense-making, I argue that the lived-body and habit also pose important challenges to the very possibility of community. (shrink)

The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)

Our most current experience of violence is not predominantly violence “given in the flesh,” but violence given through the mediation of the image. The phenomenon of real violence is therefore modified through the imagistic experience, involving first of all its emotional, embodied and intersubjective dimensions. How is the emotion constituted in the face of depicted violence, in contrast to the lived experience of real violence? Is the intersubjectivity modified when violence appears pictorially? What specific embodied dimensions are particularly engaged when (...) violence is lived as an image, and not as a real phenomenon? The phenomenon of imagistic violence can also be understood in contrast with the experience of violence lived in phantasy, memory, or dreaming. Also, since each type of image puts into play certain possibilities of depicting violence, making possible various subjective experiences of violence, it crucial to explore how this experience fundamentally depends on the type of image by which the phenomenon of violence is depicted, be it painting, photography, fiction film, documentary or media image. (shrink)

In this article, I address the question of violence with respect to the phenomenological difference between the transcendental and the empirical field. In the first part, I phenomenologically address the notion of violence, developing a concept required for an account of the phenomenon of violence. Thus, I correlate it with the notion of vulnerability, arguing that violence cannot be understood irrespective of vulnerability. However, a proper phenomenological account has to indicate the subjective conditions of possibility of a phenomenon as it (...) is given in experience. Therefore, we should ask: what is the status of violence when we are talking about the transcendental field? This question leads to the second part of my article, where I address the notion of violence from the perspective of the difference between the pure and the empirical ego, as it has been traced out by Husserl. If from the point of view of an empirical ego the concept of violence is meaningful, from the point of view of the transcendental ego it seems to be absurd. This is particularly significant, because Husserl is talking about the transcendental ego as being immortal. The pure ego is thus invulnerable and this means that violence—understood from the point of view of both the violating subject and the violated one—is something that cannot be linked to the transcendental field. The question that arises—how is violence possible on the empirical level, since it is impossible on the transcendental level?—is a question to which Husserl cannot respond. (shrink)

Both Judith Butler and Chantal Mouffe challenge liberal conceptions of politics based on their ontological descriptions of the political. Mouffe argues that the failure of liberalism to grasp the agonistic character of political life means that properly political conflicts get translated into moral terms. Mouffe thinks that the way to correct our “post-political” problems is to avoid translating political conflicts into a moral register. I challenge Mouffe’s separation of ethics and politics by invoking Butler’s more nuanced account of the ethical (...) sphere. I demonstrate that Mouffe does not consider that there are different orders of moral claims ; nor does Mouffe consider that there are different orders of affect, some of which cannot be simply opposed to rationality. (shrink)

Is violence senseless or is it at the origin of sense? Does its destruction of meaning disclose ourselves as the origin of meaning? Or is it the case that it leaves in its wake only a barren field? Does it result in renewal or only in a sense of dead loss? To answer these questions, I shall look at James Dodd’s, Hegel’s, and Carl Schmitt’s accounts of the creative power of violence—particularly with regard to its ability to give individuals and (...) groups their sense of self-identity. I shall also follow up on Peg Birmingham’s suggestion that Socrates’ defense at his trial points to an alternate source of our self-identity—one that is ultimately less barren. (shrink)

In this paper, I explore the bodily constitution of violence from a phenomenological perspective, contrasting the directly lived experience of violence with imagistic violence. The analysis involves examining one’s own embodiment from the first-person perspective in two distinct situations: as the agent of violence, anchored in one’s own “I can”, and as a passive victim, marked by vulnerability and helplessness. Each situation reveals specific particularities of the other’s adversity. The final section transitions to the imagistic experience of violence, discussing how (...) bodily markers are modified in this context. Using Kubrick’s iconic film A Clockwork Orange as an example, I illustrate the shift in bodily structures and the implications of imagistic violence. (shrink)

In this paper, I analyse Alison Landsberg’s concept of prosthetic memories from a phenomenological perspective. Prosthetic memory, while sharing similarities with both personal and collective memory, is neither exclusively personal nor strictly collective, emerging as a product of new media in mass communication. According to Landsberg, prosthetic memories have four main characteristics: the recaller experiences them as firsthand accounts despite not personally living through the events, these memories often revolve around traumatic events, have a commodified form, and are ethically useful. (...) Using Husserl’s theories on memory consciousness and image consciousness, and contemporary phenomenological research on violence, I provide a phenomenological account for the first three characteristics of prosthetic memory. The key factors contributing to their quasi-personal and quasi-collective nature lie, on the one hand, in the presence of imagistic violence and, on the other hand, in their mass-mediated image character. (shrink)

The aim of this article is to explore the emotional dimensions involved in the phenomenon of interpersonal violence, identifying various modalizations of affectivity occurring in the architectonics of this phenomenon. I will first concentrate on symmetrical violence, namely, on the emergence of irritation, annoyance, anger, and fury leading to fierce confrontation. Next I will explore asymmetrical violence, where the passive pole experiences the imminence of the other’s violence in fear and in being terrified. I will then focus on the experience (...) of the third in the face of violence, showing that here the affectivity is differently constituted each time, depending on the various situations of symmetrical and asymmetrical violence that the third witnesses. Finally, I will contrast the experience of real violence with the experience of violence-as-image, and I will pose several questions regarding the modifications of the affective experience of the third in the face of depicted violence. (shrink)

The aim of this paper is to contribute to the understanding of imagistic violence by focusing—by means of a phenomenology open to dialogue with neighboring disciplines, from historiography to semiotics—on the particular case of photographs depicting atrocities, examples of photojournalism or images captured at crime scenes by forensic agents and presented as evidence during trials. To this end, I will implement a three-step analysis. First, I will seek to clarify the meanings associated with photography presented as evidence by adopting Husserl’s (...) phenomenological framework and by following a historiographical and juridical approach while verifying the grounds for the opposition that appears to be emerging between a paradigm of resemblance and a model of indirect, conjectural knowledge. Second, I will focus on how photography’s capacity to sustain a maximum degree of the reproduction of the real is problematized when the pictorial object is a violent scene that suspends, contradicts, and dismantles the order of the viewer’s experience. Finally, I will conclude by offering a hypothesis on the act of “seeing-with-other” and its phenomenological implications for the case of imagistic violence as evidence. Specifically, I will argue that we are more likely to understand imagistic violence at the level of a collective seeing than through a solitary gaze. (shrink)