As Emmanuel Levinas states in the preface to Existence and Existents, "this study is a preparatory one. It examines . . . the problem of the Good, time, and the relationship with the other [person] as a movement toward the Good." First published in 1947, and written mostly during Levinas's imprisonment during World War II, this work provides the first sketch of his mature thought later developed fully in Totality and Infinity and Otherwise than Being, or Beyond Essence. This new (...) edition marks the first time this important work has been made available in an inexpensive paperback edition. Levinas's project in Existence and Existents is to move from anonymous existence to the emergence of subjectivity; to subjectivity's practice, theory and morality; to its encounter with the alterity of the other person. He is concerned here primarily with the time of the solitary subject; time is the inner structure of subjectivity, of the movement of existing. "Levinas's work," says Alphonso Lingis, "contains not only wholly new analyses of the forms of time of the present, the past, the future but also a new conception of the work of time." Beginning with Existence and Existents, then, it is possible to begin tracing the progressive "alterization" of time as it unfolds across the development of Levinas's entire philosophy. As a "preparatory" study, Existence and Existents introduces the major themes and concerns that occupied Levinas throughout his career. This is essential reading for understanding both Levinas's own philosophy and the developments in philosophical thought in the twentieth century. (shrink)

Prior to the productive encounters that can be staged between Emmanuel Levinas’sthought and cinema at the level of reception, Jean-Pierre and Luc Dardenne introducehis philosophy to their filmmaking at its moment of inception.1Luc Dardenne’s diary Audos de nos images documents their filmmaking from 1991 to 2005, and isinterspersed with brief but erudite references to Levinas’s work. While Levinasianthinking is one among many cited influences in this text, which also features quotationsfrom the writings of novelists, poets, and other philosophers, along with (...) detailedreferences to other filmmakers, his work is a signal point of inspiration and ethicalaspiration for their filmmaking. The Dardenne brothers seek permanently to unsettlereceived ideas of what cinema is. In this, their approach is bound up explicitly, but notexclusively, with the ethical underpinnings of Levinas’s thought. Levinas’s reformulationof ethics as first philosophy creates a fissure at the root of the philosophy of being. TheDardennes’ films, in turn, perform a Levinasian-inspired challenge to the being ofcinema. At its most extreme moments, to kill or not to kill is the key question that theircinema raises. This tacit rewriting of the interrogative opening to Hamlet’s infamous soliloquy, shifts attention away from a self-centered concern with being or non-being,and towards the survival of the other. The passage from being to non-being, whichwould involve the death of the subject, is displaced here by a preoccupation with killing,or failing to kill, someone else. This particular move from dying to killing lies at the heartof the Dardennes’ mortal ethics. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of his (...) proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)