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The concept of alterity is fundamental to all psychological theories. Most of these theories operate as if this concept is well understood and quite stable. This book challenges that notion by examining ideas about alterity in several different fields. It also offers an organizing template for the concept utilizing ideas from Lacan, Levinas and Dabrowski.
""Every other is truly other, but no other is wholly other." This is the claim that Aspects of Alterity defends. Taking up the question of otherness that so fascinates contemporary continental philosophy, this book asks what it means for something or someone to be other than the self." "After a thorough assessment and critique of otherness in Levinas's and Marcel's work, including a discussion of the relationship of ethical alterity to theological assumption, Aspects of Alterity traces the transmission and development of these two conceptions of otherness. Ultimately, Aspects of Alterity makes a case for a hermeneutic account of otherness."--Jacket.
Ethics of Cinematic Experience: Screens of Alterity deals with the relationship between cinema and ethics from a philosophical perspective, finding an intrinsic connection between film spectatorship and the possibility of being open to different modes of alterity. The book's main thesis is that openness to otherness is already found in the basic structures of cinematic experience. Through a close examination of the ethical relevance of the philosophy of Maurice Merleau-Ponty, Stanley Cavell, Emmanuel Levinas and Gilles Deleuze to cinema studies, Ethics of Cinematic Experience: Screens of Alterity pursues the question of how film can open the viewer to what is not her, and so bring her to encounter otherness in a way that is unique to cinematic experience. The book sees ethics as not just the subject, content or story of a film but part of its aesthetic structure. Accompanied by readings of films mainly from mainstream cinema, each chapter focuses on a different aspect of the encounter with alterity through cinema. The book gives particular attention to how theoretical discussion of the cinematic close-up can lead to ethical insights into the status of both the human and the non-human in film, and thus lead to an understanding of the relationships the viewer makes with them. The book is a helpful resource for students and scholars interested in the relationship between philosophy, film and ethics, and is appropriate for students of philosophy and media and cultural studies.
This first English translation of a series of twelve essays offers a unique glimpse of Levinas defining his own place in the history of philosophy. In today's world, where religious conceptions of exalted higher powers are constantly called into question by theoretical investigation and by the powerful influence of science and technology on our understanding of the universe, has the notion of transcendence been stripped of its significance? In Levinas's incisive model, transcendence is indeed alive--not in any notion of our relationship to a mysterious, sacred realm but in the idea of our worldly, subjective relationships to others.
Although both Levinas and Heidegger drew inspiration from Edmund Husserl's phenomenological method and helped pave the way toward the post-structuralist movement of the late twentieth century, very little scholarly attention has been paid to the relation of these two thinkers. There are plenty of simple—and accurate—oppositions and juxtapositions: French and German, ethics and ontology, and so on. But there is also a critical intersection between Levinas and Heidegger on some of the most fundamental philosophical questions: What does it mean to be, to think, and to act in late modern life and culture? How do our conceptions of subjectivity, time, and history both reflect the condition of this historical moment and open up possibilities for critique, resistance, and transformation? The contributors to this volume take up these questions by engaging the ideas of Levinas and Heidegger relating to issues of power, violence, secularization, history, language, time, death, sacrifice, responsibility, memory, and the boundary between the human and humanism.
Alterity or otherness is a central notion in cultural anthropology and philosophy, as well as in other disciplines. While anthropology, with its aim of understanding cultural difference, tends to take otherness as a fact, there have been vigorous attempts in contemporary philosophy, particularly in phenomenology, to answer the fundamental question: What is the Other? This book brings the two approaches to otherness – the hermeneutical pragmatics of anthropology, and the radical reflection of philosophy – together, with the goal of enriching one through the other. The philosophy of the German phenomenologist Bernhard Waldenfels, up to now little known to anthropologists, has a central position in this undertaking. Waldenfels’s concept of a responsivity to the Other offers to cultural anthropology the possibility of a philosophical engagement with the Other that does not contradict the project of making sense of concrete empirical others. The book illustrates the fertility of this new approach to alterity through a broad spectrum of themes, ranging from reflections on theory formation, via discussions of race and human-animal relations, to personal meditations on experiences of alterity.
Winner of the 2000 The Edward Goodwin Ballard Prize in Phenomenology In the rigorous and highly original Self-Awareness and Alterity, Dan Zahavi provides a sustained argument that phenomenology, especially in its Husserlian version, can contribute something decisive to the analysis of self-awareness. Taking on recent discussions within both analytical philosophy (Shoemaker, Castaneda, Nagel) and contemporary German philosophy (Henrich, Frank, Tugendhat), Zahavi argues that the phenomenological tradition has much more to offer when it comes to the problem of self-awareness than is normally assumed. As a contribution to the current philosophical debate concerning self-awareness, the book presents a comprehensive reconstruction of Husserl's theory of pre-reflective self-awareness, thereby criticizing a number of prevalent interpretations and a systematic discussion of a number of phenomenological insights related to this issue, including analyses of the temporal, intentional, reflexive, bodily, and social nature of the self.
A critique of--and alternative to--pure narrative approaches to life-history, offered by a distinguished Hungarian philospher
Emmanuel Levinas is a major voice in twentieth century European thought. Beginning his intellectual career in the 1920s, he has developed an original and comprehensive post rationalist ethics of social responsibility and obligation. The influence of his work has already been profound and far-reaching, readily acknowledged by such diverse and important figures as Jean-Paul Sartre, Jacques Derrida, and Enrique Dussel. Time and The Other was first presented as a series of lectures in 1946-47 at the College Philosophique and is probably the clearest statement of Levinas' thought. Along with Existence and Existents (1947), it represents the first formulation of Levinas' own philosophy, later more fully developed in Totality and Infinity (1961) and Otherwise than Being or Beyond Essence (1974
Reconsidering the dynamics of perception Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.