By François-David Sebbah
In exploring the character of extra relative to a phenomenology of the restrict, trying out the restrict claims that phenomenology itself is an exploration of extra. What does it suggest that "the self" is "given"? may still we see it as originary; or quite, in what approach is the self engendered from textual practices that transgress—or hover round and hence within—the threshold of phenomenologial discourse? this is often the 1st booklet to incorporate Michel Henry in a triangulation with Derrida and Levinas and the 1st to critique Levinas at the foundation of his interpolation of philosophy and faith. Sebbah claims that the textual origins of phenomenology verify, of their temporal rhythms, the character of the subjectivation on which they concentration. He situates those issues in the broader photo of the country of up to date French phenomenology (chiefly the legacy of Merleau-Ponty), so as to express that those 3 thinkers percentage a undeniable "family resemblance," the id of which finds anything concerning the strains of alternative phenomenological households. it truly is by means of checking out the restrict in the context of conventional phenomenological issues concerning the visual appeal of subjectivity and ipseity that Derrida, Henry, and Levinas greatly re-evaluate phenomenology and that French phenomenology assumes its current shape.
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Extra resources for Testing the Limit: Derrida, Henry, Levinas, and the Phenomenological Tradition
1. ” is fundamentally very naïve if, within a given work, a flickering between phases of excess and phases immanent to constraints proper to a phenomenological method can be detected. Research 2. —but the idea of an author as the master of the work. And the question becomes even more complex when its philosophical audacity remains concealed, incognito. Where is its courage? Does it consist of remaining within the constraints of the phenomenological field, or of exceeding them? Does its weakness consist of allowing for digressions beyond those frontiers, or to remain cautiously inside them, without (in Derrida’s expression) running the risk of invention?
P h e n o m e n o l o g i c a l r at i o n a l i t y Let us examine it more closely. If the sensory thing is given only by a “sketch,” for Husserl that means that neither our power of understanding in general (and of sensing in particular) is finite, nor—and this is the usual logic of the opposition— that the thing exists outside of its appearance, concealed just as much as revealed by it. ” Consequently, we must see the following consequences in the discovery of intentionality: 1. The “sketch,” as the absenting of the thing from the glance is irreducible, and irreducibly the recipient of an already-existent alliance between the glance and the phenomenon.
Husserl could write that “we are the true positivists (or empiricists)” because he had liberated the given from its physico-mathematical interpretation, thus revitalizing the “metaphysical” question—“metaphysical” here signifying the radicality of questioning what is, questioning the engendering of origin itself. A metaphysical p h e n o m e n o l o g i c a l r at i o n a l i t y project such as this paradoxically (but quite rigorously) implies a return to things themselves. 15 The decisive invention that Husserl implements in order to adhere to requirements of this exigency and to confront the aporias it implies is intentionality.
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