[Article] Critical Theory and Film: Adorno and the culture by Diane Waldman PDF

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I. E R O T I C D E S I R E A N DBEING IN LOVE To be in love is to no longer be oneself. The other person has suddenly completely taken over the place of one’s own ego. The penetrating and obsessive presence of the Other seizes the ego in such a way and to such a degree that it loses all independence. The ego is so full of the Other that it is no longer itself. All at once, I am no longer anything without the Other whois everything to me and who means everything to me. The Other is everything and I am nothing.

Where, then, does the assimilation of these two honors come from? If horror reveals the there is, horror at Being and horrorof Being must be correlatives of, respectively, the evil in Being ( n d de Z’&-e) and theevil of Being (mal d’&tre)which Levinas opposes in his introduction to De Z’eexistence ci Z’existant. Evoking the relation of the existent to existence, he writes that it “constitutesan eventwhose reality and in some sense surprising character manifest themselves in the disquiet in which it occurs,”and adds that “theevil in being, the evil of matter in idealist philosophy, becomes the evil of being” (DE 19/ EE 19).

20. Translator’s note: this distinction is to be understood in correspondence with the earlier distinction between “horror of Being” and “horror at Being”; Lingis proposes “tragic in Being” and “tragic involved in Being,” respectively. 21. Cf. Romans 418. 22. E. Levinas, Sur Maurice Blanchot (Montpellier: Fata Morgana, 1975), 10. 23. Cf. F. Nietzsche, Tltw Spoke Zuratlmstru, “On the Child and on Marriage,’’ and 1881, note 11 (141) (Colli-Mollinari enumeration). B ’ P a d Moyaert to a fragmentary reading of the chapter from Totality and Znfinity entitled “The Phenomenologyof Eros,” a chapter which, the existence of numerous commentaries and annotations notwithstanding, still can appearas a1nbiguous and incomprehensive as the very play of eros and desire for the beloved which it both evokes and describes.

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[Article] Critical Theory and Film: Adorno and the culture industry revisited by Diane Waldman


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