Abstract

The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy can be traced back to meditations undertaken in captivity. I will unearth the influence of the Prison Notebooks in three articles from the 1940ʹs “L’autre dans Proust,” “La réalité et son ombre,” and “La transcendance des mots.” I argue that in Levinas’s early philosophy of art follows two distinct “paths”: the path of eros and the path of sensation. On one hand, Levinas questions how and if literature can do justice to the question of alterity, whereas on the other he seeks to make sense of the relationship between art and sensibility. I argue that in his notebooks Levinas offers an account of the meaning of sensations that forms the basis of his early aesthetics. Thus, the study of the Prison Notebooks is important as it allows us to see how Levinas’s early philosophy of art, including his seminal “La réalité et son ombre,” functions as a continuation of a philosophical project already begun during his time in captivity.