From its beginning, film set forth a new scene for ethical and moral engagement. Formore than a century, film’s frame and image have opened fresh space for enactingethical and moral conflicts and dilemmas. To scholars and critics such as André Bazin, itbecame apparent that in film matters of aesthetics influence ethical and moral questions. As Dudley Andrew says: ‘In cinema, aesthetic issues leadimmediately to moral ones’ .Today, the connection between aesthetic and ethical issues in film acquires newmeaning from the relationship (...) between time and ethics as described so differently byGilles Deleuze, Paul Ricoeur, and Emmanuel Levinas. While only Deleuze directlyaddresses and discusses cinema, the work of all three on the relationship of time andethics to a variety of issues – movement, space, otherness, identity, selfhood, andnarrative – also pertains to and informs the interaction between aesthetic and ethicalissues in film. Indeed, Deleuze and Ricoeur contrive compelling theories, concepts, andoperations concerning time, movement and narrative that facilitate film’s participation inethical discourse. From a Levinasian perspective, their work provides tools and meansfor relating film and Levinasian ethical language to each other. Individually andcollectively, Deleuze, Ricoeur, and Levinas seek a discordant and disruptive temporalorder for re-engaging ethical and moral exigencies and investing new ideas and freshimagination in a revivified ethical debate. In this debate, aesthetic issues and ethicalissues in film continue the process of mutual regeneration. (shrink)

In his philosophy of ethics and time, Emmanuel Levinas highlighted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships-associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B. Girgus applies Levinas's ethics to a variety of international films. His efforts point to a transnational pattern he terms the "cinema of redemption" that portrays the struggle to connect to (...) others in redeeming ways. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity. He also locates time and ethics within the structure and content of film itself. Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, engaging with a feminist focus on the sexualized female body. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's _Mr. Smith Goes to Washington_ (1939), Federico Fellini's _La dolce vita_ (1959), Michelangelo Antonioni's _L'avventura_ (1960), John Huston's _The Misfits_ (1961), and Philip Kaufman's _The Unbearable Lightness of Being_ (1988). (shrink)

Cet ouvrage se présente comme un mélange de textes majeurs qui s'ouvrent sur une nouvelle interprétation des notions de matière et de substance dans l'ancienne physique des stoïciens, se poursuivent avec l'analyse philologique et historique de la notion de plagiat dans l'antiquité gréco-romaine puis avec des commentaires sur deux ouvrages de Lucien de Samosate consacrés à l'intellectuel à gages. Deux études sur la déontologie des médecins hippocratiques et sur un immense philosophe médiéval, Marsile de Padoue, viennent parachever cette fresque qui (...) retrace quelques-uns des problèmes cruciaux de la condition humaine. (shrink)

[tome 1] (1989-2015) : premières méditations tilogiques -- tome 2. (2016) : la mesure des choses -- tome 3. (2017) : quand philosopher c'est vivre.

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and space for (...) a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

"C'est en 2010 que le doyen Alassane Ndaw me confia l'édition d'un recueil de ses textes incluant des articles déjà publiés ainsi que des inédits. Il me demanda expressément de rédiger, à cet effet, outre une introduction, une préface, et m'assura que j'avais toute liberté de conduire le travail éditorial. L'ouvrage, Penser l'Afrique noire, se présente donc comme un ensemble de quatorze textes déjà publiés ou inédits, auxquels s'ajoute un quinzième constituant l'épilogue qui fut à l'origine une magistrale préface de (...) Ndaw au beau livre d'art d'Olivier Föllimi, Hommage l'Afrique (Paris, Editions de la Martinière, 2010, 336 p.). Toute sa vie, Alassane Ndaw a poursuivi une seule idée, un seul objectif : établir une puissante synthèse entre tradition et modernité, entre pensée africaine et philosophie occidentale, en vue d'aboutir à la définition d'une personnalité culturelle capable, en surmontant tout déchirement, de se remembrer. Il cherchait moins une philosophie africaine qu'une forme africaine de la philosophie. L'élaboration de cette forme africaine de la philosophie lui apparaissait comme la tâche par excellence de l'herméneutique, qu'il fallait d'abord créer. Aussi bien s'était-il constamment attelé à deux activités majeures : expliciter et interpréter les traditions culturelles africaines, c'est-à-dire créer l'herméneutique africaine en la faisant. De la permanence de cette tâche, en même temps que de son actualité, témoigne cet ouvrage posthume de ce grand maître de la pensée africaine. " Djibril Samb. (shrink)

In Fugitive Time, Matthew Omelsky theorizes the embodied experience of time in twentieth- and twenty-first-century black artforms from across the world. Through the lens of time, he charts the sensations and coursing thoughts that accompany desires for freedom as they appear in the work of artists as varied as Toni Morrison, Yvonne Vera, Aimé Césaire, and Issa Samb. "Fugitive time" names a distinct utopian desire directed at the anticipated moment when the body and mind have been unburdened of the (...) violence that has consumed black life globally for centuries, bringing with it a new form of being. Omelsky shows how fugitive time is not about attaining this transcendent release, but instead sustaining the idea of it as an ecstatic social gathering. From the desire for ethereal queer worlds in the Black Audio Film Collective's Twilight City to Sun Ra's transformation of nineteenth-century scientific racism into an insurgent fugitive aesthetic, Omelsky shows how fugitive time evolves and how it remains a dominant form of imagining freedom in global black cultural expression. (shrink)

Daniel Marcelle, Aron Gurwitsch, The Collected Works of Aron Gurwitsch, Volume I: Constitutive Phenomenology in Historical Perspective, Dordrecht: Springer, 2009; Volume II: Studies in Phenomenology and Psychology, Dordrecht: Springer, 2010; Volume III: The Field of Consciousness: Theme, Thematic Field, and Margin, Dordrecht: Springer, 2010; Claudia Șerban, Jean-Luc Marion, Certitudes negatives, Paris: Grasset, 2010; Christian Rössner, Hans-Dieter Gondek, László Tengelyi, Neue Phanomenologie in Frankreich, Berlin: Suhrkamp, 2011; Daniel Dwyer, Hans-Helmuth Gander, Husserl-Lexikon, Darmstadt: Wissenschaftliche Buchgesellschaft, 2010; Délia Popa, Jean-François Lavigne, Acceder au (...) transcendantal? Reduction et idealisme transcendantal dans les Idées directrices pour une phénoménologie pure et une philosophie phénoménologique de Husserl, Paris: Vrin, 2009; Mădălina Diaconu, Lambert Wiesing, Das Mich der Wahrnehmung. Eine Autopsie, Frankfurt am Main: Suhrkamp, 2009; Mădălina Diaconu, Sam B. Girgus, Levinas and the Cinema of Redemption. Time, Ethics, and the Feminine, New York: Columbia University Press, 2010; Rolf Kühn, Frédéric Seyler, ≪ Barbarie ou culture ≫ : L’ethique de l’affectivitedans la phenomenologie de Michel Henry, Paris: Kimé, 2010; Stephan Steiner, Mette Lebech, On the Problem of Human Dignity. A Hermeneutical and henomenological Investigation, Würzburg: Königshausen & Neumann, 2009. (shrink)