Matthew Sharpe

Emmanuel Levinas’ aesthetics has been critically discussed much less than other components of his philosophy. In one way, this is not surprising, given Levinas’ wider post-war project. Nevertheless, in the late 1940s, the very time his influential later philosophy was taking shape, Levinas published a series of papers on literary criticism, and on the nature of art. istents and Existence, the text where Levinas first announces his project of “leaving the climate” of Heidegger’s thought, contains in its heart a remarkable discussion of modernist painting. 2 Levinas’ aesthetics, moreover, represents a provocative standpoint within modern aesthetic theory in its own right. As such, it stands as a partial corrective to the comparative and surely surprising – dearth of phenomenological analyses of art, which at the same time contrasts markedly with Heidegger’s renowned position in “The Origin of the Work of Art.” From a critical perspective, however, an examination of Levinas’ aesthetics is interesting in another, and perhaps deeper way. As critics have intimated, 3 Levinas’ aesthetics arguably marks what could be called a “supplement” within his texts. As is well known, Levinas’ post-war works defend his own post-Husserlian version of what Kant called “the primacy of practical reason” which he calls – in a more classical vein – “ethics as first philosophy.” 4 In this light, Levinas’ texts feature an axiological devaluation of aesthetics in comparison with the ethical encounter with the Other. What this paper will argue – in line with but beyond Derrida’s masterful “Violence and Metaphysics” 5 – is that aesthetic experience as analysed by Levinas has an uncanny structural proximity to his analyses of “ethics.” And recognition of this primacy might well cause us to reconsider Levinas’ classically “Greek” as much as Judaic devaluation of aesthetics as one dimension of human experience. Part I takes a poem as the basis to construct Levinas’ account of the aesthetical or art-quality of artworks. Part II examines what Levinas takes his analysis of the work of art to point towards in terms of a more general [de]ontology, wherein the reality given in phenomenological perception is doubled by its own “shadow.” Part III questions not Levinas’ aesthetics but how it signifies in terms of his avowed project of elevating ethics as “first philosophy.” –.