Hagi Kenaan – författare

Is philosophy deaf to the sound of the personal voice? While philosophy is experienced at admiring, resenting, celebrating, and, at times, renouncing language, philosophers have rarely succeeded in being intimate with it. Hagi Kenaan argues that philosophy's concern with abstract forms of linguistic meaning and the objective, propositional nature of language has obscured the singular human voice. In this strikingly original work Kenaan explores the ethical and philosophical implications of recognizing and responding to the individual presence in language. In pursuing the philosophical possibility of listening to language as the embodiment of the human voice, Kenaan explores the phenomenological notion of the "personal." He defines the personal as the irresolvable tension that exists between the public character of language, necessary for intelligibility, and the ways in which we, as individuals, remain riveted to our words in a contingently singular manner. The Present Personal fuses phenomenology and aesthetics and the traditions of Continental and Anglo-American philosophy, drawing on Wittgenstein, J. L.Austin, Kant, Kierkegaard, and Heidegger as well as literary works by Kafka, Kundera, and others. By asking new questions and charting fresh terrain, Kenaan does more than offer innovative investigations into the philosophy of language; The Present Personal, and its concern with the intimate and personal nature of language, uncovers the ethical depth of our experience with language. Kenaan begins with a discussion of Kierkegaard's existential critique of language and the ways in which the propositional structure of language does not allow the spoken to reflect the singularity of the self. He then compares two attempts to subvert the "hegemony of content": the pragmatic turn of J. L. Austin and the poetic path of Heidegger. Kenaan concludes by turning to Kant and discovering an analogy between the experience of meaning in language and the aesthetic experience of encountering beauty. Kenaan's reconceptualization of philosophy's approach to language frees the contingent singularity of language while, at the same time, permitting it to continue to dwell within the confines of content.

Our world is saturated with images. Overwhelmed by this proliferation of visual stimuli, our gaze becomes increasingly bored and distracted. Do we ever really read and engage with images? Can they ever provide the sense of meaningfulness we crave? French-Jewish philosopher Emmanuel Levinas confronted and subverted these questions. A superficial reading of his works might indicate an ambivalence if not a wholesale critique of the visual, whose mode of signification remains, for him, objectified, finite and flat. Yet an enigmatic statement - 'Ethics is an optics' - recurred throughout his work. Hagi Kenaan takes this mysterious idea as the starting point for a strikingly original philosophical argument on the place of visuality in Levinas' ethics. The Ethics of Visuality analyses Levinas' philosophy of the human face in order to show how his vision of 'Otherness'(alterity and transcendence) can open up for us a new and surprising kind of optics that is so needed for an ethical living in the contemporary world.Where other critical approaches have largely undermined Levinas' ambivalence towards the visual, The Ethics of Visuality uncovers the relevance of Levinas' bias against the visual to developing a radical philosophy/theory of visual meaning in which the aesthetic is always already intertwined with the ethical.

Our world is saturated with images. Overwhelmed by this proliferation of visual stimuli, our gaze becomes increasingly bored and distracted. Do we ever really read and engage with images? Can they ever provide the sense of meaningfulness we crave? French-Jewish philosopher Emmanuel Levinas confronted and subverted these questions. A superficial reading of his works might indicate an ambivalence if not a wholesale critique of the visual, whose mode of signification remains, for him, objectified, finite and flat. Yet an enigmatic statement - 'Ethics is an optics' - recurred throughout his work. Hagi Kenaan takes this mysterious idea as the starting point for a strikingly original philosophical argument on the place of visuality in Levinas' ethics. The Ethics of Visuality analyses Levinas' philosophy of the human face in order to show how his vision of 'Otherness'(alterity and transcendence) can open up for us a new and surprising kind of optics that is so needed for an ethical living in the contemporary world.Where other critical approaches have largely undermined Levinas' ambivalence towards the visual, The Ethics of Visuality uncovers the relevance of Levinas' bias against the visual to developing a radical philosophy/theory of visual meaning in which the aesthetic is always already intertwined with the ethical.

Photography and Its Shadow argues that the invention of photography marked a rupture in our relation to the world and what we see in it. The dominant theoretical and artistic paradigm for understanding the invention has been the tracing of shadows. But what photography really inaugurated was the shadow's disappearance—a disappearance that irreversibly changed our relationship to nature and the real, to time and to death. A way of negotiating impermanence, photography was marked from the start by an inherent contradiction. It conflated two incompatible configurations of the visible: an embodied human eye, deeply sensitive to nature, and a machine vision that aimed to reify the instant and wallow in images alone. Photography's history is replete with efforts to conceal the mystery of its paradoxical constitution. Born in the century of Nietzsche's "death of God," it long enacted the fraught subjectivity of its age. Anxious, haunted by a void, it used an array of strategies to take on ever-new identities. Challenging the hitherto most influential accounts of the practice and taking us from its origins to the present, Hagi Kenaan shows us how photography has been transformed over time, and how it transforms us.

Photography and Its Shadow argues that the invention of photography marked a rupture in our relation to the world and what we see in it. The dominant theoretical and artistic paradigm for understanding the invention has been the tracing of shadows. But what photography really inaugurated was the shadow's disappearance—a disappearance that irreversibly changed our relationship to nature and the real, to time and to death. A way of negotiating impermanence, photography was marked from the start by an inherent contradiction. It conflated two incompatible configurations of the visible: an embodied human eye, deeply sensitive to nature, and a machine vision that aimed to reify the instant and wallow in images alone. Photography's history is replete with efforts to conceal the mystery of its paradoxical constitution. Born in the century of Nietzsche's "death of God," it long enacted the fraught subjectivity of its age. Anxious, haunted by a void, it used an array of strategies to take on ever-new identities. Challenging the hitherto most influential accounts of the practice and taking us from its origins to the present, Hagi Kenaan shows us how photography has been transformed over time, and how it transforms us.

Our world is saturated with images. Overwhelmed by this proliferation of visual stimuli, our gaze becomes increasingly bored and distracted. Do we ever really read and engage with images? Can they ever provide the sense of meaningfulness we crave? French-Jewish philosopher Emmanuel Levinas confronted and subverted these questions. A superficial reading of his works might indicate an ambivalence if not a wholesale critique of the visual, whose mode of signification remains, for him, objectified, finite and flat. Yet an enigmatic statement - 'Ethics is an optics' - recurred throughout his work. Hagi Kenaan takes this mysterious idea as the starting point for a strikingly original philosophical argument on the place of visuality in Levinas' ethics. The Ethics of Visuality analyses Levinas' philosophy of the human face in order to show how his vision of 'Otherness'(alterity and transcendence) can open up for us a new and surprising kind of optics that is so needed for an ethical living in the contemporary world.Where other critical approaches have largely undermined Levinas' ambivalence towards the visual, The Ethics of Visuality uncovers the relevance of Levinas' bias against the visual to developing a radical philosophy/theory of visual meaning in which the aesthetic is always already intertwined with the ethical.

Our world is saturated with images. Overwhelmed by this proliferation of visual stimuli, our gaze becomes increasingly bored and distracted. Do we ever really read and engage with images? Can they ever provide the sense of meaningfulness we crave? French-Jewish philosopher Emmanuel Levinas confronted and subverted these questions. A superficial reading of his works might indicate an ambivalence if not a wholesale critique of the visual, whose mode of signification remains, for him, objectified, finite and flat. Yet an enigmatic statement - 'Ethics is an optics' - recurred throughout his work. Hagi Kenaan takes this mysterious idea as the starting point for a strikingly original philosophical argument on the place of visuality in Levinas' ethics. The Ethics of Visuality analyses Levinas' philosophy of the human face in order to show how his vision of 'Otherness'(alterity and transcendence) can open up for us a new and surprising kind of optics that is so needed for an ethical living in the contemporary world.Where other critical approaches have largely undermined Levinas' ambivalence towards the visual, The Ethics of Visuality uncovers the relevance of Levinas' bias against the visual to developing a radical philosophy/theory of visual meaning in which the aesthetic is always already intertwined with the ethical.

Philosophy's Moods is a collection of original essays interrogating the inseparable bond between mood and philosophical thinking. What is the relationship between mood and thinking in philosophy? In what sense are we always already philosophizing from within a mood? What kinds of mood are central for shaping the space of philosophy? What is the philosophical imprint of Aristotle’s wonder, Kant’s melancholy, Kierkegaard’s anxiety or Nietzsche's shamelessness? Philosophy's Moods invites its readers to explore the above questions through diverse methodological perspectives. The collection includes twenty-one contributions by internationally renowned scholars as well as younger and emerging voices. In pondering the place of the subjective and personal roots that thinking is typically called to overcome, the book challenges and articulates an alternative to a predominant tendency in philosophy to view the theoretical content and the affective side of thought as opposed to one another.

Philosophy''s Moods is a collection of original essays interrogating the inseparable bond between mood and philosophical thinking. What is the relationship between mood and thinking in philosophy? In what sense are we always already philosophizing from within a mood? What kinds of mood are central for shaping the space of philosophy? What is the philosophical imprint of Aristotle’s wonder, Kant’s melancholy, Kierkegaard’s anxiety or Nietzsche''s shamelessness? Philosophy''s Moods invites its readers to explore the above questions through diverse methodological perspectives. The collection includes twenty-one contributions by internationally renowned scholars as well as younger and emerging voices. In pondering the place of the subjective and personal roots that thinking is typically called to overcome, the book challenges and articulates an alternative to a predominant tendency in philosophy to view the theoretical content and the affective side of thought as opposed to one another.