By Mark Dooley, Richard Kearney
This significant dialogue takes a glance at the most very important moral concerns confronting us this day through a number of the world’s top thinkers. together with essays from top thinkers, akin to Jurgen Habermas, Alasdair MacIntyre, Julia Kristeva and Paul Ricoeur, the book’s spotlight – an interview with Jacques Derrida - offers the main obtainable perception into his pondering on ethics and politics for a few years. Exploring subject matters starting from heritage, reminiscence, revisionism, and the self and accountability to democracy, multiculturalism, feminism and the way forward for politics, the essays are grouped into 5 thematic sections: * hermeneutics * deconstruction * serious idea * psychoanalysis * utilized ethics. each one part considers the demanding situations posed by way of ethics and the way severe pondering has remodeled philosophy this day. wondering Ethics offers an unsurpassed assessment of the country of moral considering this day by means of a number of the world’s most excellent philosophers.
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This significant dialogue takes a glance at probably the most very important moral concerns confronting us this present day by way of a number of the world’s major thinkers. together with essays from major thinkers, akin to Jurgen Habermas, Alasdair MacIntyre, Julia Kristeva and Paul Ricoeur, the book’s spotlight – an interview with Jacques Derrida - offers the main obtainable perception into his considering on ethics and politics for a few years.
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Additional resources for Questioning Ethics: Contemporary Debates in Philosophy
A battlefield of competing meanings. Every history is told from a certain perspective and in the light of specific prejudice (at least in Gadamer’s sense). Memory, as suggested above, is not always on the side of the angels. It can as easily lead to false consciousness and ideological closure as to openness and tolerance. This distorting power is sometimes ignored by contemporary advocates of narrative ethics—MacIntyre, Nussbaum, Booth—who tend to downplay the need for a hermeneutic of critical suspicion (à la Ricoeur or Habermas).
There is no consolation in Lanzmann’s narratives. There are no tears to feel with, no sensations to orient oneself, no ecstasy, no catharsis, no purgation. There is, as Lanzmann admits, ‘no possibility of crying’. By refusing the temptation of a happy ending, by eschewing redemptive or reconciliatory conclusion (à la Schindler’s List), Lanzmann opts for a form of narrative memory which testifies, first and last, to the need to recall our own forgetfulness. How does he do this? By showing us witnesses who testify to the impossibility of representing what happened in Auschwitz, by letting a faltering voice or broken anecdote or failed retelling betray what no shot (fictional or documentary) of dead bodies could tell us.
I am thy father’s spirit, Doomed for a certain term to walk the night And for the days confined to fast in fires Till the foul crimes done in my days of nature Are burnt and purged away. But that I am forbid To tell the secrets of my prison house, I could a tale unfold whose lightest word Would harrow up thy soul… (Hamlet, Act 1, sc. v) The second thing King Hamlet tells his son is to prevent the ‘royal bed of Denmark’ from being ‘a couch…of damned incest’; but here again there are problems, for he adds: ‘do not contrive against thy mother aught’— in other words, another double injunction.