By Alphonso Lingis
Half travelogue, half meditation, Abuses is a daring exploration of imperative topics in Continental philosophy by means of some of the most passionate and unique thinkers in that culture writing today.A gripping checklist of wishes, obsessions, our bodies, and areas skilled in far-off lands, Alphonso Lingis's publication bargains at the least a brand new method of philosophy--aesthetic and sympathetic--which departs from the phenomenology of Levinas and Merleau-Ponty. "These have been letters written to friends," Lingis writes, "from locations i discovered myself for months at a time, approximately encounters that moved me and afflicted me. . . . those writings additionally grew to become now not my letters. i discovered myself merely attempting to converse for others, others greeted basically with passionate kisses of parting."Ranging from the increased Inca castle of Machu Picchu, to the dwelling rooms of the Mexican elite, to the streets of Manila, Lingis recounts incidents of state-sponsored violence and the revolutionary incorporation of third-world peoples into the circuits of alternate of foreign capitalism. Recalling the paintings of such writers as Graham Greene, Kathy Acker, and Georges Bataille, Abuses comprises impassioned debts of silence, eros and identification, torture and conflict, the elegant, lust and pleasure, and human rituals surrounding carnival and dying that happened in the course of his trips to India, Bangladesh, Thailand, Bali, the Philippines, Antarctica, and Latin the USA. A deeply unsettling publication by way of a thinker of bizarre mind's eye, Abuses will attract readers who, like its writer, "may wish the enigmas and wish the discomfiture inside oneself."
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Okay, just give me a half-hour. . Now how do I look to you? Madonna! " "Oh love, how beautiful you are, how I wish I could trade noses with you, is your handbag a real Gucci? " They do try to put you at your ease, these charmers chatting with you so ingratiatingly at intermission, greeting you by name, like your friends already, in the lobby after the show. Yet you leave without one of them. They have made you feel inferior, sexually inferior, not as daring, not as attractive. The next night you and your sisters head for a singles bar, advertised in the Tourism Ministry brochure, featuring ― 113 ― a go-go show of men.
Yet you leave without one of them. They have made you feel inferior, sexually inferior, not as daring, not as attractive. The next night you and your sisters head for a singles bar, advertised in the Tourism Ministry brochure, featuring ― 113 ― a go-go show of men. Thailand is a matriarchal Garden of Eden. The owner, welcoming you at the door, is an aged queen. The show consists of youths dancing desultorily to Western pop music who occasionally strip of their G-strings. They, you discover, hardly speak any English—selected for their looks from among laborers trucked in from the provinces to work in construction gangs in Bangkok.
In this theater of the greatest and most single-minded age of English imperialism, these boys were parodies of imperial males. The Queen found much of Shakespeare to her distaste. In Japanese Nô theater, the high theater of the samurai caste which glorifies their Zen ideals, all the roles are played by mature men. Kabuki, the low theater of the merchant class, originated in the red-light district of Kyoto and its plots parody the plots of Nô theater. Female prostitutes played all the roles; Kabuki was performed as an entertainment for male merchants.
Abuses by Alphonso Lingis
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