City Lights, regia: Charles Chaplin, 1931.
„Thus I find my ‘self’ only in finding my ‘other’ (and vice versa) in the splendor of the infinite. Within the unfolding music of creation the other appears as a particular figural intensity, an irreplaceable interval, a unique positioning whose infinite ‘scope’ is nothing other than that music, that infinite distance of creation’s paratactic display that endlessly ‘extends’ the placing of the other and is expressed in and ‘advanced’ by that placing. In the ‘sounding together’ of our intervals and phrasings, within the harmony of the good, we possess the analogical medium that permits us to know and to be known, to be obligated, shamed, enticed, blessed and forgiven. Whereas the infinity that Levinas glimpses in the face of the other one is a negative infinity, Christian thought is called to find in the other one whose displacement would be of infinite gravity because the other is an indispensable moment in a positive infinity; when the other is lost, all music is forsaken. The voice and face of the other, the infinity revealed therein, is always aesthetic.
The thought of the postmodern sublime – if it can be thought – cannot wake one to the music of the other; it is in the shining multiplicity of things that the other appears as divine delight, as belonging here, dwelling in the midst of these things. The face is a beauty that opens to an infinite that is beautiful; it reveals the desirability and inviolability and aesthetic necessity of the other; it is the beauty that humbles the one who looks on by showing that the other is the delight of God, and the music of his rejoicing.”
David Bentley Hart, The Beauty of the Infinite.