Disgust relies on moral obtuseness. It is possible to view another human being as a slimy slug or a piece of revolting trash only if one has never made a serious good-faith attempt to see the world through that person’s eyes or to experience that person’s feelings. Disgust imputes to the other a subhuman nature. How, by contrast, do we ever become able to see one another as human? Only through the exercise of imagination.
- Martha Nussbaum, From Disgust to Humanity
- Martha Nussbaum, From Disgust to Humanity
“There are people who want to be seen in no other way than shining through others. There is a great deal of prudence in that.”
—Daybreak, §421 (edited).
—Daybreak, §421 (edited).
“Ideas come as you walk, Nietzsche said. Walking dissipates thoughts, Shankara taught.
Both theses are equally well-founded, hence equally true, as each of us can discover for himself in the space of an hour, sometimes of a minute. …”
― Emil Cioran, The Trouble with Being Born
Both theses are equally well-founded, hence equally true, as each of us can discover for himself in the space of an hour, sometimes of a minute. …”
― Emil Cioran, The Trouble with Being Born
Forwarded from tomrum
Taxi Driver was released on 8 Feb. 1976.
Writer Paul Schrader stated his influences and inspiration for the film:
“Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the script as an attempt to take the European existential hero, that is, the man from The Stranger [Camus], Notes from the Underground [Dostoevsky], Nausea, Pickpocket [Bresson], Le Feu Follet [Malle], and A Man Escaped [Bresson], and put him in an American context. In so doing, you find that he becomes more ignorant, ignorant of the nature of his problem.
Writer Paul Schrader stated his influences and inspiration for the film:
“Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the script as an attempt to take the European existential hero, that is, the man from The Stranger [Camus], Notes from the Underground [Dostoevsky], Nausea, Pickpocket [Bresson], Le Feu Follet [Malle], and A Man Escaped [Bresson], and put him in an American context. In so doing, you find that he becomes more ignorant, ignorant of the nature of his problem.