‘And the Nothing That Is’: Stevens and Kearney on Apophatic Affirmation

Richard Kearney has always insisted that his anatheistic approach to a phenomenology of the sacred stipulates a close connection with aesthetics. He supports this contention throughout his work by constantly referencing important artists, poets, novelists, and film makers. Indeed, this connection be...

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Autor principal: Putt, B. Keith (Author)
Tipo de documento: Recurso Electrónico Artigo
Idioma:Inglês
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Publicado em: Brill 2023
Em: Journal for continental philosophy of religion
Ano: 2023, Volume: 5, Número: 1, Páginas: 72-97
Outras palavras-chave:B Imaginação
B Apophatic
B Poetics
B Faith
B God
B Fiction
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Resumo:Richard Kearney has always insisted that his anatheistic approach to a phenomenology of the sacred stipulates a close connection with aesthetics. He supports this contention throughout his work by constantly referencing important artists, poets, novelists, and film makers. Indeed, this connection between aesthetics and his philosophy of religion has even motivated an anthology of articles entitled The Art of Anatheism. Consequently, in this essay I wish to expand that connection by examining the relationship between Kearney’s anatheism and the ‘supreme fiction’ of the American poet Wallace Stevens. To accomplish this expansion, I inspect several topics shared by the two authors, including God, faith, imagination, and ‘negative certainty’. This last topic forms something of the central focus of the essay, since I argue that the affirmative humility of faith professed by both never avoids the ‘void’ inherent in human existence that disallows every claim to the ‘innocence of an absolute’.
ISSN:2588-9613
Reference:Kommentar in "After Thoughts on After Gods: A Response to Hendel, Damen, Putt, and Hederman (2023)"
Obras secundárias:Enthalten in: Journal for continental philosophy of religion
Persistent identifiers:DOI: 10.1163/25889613-bja10043