‘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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Bibliographic Details
Published in:Journal for continental philosophy of religion
Main Author: Putt, B. Keith (Author)
Format: Electronic Article
Language:English
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Published: Brill 2023
In: Journal for continental philosophy of religion
Further subjects:B Imagination
B Apophatic
B Poetics
B Faith
B God
B Fiction
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Summary: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)"
Contains:Enthalten in: Journal for continental philosophy of religion
Persistent identifiers:DOI: 10.1163/25889613-bja10043