By John Panteleimon Manoussakis
Who or what comes after God? within the wake of God, because the final fifty years of philosophy has proven, God comes again back, another way: Heidegger's final God, Levinas's God of Infinity, Derrida's and Caputo's tout autre, Marion's God with no Being, Kearney's God who will be. Sharing the typical tricky of the otherness of the opposite, the essays during this quantity characterize thought of responses to the hot paintings of Richard Kearney.John Panteleimon Manoussakis holds a Ph.D. in philosophy from Boston university. he's the writer of Theos Philosophoumenos (in Greek, Athens 2004) and co-editor of Heidegger and the Greeks (with Drew Hyland). He has additionally translated Heidegger's Aufenthalte.
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Extra resources for After God: Richard Kearney and the Religious Turn in Continental Philosophy (Perspectives in Continental Philosophy)
In their plunge toward fundamental profundity, phenomenology often turned its sights from the treasures floating in the flotsam and jetsam of the forfeited. It overlooked the ‘‘foul rag and bone shop of the heart’’ (Yeats). The return to poetics does not require the abandonment of philosophy. In fact, poetics might be said to occupy that in-between site where conceptual reflection finds its limits and poetry finds its illimitable nutrition. In this sense, the idiom of poetics promoted by the fourth reduction invites us to another kind of thinking, what we might call with Rilke an understanding of the heart, which observes a double fidelity to both philosophy and poetry.
The fourth reduction does not seek to overcome or discard the preceding movements of reduction; rather, it strives to complete them by rehearsing, retrieving, and repeating them. In some sense, the fourth reduction is a corrective recapitulation of the transcendent, ontological, and dosological reductions. What, then, is the fourth reduction? ’’ We will try to flesh out the basic principles of the fourth reduction by clarifying further the definition (discussed elsewhere) of the prosopon and its pertinence for a phenomenology of everyday experience.
It is in the painting without, however, being the painting. It is the unapparent, the aphanes that somehow appears (without making itself as such visible). How does style ‘‘appear,’’ since it is not visible? For what is visible in a painting—the colors, the shapes, the strokes of the brush—is precisely not the style. It is never the eye (as a physiological organ) or the ear that sees or hears, but ‘‘I’’—this ‘‘I,’’ however, cannot be seen, heard, or touched. That is why it (the I) can see and hear and touch what we call here the unapparent.
After God: Richard Kearney and the Religious Turn in Continental Philosophy (Perspectives in Continental Philosophy) by John Panteleimon Manoussakis