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 out Being, Kearney's God who will be. Sharing the typical challenging of the otherness of the opposite, the essays during this quantity signify thought of responses to the new 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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Additional resources for After God: Richard Kearney and the Religious Turn in Continental Philosophy (Perspectives in Continental Philosophy)
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. This is not to deny embodiment and the flesh—quite the contrary. , objectified) thing. Who would dare to say that the I is a thing?
Transcendental Forms. First and Final Causes. Immutable essences. But in the process, we tended to turn our backs on the ‘‘God of little things,’’ the holiness of this and that. Too often we forgot the fact that God is manifest in the least ones calling for a cup of cold water, asking to be fed, clothed, cared for, heard, loved. We ignored the face of the desert stranger who comes in the middle of the night and wrestles with us until we open our eyes and see face-to-face: Prosopon. ’’ The fourth reduction solicits a retrieval of the lowercase at the other side of the uppercase: after Metaphysics, after Theology, after Being, after God.
So that we may ‘‘see and touch the goodness of the Lord’’ in the wounds and wonders of the commonest beings. Disclose the sacramental in le dernier des derniers. For the eschaton reveals itself in the mundane as much as in the momentous, in the scarred as much as in the beautiful, in the lost as much as in the found. It elicits ways of rediscovering God in the ordinary universe which the gods—pace Heidegger and certain postmodern prophets of fatality—have never really abandoned. This is why we claim that the eschatological reduction signals a return to poetics.