By Christina M. Gschwandtner
The philosophical paintings of Jean-Luc Marion has opened new methods of talking approximately spiritual convictions and reports. during this exploration of Marion’s philosophy and theology, Christina M. Gschwandtner offers a entire and significant research of the tips of saturated phenomena and the phenomenology of givenness. She claims that those phenomena don't regularly look within the over the top mode that Marion describes and indicates as an alternative that we ponder levels of saturation. Gschwandtner covers significant issues in Marion’s work—the old occasion, artwork, nature, love, present and sacrifice, prayer, and the Eucharist. She works in the phenomenology of givenness, yet means that Marion himself has no longer thought of vital features of his philosophy.
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Additional resources for Degrees of Givenness: On Saturation in Jean-Luc Marion (Indiana Series in the Philosophy of Religion)
One will appreciate a painting more fully if one knows something of the artist’s work and history, of the context of the time, of its history of interpretation, and so forth. Indeed, the painting may well overwhelm us, and new interpretations will always be possible, even must continue, yet surely some interpretations are better than others (and some maybe entirely false). 37 Hermeneutic Dimensions Early on, Marion’s work was criticized for not being sufficiently hermeneutical. 38 He suggests that any phenomenology that deals with the “unapparent” must of necessity be hermeneutical.
The sound of a voice can refer both to the information provided over the loudspeaker at a train station or airport and also to the rich experience of hearing an opera diva. Someone’s groping around in the dark to find the light switch is different from the touch of loving caress. Taste can distinguish poison from sugar or refer to the rich flavor of a good wine. The odor of gas in my house provides important information, while one inhales the fragrance of a famous perfume in a very different manner.
Even the “activity of virtue” ultimately becomes part of the passivity of the Cartesian cogitatio that Marion examines in this book. In Marion’s view, Descartes finally recognizes the importance of self-affectivity and an originary passivity of the self (PPD, 265), even if the subsequent tradition focuses solely on his earlier formulations of the ego. ”61 Marion is careful to insist that the recipient can never “grasp” the phenomenon fully, that it always gives too much, is always an overwhelming experience.