By Christina M. Gschwandtner

The philosophical paintings of Jean-Luc Marion has opened new methods of talking approximately non secular convictions and reviews. during this exploration of Marion’s philosophy and theology, Christina M. Gschwandtner provides a accomplished and important research of the information of saturated phenomena and the phenomenology of givenness. She claims that those phenomena don't continuously seem within the over the top mode that Marion describes and indicates in its place that we think of levels of saturation. Gschwandtner covers significant issues in Marion’s work—the old occasion, paintings, 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 points 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)

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Marion himself does link the epistemic and the hermeneutic in some contexts, such as in the proposal of negative certainties. We can be certain that we cannot reduce the other person to mere data because of a person’s particular kind of phenomenality. In fact, in this context Marion speaks of this endless hermeneutics as “a need of reason” (un besoin de la raison): “The face of the other compels me to believe in my own eternity, as a need of reason or, what comes down 18 Degrees of Givenness to the same thing, as the condition of its infinite hermeneutic” (IE, 127, trans.

It is interesting in this context that, the first time Marion employs the category of quantity and speaks of a saturated phenomenon that is immense and without measure, he uses art and painting to illustrate this instead of a historical event. Cubist painting serves as a “privileged example” because the “infinite number of facets” “continually proliferate and accumulate” (BG, 201; ED, 282). Marion gives several examples of cubist paintings that “always give more to see, and by far, than we make of them” (BG, 201, trans.

Is the negative limitation of knowledge in the case of the work of art one of quality, in regard to flesh of relation, and facing the other of modality? What would be a negative certainty of relation or modality? 35 Finally, one may wonder whether the negativity of this knowledge could be alleviated to some extent or whether it always remains absolute. In Marion’s initial proposal here, it appears that knowledge is either entirely “positive” (the “clear and distinct” Cartesian certainty one can have about objects) or completely negative.

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