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By Christina M. Gschwandtner
The philosophical paintings of Jean-Luc Marion has opened new methods of talking approximately non secular convictions and studies. during this exploration of Marion’s philosophy and theology, Christina M. Gschwandtner provides a finished and demanding research of the guidelines of saturated phenomena and the phenomenology of givenness. She claims that those phenomena don't continually seem within the over the top mode that Marion describes and indicates in its place that we examine levels of saturation. Gschwandtner covers significant issues in Marion’s work—the ancient 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.
Read or Download Degrees of Givenness: On Saturation in Jean-Luc Marion (Indiana Series in the Philosophy of Religion) PDF
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Additional resources for Degrees of Givenness: On Saturation in Jean-Luc Marion (Indiana Series in the Philosophy of Religion)
Sample text
65 Drawing on the medieval term of the vassal (ban) Marion claims that saturated phenomena are “banal” and quite accessible to anyone. In this context he suggests that a phenomenon might actually move from “poor” to “saturated” or that the same phenomenon might be interpreted as either poor or saturated: “The banality of the saturated phenomenon suggests that the majority of phenomena, if not all can undergo saturation by the excess of intuition over the concept or signification in them. In other words, the majority of phenomena that appear at first glance to be poor in intuition could be described not only as objects but also as phenomena that intuition saturates and therefore exceed any univocal concept” (VR, 126, original emphasis; VeR, 155).
Historical Events and Historical Research 29 Marion does not describe the move from poor to saturated phenomenality as a process of increase in complexity or decrease of objectification. Rather, he speaks of “paradox” and “reversal” (BG, 163). We do not have less causality or more complexity, but we have its total opposite: no causality at all (he calls this “negentropy” in this context). In terms of phenomenality, the effect is first and is what makes a phenomenon appear or show itself. It hence has temporal and spatial privilege (BG, 164; ED, 231–32).
Marion suggests as much when he speaks of the person who can distinguish the smell of Chanel from that of Guerlain or the vintner who “knows what he or she has tasted and can discuss it precisely with an equal, though without employing any concept, or else with an endless series of quasi-concepts, which take on meaning only after and only according to the intuition that is the sole and definitive authority,” which requires endless discussion (VR, 131; VeR, 162). Despite Marion’s insistence that the intuition “is the sole and definitive authority,” these cases indeed suggest that one could be “trained” to some extent to perceive and identify saturated phenomena, that a hermeneutic circle might be established in which greater understanding and appreciation is gained through Introduction 23 further exposure and greater awareness of the larger context.