By Christina M. Gschwandtner
The philosophical paintings of Jean-Luc Marion has opened new methods of conversing approximately non secular convictions and stories. during this exploration of Marion’s philosophy and theology, Christina M. Gschwandtner provides a complete and important research of the guidelines of saturated phenomena and the phenomenology of givenness. She claims that those phenomena don't consistently look within the over the top mode that Marion describes and indicates as a substitute that we ponder 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 elements of his philosophy.
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Extra resources for Degrees of Givenness: On Saturation in Jean-Luc Marion (Indiana Series in the Philosophy of Religion)
Even the Cartesian ego receives access to its phenomenality via sensing itself and its passions (PPD, 237), including identifying the will as a movement of the passions and hence characterized by an essential passivity and receptivity (PPD, 243). Marion identifies generosity in Descartes as a passion with an important active element (PPD, 246–50). 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.
Yet, although it is certainly true that for many historical events no clear cause can be firmly established or that there are many causes that all work together in some fashion, does this really mean that there is actually no cause of any sort, that the event occurs without any causality at all? And does this imply that any cause whatsoever can be assigned to the event? That seems an arbitrary conclusion. Historical research on World War I certainly points to the complexity of this event and agrees that no single or simple cause can be assigned to the conflict.
Surely historians’ understanding of an event or period increases with further research, even if the past event is never captured fully. Does not love grow and increase as the lovers spend more time together and get to know each other more fully? Surely appreciation for art and music is something that is cultivated and developed over time and does not strike one ex nihilo the first time one encounters a great work of art. As I seek to show, for many of these phenomena, certainly for the cultural or historical event, for the work of art, and even for the encounter with the human person, knowledge can indeed increase even if it can never be final.