Abstract

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Unspoken Word: Negative Theology in Meister Eckhart's German SermonsOliver DaviesBruce Milem. The Unspoken Word: Negative Theology in Meister Eckhart's German Sermons. Washington, D. C.: Catholic University of America Press, 2002. Pp. ix + 192. Cloth, $44.95.Questions of meaning in Meister Eckhart's German sermons have prompted a series of recent studies by scholars interested in the dynamics of language and piety as they emerged in vernacular texts written in Northern Europe in the late Middle Ages. Bruce Milem's book sits within this school of reflection and is to be distinguished by his decision to frame the discussion within the context of a theory of the image, as developed by Eckhart across a number of works. It is this hermeneutic which gives coherence to The Unspoken Word and which allows the author to build an understanding of the role of language in Eckhart's sermons that draws upon Brecht's theory of the Verfremdungseffekt. According to this, alienation of language, or the disruption of its ordinary meanings, acts as its objectification in such a way that the audience is prompted to reflect upon their own situatedness with respect to the meanings which are disclosed within it. Language, or narrative, of this kind acts as a hermeneutic of self-critique and enhanced self-understanding.Milem bases his argument concerning the image on a close reading of just four sermons: 52 (Beati pauperes spiritu), Sermon 2 (Intravit Iesus in quoddam castellum), Sermon 16B (Quasi vas auri solidum) and Sermon 6 (Iusti vivent in aeternum). In these texts, expressed in different ways, he discerns firstly a theoretical outworking of the image as something that is defined by virtue of its relation to its source. The classic discussion of this comes in Sermon 16B with its discourse on a reflection in a mirror, whereby the image is "at one" with its source. But Milem rightly extends this theory to mean that in so far as all created things are images, they can be defined with respect to their relation to their source in God, rather than that of which they are images. But created images can also be defined in terms of their dissimilarity to their source: their incompleteness and temporality. The particular place of the sermon is given with its capacity to enact this condition of the image in ways that make it explicit.Milem argues for the German sermon as "an event" which is at the same time a mode of self-knowing, whereby the self comes to a deeper realisation of its dependence upon the divine at every moment of its being and action. Being ourselves constituted as "image," we are conditioned by the dialectic of likeness and distinction which characterises the relation of all images to the Creator. In our case however this is a state which can be realised in an existential act of reflection as a possibility which is opened up for us by our entry into the very particular, disruptive linguistic world of the sermon. This is an advancement on Walter Haug's notion of the language of the sermon as "transformational" but it adds to it a nice distinction of the status of the human creature as "image" and therefore conditioned by dissimilarity as much as likeness.In The Unspoken Word, Bruce Milem offers us a careful and intelligent analysis of the four sermons as exemplifying a kind of linguistic alienation which serves the end of self-illumination, as we come into a new possession of ourselves as being both intensively "like" God and utterly distinct from Him. This is not merely a cognitive change in us but also an existential one, as Milem's analysis of the theme of justice and human action in Sermon 6 shows. To this extent, his use of the hermeneutic of the image as signaling both likeness and distinction at an existential level usefully opens up new avenues of understanding. To some extent however this trajectory would have been strengthened by taking into account the two areas of inquiry with which Milem chooses not to engage (15-18), namely the relation between the German and Latin works and the question of whether...