Abstract

THE BASIC THESIS OF THIS ESSAY IS THAT CONFESSION—DEFINED AS ACTS of truth-telling about that which one most fears to speak—affects the landscape of one's emotions and desires. How such acts of confession affect emotions and desires depends on where and to whom such a confession is spoken. The kind of effect confession will have on emotions and desires is determined, in part, by the identity of the listener. Thus, the listener is not neutral in such acts of confession but assumes, de facto, a symbolic or iconic mediating role. I explore this relationship between confession and desire through an analysis of the Sacrament of Confession and in conversation with Dionysius the Areopagite, Maximus the Confessor, Charles Taylor, and Martha Nussbaum. I suggest an alternative understanding of the Sacrament of Confession that defines the Sacrament not in juridical terms but as an event whose purpose is to increase one's desire for God. Although I affirm the constitutive role of language and interpretation on desires and emotions, I argue that Taylor and Nussbaum give insufficient attention to how desire affects interpretation and to how the particular iconic role of the listener affects how confession affects emotions and desires.