Introduction -- Marion's claims -- The hermeneutic structure of phenomenality -- The theory of saturated phenomena -- Events -- Dazzling idols and paintings -- Flesh as absolute -- The face as irregardable icon -- Revelation : the phenomenon of God's appearing -- Conclusion: Revising the phenomenology of givenness.

One of the ways in which Heidegger characterised his philosophical project was as ‘overcoming metaphysics.’ This was a way of expressing the task of destruction—or, in Derrida’s version, deconstruction—of the tradition of western philosophy. One of the consequences of Heidegger’s critique of traditional western metaphysics is that, in the decades since, there has been a reluctance to engage in anything that might be called ‘metaphysics’. This is somewhat ironic, given that one of the branches of metaphysics is ontology, and that (...) Heidegger explicitly describes his own work as phenomenological ontology. This essay sketches some ontological implications of the thought of Emmanuel Levinas and Jean-Luc Marion, then outlines some of the ways in which that ontology might be modified in light of hermeneutic critiques of Levinas and Marion, and concludes by suggesting that an ontology informed by these hermeneutic insights can be traced in the thought of Hans-Georg Gadamer and Maurice Merleau-Ponty. (shrink)

In his essay The Origin of the Work of Art, Martin Heidegger discusses three examples of artworks: a painting by Van Gogh of peasant shoes, a poem about a Roman fountain, and a Greek temple. The new entry on Heidegger’s aesthetics in the Stanford Encylopedia of Philosophy, written by Iain Thomson, focuses on this essay, and Van Gogh’s painting in particular. It argues that Heidegger uses Van Gogh’s painting to set art, as the happening of truth, in relation to ‘nothing’, (...) which is a key term in Heidegger’s essays leading up to The Origin of the Work of Art. This paper extends a similar analysis to the Greek temple as a way of offering an exposition of Heidegger’s concerns in the essay. It begins by briefly outlining Thomson’s argument that Heidegger relates Van Gogh’s painting to ‘nothing’, and indicating the way this argument can be extended to the Greek temple. It then discusses three ways in which ‘nothing’ can open up the significance of the temple as a work of art in which truth happens: (1) it is not concerned with objective representation; (2) it depicts the primal strife of earth and world, concealing and unconcealing; (3) it is fundamentally historical. (shrink)

Mackinlay, Shane The opening of the legal year is marked by many events, including a range of religious celebrations. These celebrations are part of a long tradition, dating back nearly eight hundred years. The first religious ceremony recorded as marking the start of the legal year was a Mass celebrated in Notre Dame Cathedral in Paris in 1245. Then, it would have been a completely obvious thing to do, as it was unquestioned that those holding civic authority did so only (...) because it had been entrusted to them from God, and that they exercised it on his behalf. A range of powerful symbols made this relation very evident. The religious character of weighty ceremonies such as coronations was complemented by the integral place of faith in the broader culture; religious belief was not so much chosen as an expression of individual commitment, but was simply one characteristic among many others of national culture and identity. (shrink)

Mackinlay, Shane Review(s) of: Thinking things through: Essays in philosophy and Christian faith, by Andrew Murray SM, (Adelaide: ATF Theology, 2012), pp. 228 + xvi, $34.95 (Electronic: $15.95).