In this original work, Steven DeLay, using a wide breadth of philosophical sources, articulates a view of selfhood which emphasizes humanity’s ineluctable experience before-God.

Thirty years after the publication of Dominique Janicaud’s criticism of what he termed the “theological turn” of phenomenology in France, what is the state of the debate? This paper addresses that question, by examining the phenomenology of revelation in Marion, Lacoste, and others, in turn replying to various arguments that have been advanced against the theological turn and on behalf of methodological atheism. Not only is revelation a viable topic of phenomenological analysis, the attempts to formulate a methodologically atheist phenomenology (...) fail. (shrink)

Traditionally, phenomenology has understood the self in light of intentionality and hence the world. However, contemporary French phenomenology—as represented here by Jean-Luc Marion—contends that this view of subjectivity is open to challenge: our mode of existence is not simply one of “being-in the-world.” I develop this claim by examining Marion’s reformulation of the reduction. Here, the phenomenon of vanity is key. I first present Husserl’s and Heidegger’s own formulations of the reduction. Following Marion, I show that the blow of vanity (...) neutralizes both, by undercutting the respective questions to which they respond. For, in response to vanity’s own question—“What’s the use?”—neither the transcendental nor ontological reductions have a reply. Vanity consequently renders the Heideggerian distinction between authenticity and inauthenticity existentially moot. To establish this, I evaluate how existing interpretations of authenticity overlook the phenomenon of vanity. Phenomenology, I urge in conclusion, should shift its attention to the horizons opened by Marion’s erotic reduction. (shrink)

This book is an introduction to French phenomenology in the post 1945 period. Whilst many of phenomenology's greatest thinkers - Husserl, Heidegger, Sartre and Merleau-Ponty - wrote before this period, Steven DeLay introduces and assesses the creative and important turn phenomenology took after these figures. He presents a clear and rigorous introduction to the work of relatively unfamiliar and underexplored philosophers, including Jean-Louis Chrétien, Michel Henry, Jean-Yves Lacoste, Jean-Luc Marion and others. -/- After an introduction setting out the crucial Husserlian (...) and Heideggerian background to French phenomenology, DeLay explores Emmanuel Levinas’s ethics as first philosophy, Henry’s material phenomenology, Marion’s phenomenology of givenness, Lacoste’s phenomenology of liturgical man, Chrétien’s phenomenology of the call, Claude Romano’s evential hermeneutics, and Emmanuel Falque’s phenomenology of the borderlands. Starting with the reception of Husserl and Heidegger in France, DeLay explains how this phenomenological thought challenges boundaries between philosophy and theology. Taking stock of its promise in light of the legacy it has transformed, DeLay concludes with a summary of the field’s relevance to theology and analytic philosophy, and indicates what the future holds for phenomenology. -/- Phenomenology in France: A Philosophical and Theological Introduction is an excellent resource for all students and scholars of phenomenology and continental philosophy, and will also be useful to those in related disciplines such as theology, literature and French studies. (shrink)

In this essay, I argue that genuine responsibility and ethical self-understanding are possible without narrative—or, at least, that narrative is not always sufficient. In §2, I introduce and clarify a distinction between our ontological subjectivity and everyday practical identity—one made famous by Heidegger and Sartre. On the basis of this distinction, in §3 I argue that narrative is unable to ground ethical choice and decision. For, although acting in light of practical identities is something we do, it cannot wholly capture (...) what it is to be who we are. Irrespective of whatever worldly projects and identities we press into, something about our subjectivity always remains unchanged. Narrative identity, which trades merely on practical identity, thus obscures this ontological dimension of life wherein human action, decision, choice, and responsibility truly originate. By way of conclusion, in §4, I briefly examine depictions of the narrative life found within the authorships of Dostoevsky, Kierkegaard, and Voltaire, illustrating how self-narrative at times invites self-deception and annuls responsibility. A life of genuine responsibility demands more than what the most candid and best intentioned of self-narratives can supply us. Living the good life, I shall intimate, is thus not something that involves mere narrative. It depends, rather, on inwardness. (shrink)

Taking up phenomenology’s problem of intentionality in the wake of Husserl, Jean-Paul Sartre in the introduction to Being and Nothingness says, «All consciousness, as Husserl has shown, is consciousness of something […] All consciousness is positional in that it transcends itself in order to reach an object, and it exhausts itself in this same positing». Continuing down the page, Sartre notes in turn that intentionality itself is only possible insofar as it is aware of itself. Just as an unconscious intentionality (...) is unthinkable, so too all consciousness is self-consciousness. As he thus explains, «the necessary and sufficient condition for a knowing consciousness to be knowledge of its object, is that it be consciousness of itself as being that knowledge». To pose Husserl’s problem of intentionality, hence, is to pose with it the question of self-consciousness. Sartre asks: “What is this consciousness of consciousness?” Sartre’s question— the question, in short, of what it is to be conscious of oneself—in what follows shall be ours as well. (shrink)

This book is an introduction to French phenomenology in the post-1945 period. While many of phenomenology's greatest thinkers--Husserl, Heidegger, Sartre and Merleau-Ponty--wrote before this period, Steven DeLay introduces and assesses the creative and important turn phenomenology took after these figures. He presents a clear and rigorous introduction to the work of relatively unfamiliar and underexplored philosophers, including Jean-Louis Chrétien, Michel Henry, Jean-Yves Lacoste, Jean-Luc Marion and others. After an introduction setting out the crucial Husserlian and Heideggerian background to French phenomenology, (...) DeLay explores Emmanuel Levinas's ethics as first philosophy, Henry's material phenomenology, Marion's phenomenology of givenness, Lacoste's phenomenology of liturgical man, Chrétien's phenomenology of the call, Claude Romano's evential hermeneutics, and Emmanuel Falque's phenomenology of the borderlands. Starting with the reception of Husserl and Heidegger in France, DeLay explains how this phenomenological thought challenges boundaries between philosophy and theology. Taking stock of its promise in light of the legacy it has transformed, DeLay concludes with a summary of the field's relevance to theology and analytic philosophy, and indicates what the future holds for phenomenology. Phenomenology in France: A Philosophical and Theological Introduction is an excellent resource for all students and scholars of phenomenology and continental philosophy, and will also be useful to those in related disciplines such as theology, literature, and French studies. (shrink)

What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. (...) To clarify Henry’s view, I examine his analysis of the abstract painting of Kandinsky, after which I illustrate the significance of Kandinsky’s abstractionism by showing how the representational paintings of Paul Signac, Andrew Harrison, Alphonse Osbert, and Henry Ossawa Tanner attempt to express the invisibility of subjectivity. I then reveal how Heidegger’s account of the work of art in terms of world disclosure overlooks the work’s task of exalting life. In closing, I accordingly suggest that Henry’s view of painting—which locates its essence in Life rather than the world—not only presents a competing position to the Heideggerian view of the origin of the work of art worthy of our attention, but one that explains how art can contribute to overcoming our age’s nihilism. (shrink)

This essay addresses the questions of whether the givenness of God is something possible, intelligible—and, if so, what such givenness might involve. In the interest of situating these questions in historical context, I first summarize Kant’s, Hegel’s, and Habermas’s respective accounts of the relationship between belief in God and philosophical knowledge. I then further situate critical philosophy’s appropriation of God by way of a discussion of how some of this appropriation’s fiercest critics—existentialists such as Sartre, Shestov, and Kierkegaard—object to its (...) gambit of using God to serve moral and cultural goals even as it denies God’s actual existence. Though this objection is a salient one, it leaves something to be desired. For although the existentialists may demonstrate what is misguided about the philosophers’ God, they do not have anything especially compelling to say about whether or how God can be given experientially. I address this aporia by exploiting what I take to be a happy intersection between the phenomenological conception of the saturated phenomenon and two moods—agape love and ecstatic joy—the mystical tradition frequently attributes to the nature of divine givenness. I argue that, when mystical experience is situated within the framework of saturated phenomena rather than within the Kantian enclosures of phenomenality, two intriguing possibilities emerge. First, it seems plausible that the religious experience of the mystic can, in principle, involve the very givenness of God that Kant and his heirs denied to be possible. Second, though phenomenology has yet to provide a complete positive portrait of the religious life, the mystical tradition emerges as a legitimate, invaluable source with which such a phenomenological portrait might begin. (shrink)

The definitive philosophical exploration of the work of pioneering filmmaker Terrence Malick.

Review of Joseph Rivera's The Contemplative Self After Michel Henry (Notre Dame: 2015).