Interview with Renaud Barbaras, conducted on May 18, 2011.

In _God, the Flesh, and the Other, _the philosopher Emmanuel Falque joins the ongoing debate about the role of theology in phenomenology. An important voice in the second generation of French philosophy’s “theological turn,” Falque examines philosophically the fathers of the Church and the medieval theologians on the nature of theology and the objects comprising it. Falque works phenomenology itself into the corpus of theology. Theological concepts thus translate into philosophical terms that phenomenology should legitimately question: concepts from contemporary phenomenology (...) such as onto-theology, appearance, reduction, body/flesh, inter-corporeity, the genesis of community, intersubjectivity, and the singularity of the other find penetrating analogues in patristic and medieval thought forged through millennia of Christological and Trinitarian debate, mystical discourses, and speculative reflection. Through Falque’s wide-ranging interpretive path, phenomenology finds itself interrogated—and renewed. (shrink)

The name Stanislas Breton likely drums up a few interesting facts: chum of Louis Althusser or Michel de Certeau, author of an obscure spiritual classic or bewildering treatises on Nothing, the Imaginary, and the “poetics of the sensible” – an idiosyncratic figure at the margins, writing on St. Paul or Proclus well before it was mainstream. Coming across his name can be like discovering a great record that none of your friends are talking about or taking a chance on Netflix (...) to find an arthouse ‘hidden gem’. To facilitate that experience, I offer a brief introductory essay sounding some of the major notes in his thought and life, followed by a translation of his “Examen particulier,” written in 1988 as a late-stage critical self-interrogation. The reader should find here that Breton’s oeuvre develops a coherent and penetrating philosophy of conceptual rigor and thematic range that is as deeply indebted to its modern engagements as it is to its medieval and late antique sources of inspiration. (shrink)