This volume explores the possibilities and pressures of the language of revelation on human understanding. How can we critically account for divine self-disclosure in the linguistically mediated world of human concerns? Does the structure of interpretation limit the language of revelation? Does revelation open up new horizons of critical interpretation? The volume brings together theologians who approach the interactions of revelation and hermeneutics with different perspectives, including various forms of phenomenology and comparative theology. It approaches the theme of revelation - central as it is to the theological endeavour - from several angles rather than a single methodological program. Dealing as it does with revelation and understanding, the volume addresses the foundational issues at stake in the challenges around change, identity, and faithfulness currently facing the church.

How can something finite mediate an infinite God? Weaving patristics, theology, art history, aesthetics, and religious practice with the hermeneutic phenomenology of Hans-George Gadamer and Jean-Luc Marion, Stephanie Rumpza proposes a new answer to this paradox by offering a fresh and original approach to the Byzantine icon. She demonstrates the power and relevance of the phenomenological method to integrate hermeneutic aesthetics and divine transcendence, notably how the material and visual dimensions of the icon are illuminated by traditional practices of prayer. Rumpza's study targets a problem that is a major fault line in the continental philosophy of religion – the integrity of finite beings I relation to a God that transcends them. For philosophers, her book demonstrates the relevance of a cherished religious practice of Eastern Christianity. For art historians, she proposes a novel philosophical paradigm for understanding the icon as it is approached in practice.

Faith and reason, especially in Roman Catholic thought, are less contradictory today than ever. But does the supposed opposition even make sense to begin with? One can lose faith, but surely not because one gains in reason. Some, in fact, lose faith when reason is not able to make sense of the experiences of our lives. We very quickly realize that reason does not understand everything. Immense areas remain incomprehensible and irrational, which we abandon to belief and opinion. Soon we definitively renounce thinking what that has been excluded from the realm of the thinkable. Ideological nightmares arise from this slumber of reason. Thus, the separation between faith and reason, too quickly taken as self-evident and even natural, is born from a lack of rationality, an easy capitulatin of reason before what is supposedly unthinkable. Rather than lose faith through excessive rationality, we often lose rationality because faith is too quickly excluded from the realm that it claims to open, that of revelation. We lose reason by losing faith. Examining such topics as the role of the intellectual in the church, the rationality of faith, the infinite worth and incomprehensibility of the human, the phenomenality of the sacraments, and the phenomenological nature of miracles and of revelation more broadly, this book spans the range of Marion's thought on Christianity. Throughout he stresses that faith has its own rationality, structured according to the logic of the gift that calls forth a response of love and devotion through kenotic abandon.

"In the Self's Place" is an original phenomenological reading of Augustine that considers his engagement with notions of identity in "Confessions." Using the Augustinian experience of "confessio," Jean-Luc Marion develops a model of selfhood that examines this experience in light of the whole of the Augustinian corpus. Towards this end, Marion engages with noteworthy modern and postmodern analyses of Augustine's most "experiential" work, including the critical commentaries of Jacques Derrida, Martin Heidegger, and Ludwig Wittgenstein. Marion ultimately concludes that Augustine has preceded postmodernity in exploring an excess of the self over and beyond itself, and in using this alterity of the self to itself, as a driving force for creative relations with God, the world, and others. This reading establishes striking connections between accounts of selfhood across the fields of contemporary philosophy, literary studies, and Augustine's early Christianity.

"In the Self's Place" is an original phenomenological reading of Augustine that considers his engagement with notions of identity in "Confessions." Using the Augustinian experience of "confessio," Jean-Luc Marion develops a model of selfhood that examines this experience in light of the whole of the Augustinian corpus. Towards this end, Marion engages with noteworthy modern and postmodern analyses of Augustine's most "experiential" work, including the critical commentaries of Jacques Derrida, Martin Heidegger, and Ludwig Wittgenstein. Marion ultimately concludes that Augustine has preceded postmodernity in exploring an excess of the self over and beyond itself, and in using this alterity of the self to itself, as a driving force for creative relations with God, the world, and others. This reading establishes striking connections between accounts of selfhood across the fields of contemporary philosophy, literary studies, and Augustine's early Christianity.

Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility--of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance--or what Marion describes as "phenomenality" in general.
In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, these four studies carefully consider the history of painting--from classical to contemporary--as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the "nihilism" of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible.

Along with Husserl's "Ideas" and Heidegger's "Being and Time," "Being Given" is one of the classic works of phenomenology in the twentieth century. Through readings of Kant, Husserl, Heidegger, Derrida, and twentieth-century French phenomenology (e.g., Merleau-Ponty, Levinas, and Henry), it ventures a bold and decisive reappraisal of phenomenology and its possibilities. Its author's most original work to date, the book pushes phenomenology to its limits in an attempt to redefine and recover the phenomenological ideal, which the author argues has never been realized in any of the historical phenomenologies. Against Husserl's reduction to consciousness and Heidegger's reduction to "Dasein," the author proposes a third reduction to givenness, wherein phenomena appear unconditionally and show themselves from themselves at their own initiative.
"Being Given" is the clearest, most systematic response to questions that have occupied its author for the better part of two decades. The book articulates a powerful set of concepts that should provoke new research in philosophy, religion, and art, as well as at the intersection of these disciplines.
Some of the significant issues it treats include the phenomenological definition of the phenomenon, the redefinition of the gift in terms not of economy but of givenness, the nature of saturated phenomena, and the question "Who comes after the subject?" Throughout his consideration of these issues, the author carefully notes their significance for the increasingly popular fields of religious studies and philosophy of religion. "Being Given" is therefore indispensable reading for anyone interested in the question of the relation between the phenomenological and the theological in Marion and emergent French phenomenology.

In a series of conversations, Jean-Luc Marion reconstructs a career's path in the history of philosophy, theology, and phenomenology. Discussing such concepts as the event, the gift, and the saturated phenomenon, Marion elaborates the rigor displayed by the things themselves. He discusses the major stages of his work and offers his views on the forces that have driven his thought. The conversation ranges from Marion's engagement with Descartes, to phenomenology and theology, to Marion's intellectual and biographical backgrounds, concluding with illuminating insights on the state of the Catholic Church today and on Judeo-Christian dialogue. Marion also reflects on the relationship of philosophy to history, theology, aesthetics, and literature. At the same time, the book provides an account of French intellectual life in the late twentieth century. In these interviews, Marion's language is more conversational than in his formal writing, but it remains serious and substantive. The book serves as an excellent and comprehensive introduction to Marion's thought and work.

Now in paperback, Jean-Luc Marion's groundbreaking philosophy of human uncertainty. In Negative Certainties, renowned philosopher Jean-Luc Marion challenges some of the most fundamental assumptions we have developed about knowledge: that it is categorical, predicative, and positive. Following Descartes, Kant, and Heidegger, he looks toward our finitude and the limits of our reason. He asks an astonishingly simple—but profoundly provocative—question in order to open up an entirely new way of thinking about knowledge: Isn’t our uncertainty, our finitude, and rational limitations, one of the few things we can be certain about? Marion shows how the assumption of knowledge as positive demands a reductive epistemology that disregards immeasurable or disorderly phenomena. He shows that we have experiences every day that have no identifiable causes or predictable reasons and that these constitute a very real knowledge—a knowledge of the limits of what can be known. Establishing this “negative certainty,� Marion applies it to four aporias, or issues of certain uncertainty: the definition of man; the nature of God; the unconditionality of the gift; and the unpredictability of events. Translated for the first time into English, Negative Certainties is an invigorating work of epistemological inquiry that will take a central place in Marion’s oeuvre. 

This volume explores the possibilities and pressures of the language of revelation on human understanding. How can we critically account for divine self-disclosure in the linguistically mediated world of human concerns? Does the structure of interpretation limit the language of revelation? Does revelation open up new horizons of critical interpretation? The volume brings together theologians who approach the interactions of revelation and hermeneutics with different perspectives, including various forms of phenomenology and comparative theology. It approaches the theme of revelation - central as it is to the theological endeavour - from several angles rather than a single methodological program. Dealing as it does with revelation and understanding, the volume addresses the foundational issues at stake in the challenges around change, identity, and faithfulness currently facing the church.

Does Descartes belong to metaphysics? What do we mean when we say "metaphysics"? These questions form the point of departure for Jean-Luc Marion's groundbreaking study of Cartesian thought. Analyses of Descartes' notion of the "ego" and his idea of God show that if Descartes represents the fullest example of metaphysics, he no less transgresses its limits. Writing as philosopher and historian of philosophy, Marion uses Heidegger's concept of metaphysics to interpret the Cartesian corpus--an interpretation strangely omitted from Heidegger's own history of philosophy. This interpretation complicates and deepens the Heideggerian concept of metaphysics, a concept that has dominated twentieth-century philosophy. Examinations of Descartes' predecessors (Aristotle, Augustine, Aquinas, and Suarez) and his successors (Leibniz, Spinoza, and Hegel) clarify the meaning of the Cartesian revolution in philosophy.
Expertly translated by Jeffrey Kosky, this work will appeal to historians of philosophy, students of religion, and anyone interested in the genealogy of contemporary thought and its contradictions.

In Negative Certainties, renowned philosopher Jean-Luc Marion challenges some of the most fundamental assumptions we have developed about knowledge: that it is categorical, predicative, and positive. Following Descartes, Kant, and Heidegger, he looks toward our finitude and the limits of our reason. He asks an astonishingly simple-but profoundly provocative-question in order to open up an entirely new way of thinking about knowledge: Isn't our uncertainty, our finitude and rational limitations, one of the few things we can be certain about? Marion shows how the assumption of knowledge as positive demands a reductive epistemology that disregards immeasurable or disorderly phenomena. He shows that we have experiences every day that have no identifiable causes or predictable reasons, and that these constitute a very real knowledge-a knowledge of the limits of what can be known. Establishing this "negative certainty," Marion applies it to four aporias, or issues of certain uncertainty: the definition of man; the nature of God; the unconditionality of the gift; and the unpredictability of events. Translated for the first time into English, Negative Certainties is an invigorating work of epistemological inquiry that will take a central place in Marion's oeuvre.

Jean-Luc Marion: The Essential Writings is the first anthology of this major contemporary philosopher’s writings. It spans his entire career as a historian of philosophy, as a theologian, and as a theoretician of “saturated phenomena.� The editor’s long general Introduction situates Marion in the history of modern philosophy, especially phenomenology, and shorter introductions preface each section of the anthology. The entire volume will enable professors to teach Marion by assigning a single book, and the editor’s introductions will make it possible for students to learn enough about phenomenology to read Marion without having to take preliminary courses in Husserl and Heidegger.

We inhabit a time of crisis-totalitarianism, environmental collapse, and the unquestioned rule of neoliberal capitalism. Philosopher Jean Vioulac is invested in and worried by all of this, but his main concern lies with how these phenomena all represent a crisis within-and a threat to-thinking itself. In his first book to be translated into English, Vioulac radicalizes Heidegger's understanding of truth as disclosure through the notion of truth as apocalypse. This "apocalypse of truth" works as an unveiling that reveals both the finitude and mystery of truth, allowing a full confrontation with truth-as-absence. Engaging with Heidegger, Marx, and St. Paul, as well as contemporary figures including Giorgio Agamben, Alain Badiou, and Slavoj Zizek, Vioulac's book presents a subtle, masterful exposition of his analysis before culminating in a powerful vision of "the abyss of the deity." Here, Vioulac articulates a portrait of Christianity as a religion of mourning, waiting for a god who has already passed by, a form of ever-present eschatology whose end has always already taken place. With a preface by Jean-Luc Marion, Apocalypse of Truth presents a major contemporary French thinker to English-speaking audiences for the first time.

Along with Husserl's "Ideas" and Heidegger's "Being and Time," "Being Given" is one of the classic works of phenomenology in the twentieth century. Through readings of Kant, Husserl, Heidegger, Derrida, and twentieth-century French phenomenology (e.g., Merleau-Ponty, Levinas, and Henry), it ventures a bold and decisive reappraisal of phenomenology and its possibilities. Its author's most original work to date, the book pushes phenomenology to its limits in an attempt to redefine and recover the phenomenological ideal, which the author argues has never been realized in any of the historical phenomenologies. Against Husserl's reduction to consciousness and Heidegger's reduction to "Dasein," the author proposes a third reduction to givenness, wherein phenomena appear unconditionally and show themselves from themselves at their own initiative.
"Being Given" is the clearest, most systematic response to questions that have occupied its author for the better part of two decades. The book articulates a powerful set of concepts that should provoke new research in philosophy, religion, and art, as well as at the intersection of these disciplines.
Some of the significant issues it treats include the phenomenological definition of the phenomenon, the redefinition of the gift in terms not of economy but of givenness, the nature of saturated phenomena, and the question "Who comes after the subject?" Throughout his consideration of these issues, the author carefully notes their significance for the increasingly popular fields of religious studies and philosophy of religion. "Being Given" is therefore indispensable reading for anyone interested in the question of the relation between the phenomenological and the theological in Marion and emergent French phenomenology.

Marked sharply by its time and place (Paris in the 1970s), this early theological text by Jean-Luc Marion nevertheless maintains a strikingly deep resonance with his most recent, groundbreaking, and ever more widely discussed phenomenology. And while Marion will want to insist on a clear distinction between the theological and phenomenological projects, to read each in light of the other can prove illuminating for both the theological and the philosophical reader - and perhaps above all for the reader who wants to read in both directions at once, the reader concerned with those points of interplay and undecidability where theology and philosophy inform, provoke, and challenge one another in endlessly complex ways." "In both his theological and his phenomenological projects Marion's central effort to free the absolute or unconditional (be it theology's God or phenomenology's phenomenon) from the various limits and preconditions of human thought and language will imply a thoroughgoing critique of all metaphysics, and above all of the modern metaphysics centered on the active, spontaneous subject who occupies modern philosophy from Descartes through Hegel and Nietzsche.

In the third book in the trilogy that includes Reduction and Givenness and Being Given. Marion renews his argument for a phenomenology of givenness, with penetrating analyses of the phenomena of event, idol, flesh, and icon. Turning explicitly to hermeneutical dimensions of the debate, Marion masterfully draws together issues emerging from his close reading of Descartes and Pascal, Husserl and Heidegger, Levinas and Henry. Concluding with a revised version of his response to Derrida, In the Name: How to Avoid Speaking of It, Marion powerfully re-articulates the theological possibilities of phenomenology.

In this most recent of his seminal studies on Descartes, Jean-Luc Marion brings together essays on the topics of the ego and of God, most of them previously unavailable in English. More than any other of Marionas works, the book illustrates the profound connection between his phenomenological concerns and his writings on Descartes. Liberating God and the self from the constrictions of metaphysics are fundamental tenets of Marionas theological and phenomenological work. This book highlights the same topics in the philosophy of Descartes.In Part I (On the Ego), Marion explores the alterity of the Cartesian ego, arguing that it is not as solitary as has often been assumed, and shows how Descartesa writings themselves are framed by dialogue. He explicates the status of the arule of trutha in the Meditations, on the one hand highlighting how Descartesa argument is not circular, on the other hand showing how Pascal responds to and alters Descartes. He also elucidates the ambivalent status of the concept of substance in Descartes by returning to its roots in the philosophy of Suarez. In Part II (On God), Marion returns to the important Cartesian thesis of the creation of the eternal truths, setting it in the context of the claims of earlier thinkers and showing its demise in philosophies following Descartes. The study closes with a careful delineation of the concept of causa sui and a detailed survey of the idea of God in seventeenth-century thought.

A timely new work by one of France's premier philosophers, A Brief Apology for a Catholic Moment offers insight into what "catholic" truly means. In this short, accessible book, Jean-Luc Marion braids the sense of catholic as all-embracing and universal into conversation about what it is to be Catholic in the present moment. A Brief Apology for a Catholic Moment tackles complex issues surrounding church-state separation and addresses a larger Catholic audience that transcends national boundaries, social identities, and linguistic differences. Marion insists that Catholic universalism, with its core of communion and community, is not an outmoded worldview, but rather an outlook that has the potential to counter the positivist rationality and nihilism at the core of our current political moment, and can help us address questions surrounding liberalism and religion and what is often presented as tension between "Islam and the West." As an inviting and sophisticated Catholic take on current political and social realities-realities that are not confined to France alone-A Brief Apology for a Catholic Moment is a valuable contribution to a larger conversation.

In The Visible and the Revealed, Jean-Luc Marion brings together his most significant papers dealing with the relationship between philosophy and theology. Covering the ground from some of his earliest writings on this topic to very recent reflections, they are particularly useful for understanding the progression of Marionas thought on such topics as the saturated phenomenon and the possibility of something like aChristian Philosophy.a The book contains his seminal pieces on the saturated phenomenon and on the gift, although the essays also explore more recent developments of his thought on these topics.Several chapters explicitly explore the boundary line between philosophy and theology or their mutual enrichment and influence. In one of the final pieces, aThe Banality of Saturation, a Marion considers some of the most recent objections brought against his notion of the saturated phenomenon and responds to them in detail, suggesting that saturated phenomena are neither as rare nor as inflexible as often assumed. The work contains two chapters not previously available in English and brings together several other pieces previously translated but now difficult to find. For readers interested in the relation between the two disciplines, this is indispensable reading.

Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility--of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance--or what Marion describes as "phenomenality" in general.
In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, these four studies carefully consider the history of painting--from classical to contemporary--as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the "nihilism" of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible.

In the third book in the trilogy that includes Reduction and Givenness and Being Given. Marion renews his argument for a phenomenology of givenness, with penetrating analyses of the phenomena of event, idol, flesh, and icon. Turning explicitly to hermeneutical dimensions of the debate, Marion masterfully draws together issues emerging from his close reading of Descartes and Pascal, Husserl and Heidegger, Levinas and Henry. Concluding with a revised version of his response to Derrida, In the Name: How to Avoid Speaking of It, Marion powerfully re-articulates the theological possibilities of phenomenology.

Givenness and Revelation represents both the unity and the deep continuity of Jean-Luc Marions thinking over many decades. This investigation into the origins and evolution of the concept of revelation arises from an initial reappraisal of the tension between natural theology and the revealed knowledge of God or sacra doctrina. Marion draws on the re-definition of the notions of possibility and impossibility, the critique of the reification of the subject, and the unpredictability of the 'event' in its relationship to the phenomenology of the gift. This work begins and ends in the concept of revelation, thus addressing the very heart and soul of Marion's theology, concluding with a phenomenological approach to the Trinity that rests in the Spirit as gift. Givenness and Revelation enhances not only our understanding of religious experience, but enlarges the horizon of possibility of phenomenology itself.