In this paper I challenge Merold Westphal’s claim that Jean-Luc Marion’s hermeneutical phenomenology is especially useful for theology. I argue that in spite of his explicit allegiance to Husserl’s “principle of all principles,” Marion fails to embody a commitment to phenomenological seeing in his analyses of revelation. In the sections of Being Given where he discusses revelation, Marion allows faith-based claims to bleed into his phenomenological analyses, resulting in what I call his ‘blurred vision’—the pretension that phenomenological seeing can be (...) extended to theological matters. This pretension undermines Marion’s phenomenological aspirations, because it invests his analyses with a theological content that phenomenological intuition cannot account for or clarify. At the same time, this blurring of the line between theology and phenomenology also makes Marion’s work theologically ineffective. For it furnishes the theologian and believer with the false assurance that faith-based commitments can be grounded in phenomenological knowledge—a claim that he simply cannot make good on. In light of these problems, I propose an alternative Heideggerian approach that maintains the boundary between philosophical and theological discourse and thereby safeguards the integrity of both. (shrink)

In this essay, I provide an introduction to the so-called 'theological turn' in recent French, 'new' phenomenology. I begin by articulating the stakes of excluding God from phenomenology (as advocated by Edmund Husserl and Martin Heidegger) and then move on to a brief consideration of why Dominique Janicaud contends that, by inquiring into the 'inapparent', new phenomenology is no longer phenomenological. I then consider the general trajectories of this recent movement and argue that there are five main themes that unite (...) the work of such varied thinkers as Levinas, Derrida, Marion, Henry, Chrétien, Lacoste, and Ricœur. I conclude by outlining points of overlap between new phenomenology and contemporary analytic philosophy of religion and suggest that the two stand as important resources for each other. (shrink)

In this article I explore how a philosophical conception of love may be used to draw debate on the death of God beyond the binary opposition between theology and philosophy through a comparative study of the work of Jean-Luc Marion and Jean-Luc Nancy. Although Marion’s reading of love—in both its theological and phenomenological guises—proposes an innovative phrasing of a non-metaphysical notion of divinity, I argue that it is ultimately unable to maintain its coherence in nominal discourse due to Marion’s insistence (...) on keeping love and being separate. In contrast, through his unique thinking on ontology, Nancy’s philosophy allows us to reposition love at the heart of being, from whence it may serve as a means of disrupting the very principle governing the atheist and theist world-views. Far from dismantling Marion’s core proposition, I conclude that the two thinkers may in fact be more closely aligned than previous scholarship has acknowledged, coming together in the need to affirm an experience of the impossible that takes place in the present rather than in any eschatological fulfillment to come. At this intersection between two nominally very different thinkers, love forms an ontological limit-point for thought that poses a challenge to both theology and philosophy alike as they continue to grapple with the question of religion in the twenty-first century. (shrink)

An important influence on Jean-Luc Marion’s phenomenology is the work of Swiss Catholic theologian Hans Urs von Balthasar. Marion is particularly interested in Balthasar’s ‘phenomenological’ approach to the content of Christian revelation, centered on the metaphor of the work of art. Balthasar suggests in his Theo-Logic that the early Marion ‘concede[s] too much to the critique of Heidegger,’ moving too far away from the ‘transcendental’ metaphysics of Aquinas and the classical tradition. Yet Balthasar’s criticism is premature. Rather, Marion’s work, particularly (...) his emphasis on the ‘saturated phenomenon,’ paves the way for a postmetaphysical theological aesthetics that might renew Balthasar’s project in a cultural situation ‘after’ the death of God, while simultaneously opening a space for Christian revelation apart from a certain hegemonic tradition of onto-theology. (shrink)