Material Spirit: Religion and Literature Intranscendent

The essays during this assortment learn philosophical, spiritual, and literary or creative texts utilizing methodologies and insights that experience grown out of mirrored image on literature and paintings. In them, them word "material spirit" turns into some degree of departure for contemplating the continued spectral results of non secular texts and issues in ways in which don't easily demand, or suppose, new orrenewed different types of religiosity.

The writers during this assortment search to envision faith past conventional notions of transcendence: Their subject matters variety from early Christian spiritual practices to worldwide weather swap. many of the essays discover non secular issues or tones in literary texts, for instance, works by means of Wordsworth, Hopkins, Proust, Woolf, and Teresa of Avila. Others method in a literarycritical
mood philosophical or para-philosophical writers corresponding to Bataille, Husserl, Derrida, and Benjamin. nonetheless others deal with writers of a extra explicitly non secular orientation, similar to Augustine, Rosenzweig, or Bernard of Clairvaux.

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Extra resources for Material Spirit: Religion and Literature Intranscendent (Perspectives in Continental Philosophy)

Example text

Reconnects Lily’s project to memory, her present to the past in a way that liberates into a future, repeating a lost moment forward. Or to put it in other terms, Mrs Ramsay is the “lost object,” the deceased savior-friend whom Lily must relinquish if she is to move from obsessive melancholy to a mourning that accepts the real and liberates new life. For Lily it is Mr Ramsay—atheist and empiricist, angular and exigent—who represents this cutting edge of the reality principle. Mr Ramsay is the alien in her world, the stranger to her vision of things.

She renounces the goal of some pure, transcendental aesthetic for an art of ordinary things, an art that recognizes “traces” as living gestures of the absolute. It is, in fact, just as her portrait of Mrs Ramsay is being completed—repeating in the third part of the novel the painting that she could not achieve in the first—it is in this very moment of re-creation, of anamnesis, of second epiphany, that Lily hits on the marvel of the everyday: “One wanted, she thought, dipping her brush deliberately, to be on a level with ordinary experience, to feel simply that’s a chair, that’s a table, and yet at the same time, It’s a miracle, it’s an ecstasy.

But it was not her rejection of a traditional childhood God that prevented Woolf from rediscovering a sense of the sacred in the very midst of secular life. To the Lighthouse, I suggest, performs a passage from theism to atheism—the famous Interlude of death and dereliction—before reopening, in the third part of the novel, an anatheist option: the possibility of a second yes to the “real” at the heart of nonbeing. ” The novel’s main protagonist, Mrs Ramsay, is another mistress of the feast. Like Françoise before her, though in somewhat more urbane attire, Mrs Ramsay is introduced in the first part of the novel as both cook and seamstress.

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