Download Poetry and Apocalypse: Theological Disclosures of Poetic by William Franke PDF
By William Franke
In Poetry and Apocalypse, Franke seeks to discover the premises for discussion among cultures, specifically non secular fundamentalisms―including Islamic fundamentalism―and glossy Western secularism. He argues that during order to be really open, discussion must settle for percentages resembling non secular apocalypse in ways in which should be top understood during the event of poetry. Franke reads Christian epic and prophetic culture as a secularization of spiritual revelation that preserves an knowing of the basically apocalyptic personality of fact and its disclosure in historical past. the customarily missed unfavorable theology that undergirds this apocalyptic culture offers the foremost to a considerably new view of apocalypse as instantly spiritual and poetic.
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Extra resources for Poetry and Apocalypse: Theological Disclosures of Poetic Language (Cultural Memory in the Present)
Sample text
And Michel Deguy dwells upon the collapse of language’s power of purchase through figuration and, consequently, of the sense of sense: “the loss of credit in the figurative moon. That is the sense, and that has no sense” (la perte de créance en la lune figurative. 29 Of this sort of poetry that fights to avoid yielding its own or any meaning, one can say with John Ashbery, “These accents seem their own defense” (“Some Trees”). Only the ineffable is the subject of every poem, though talk about the weather, for example, often serves as nominal subject to cover the deliberate lack of thematic meaning in a poetry that is obstinately about nothing: such poetry is rather an escaping from all sense and a demotion (or promotion) of the sign to a signal pointing nowhere.
Some indications can be found in Marjorie Perloff, Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary (Chicago: University of Chicago Press, 1996). 34. ” A Critical Negative Theology of Poetic Language Prophetic poetry may have become virtually silent today, but this is the inevitable expression of the negative theology of the incomprehensible and inexpressible that must be held together with apocalyptic revelation as its secret source, abiding beyond the reach of rhetoric, its other face, the dark side of its luminous truth.
4–7), echoing 2 Corinthians 12 concerning Paul’s having heard “unspeakable words, which it is not lawful for a man to utter” (verse 4). 70–75) likewise echoes Paul’s uncertainty in 2 Corinthians 12: “whether in the body, or out of the body, I cannot tell: God knoweth” (verse 2–3). 32). Absorbing a host of medieval allegorical vision literature into this synthesis distinguished by a new sense of history as the arena in which the final truth of human existence is revealed, the Divine Comedy marks a beginning, or at least a new departure, in the modern development of apocalyptic outside of and well beyond the canonical and sub-canonical books of the Bible in a broader stream of imaginative, creative religious literature.