By Marion, Jean-Luc; Carlson, Thomas A.; Tracy, David
Jean-Luc Marion is likely one of the world’s superior philosophers of faith in addition to one of many best Catholic thinkers of contemporary occasions. In God with out Being, Marion demanding situations a primary premise of conventional philosophy, theology, and metaphysics: that God, prior to all else, needs to be. Taking a traditionally postmodern stance and fascinating in passionate discussion with Heidegger, he locates a “God with no Being” within the realm of agape, or Christian charity and love. If God is love, Marion contends, then God loves prior to he truly is.
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Additional info for God Without Being: Hors-Texte, Second Edition
The icon recognizes no other measure than its own and infinite excessiveness [demesure]; whereas the idol measures the divine to the scope of the gaze of he who then sculpts it, the icon accords in the visible only a face whose invisibility is given all the more to be envisaged that its revelation offers an abyss that the eyes of men never finish probing. It is, moreover, in this sense that the icon comes to us from elsewhere: certainly not that it should be a question of recognizing the empirical validity of an icon "not made by the hands of men" but indeed of seeing that ackeiropoiesis in some way results necessarily from the infinite depth that refers the icon back to its origin, or that characterizes the icon as this infinite reference to the origin.
For if the idols forged by the Greeks no longer show us the divine, the fault (if fault need be indicated) comes back neither to the divine nor to the Greeks. Simply, among us there are no longer any Greeks for whom alone these stone figures could indicate by their invisible mirror a reflection upon the invisible, whose visible low-water mark well corresponds to that particular experience of the divine attained only by the Greeks. The idols of the Greeks betray, silently and incomprehensibly, an absolutely actual experience of the divine, but an experience that was realized only for them.
One therefore must trace, at least in outline, the contours of a figure of the idol-figure the figure, schematize the schema. This redoubling, which comes quite naturally and as if inevitably to the pen, betrays in advance the fact that the idol summons the ambivalence of its domains of application, perceptible and intelligible, or rather "aesthetic" and conceptual. Does figuring the idolatrous figure imply returning to it the caricature with which one so often reproached it for imposing on the divine?