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As for White's style, Clements argues that he never resorts to apophasis, preferring "to evoke the mystical .
Catherine Keller, "The Apophasis of Gender: A Fourfold Unsaying of Feminist Theology," Journal of the American Academy of Religion 76, no.
There is no "apophatic theology" within Christianity, then, but only the interplay between cataphasis and apophasis.
Saint Dionysius offered apophasis (unsaying) and kataphasis (saying) as oppositional yet complementary elements in his mystical theology, often termed Via Negativa.
This is apophasis, whereby the negative words do not stick in our minds and appear to reject a point while actually emphasizing it.
It includes material on metaphysics and its idols, saturation, gift and icon, reading Descartes, revelation and apophasis, and love and sacrifice.
Williams, Denying Divinity: Apophasis in the Patristic Christian and Soto Zen Buddhist Traditions (Oxford: Oxford University Press, 2000), and Chris Boesel and Catherine Keller Apophatic Bodies : Negative Theology, Incarnation, and Relationality, (Bronx, NY, USA: Fordham University Press, 2009).
These definitions recall Knitter's insistence on apophasis in Christian theology: The terms can be used as either proper or simply descriptive nouns.
An apophasis sublimely renders the very things that the argument claims, at another level, remain unperceived.
4) Put simply, apophasis is the negation of all attributes of God; its ultimate expression is silence.
That the trope should be seen as genuine religious apophasis (as opposed to simply the literary trope) would be contingent upon its already being situated in a system of negative theology For Roeschlein, the trope itself seems to function as valid proof that such a religious system is posited in the text.
Redundancy, pleonastic reasoning, tautology, ironic apophasis, to
Beyond the difficulties presented by such a task as regards to its own articulation, to the aporias it itself faces in describing its own project and the "successful" attainment of the poetic object or the silent utterance, the kinship that Valente's poetry holds with respect to apophasis becomes evident in its considering the poetic object as the word of words, that is to say, in its considering the poetic object as the originary word that sustains all others--a word which, for this very reason, remains paradoxically abject and marginalized.
In her examination of Three Guineas and Between the Acts, Detloff first points to Woolf's skill in the use of apophasis, through which Woolf represents pain and loss as negative space, successfully communicating the incommunicable.
The four proems exhibit this dislocation most notably, though the invocation to light in Book III is especially relevant to the traditions of ineffability and apophasis.
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