William Franke

The classical is defined by Gadamer, following and adapting Hegel, as “self-significant” and “self-interpretive”. By its power of interpreting itself, the classic reaches into the present and addresses it. In so doing, the classical precedes, encompasses and anticipates latter-day interpretations within its own already-in-progress self-interpretation: “the classical preserves itself precisely because it is significant in itself and interprets itself; that is, it speaks in such a way that it is not a statement about what is past — documentary evidence that still needs to be interpreted — rather, it says something to the present as if it were said specifically to it”. This suggests specifically how the hermeneutic theory of the classic finds in the instance of the Commedia as classic, with its highlighting of the address to the reader, an exceptionally acute and self-conscious instantiation. Moreover, Dante has purposefully woven an ideal of the poetic classic as resistant to time together with his model of Christian salvation and resurrected life in the cantos of Purgatory recounting his meeting with the first-century Roman poet, Statius. Statius’ remark that “poet” is “the name that most endures and honors” (“il nome che più dura e che più onora” — XXI. 85) gestures towards a trans-historical value in literature parallel to the eternal truth of the word of the gospel. This parallelism achieves lapidary form when Statius gives credit for his discovery of enduring, preserving, saving value in both the literary and the religious domains at once to that greatest of classical authors, in Dante’s view, Virgil, to whom he says: “Per te poeta fui, per te cristiano” (“Through you I became poet, through you Christian”). Purgatorio XXI-XXII intimates that poiesis is fundamentally a way through which humans may participate in immortality. Though immortality is certainly a gift from the transcendent Lord of life, it does not come as an object wrapped up neatly for humans in a package. It comes, or rather is given, through their own making, through an active involvement with what transforms them in their own activity of self-transcendence.

In _Poetry and Apocalypse_, Franke seeks to find the premises for dialogue between cultures, especially religious fundamentalisms—including Islamic fundamentalism—and modern Western secularism. He argues that in order to be genuinely open, dialogue needs to accept possibilities such as religious apocalypse in ways that can be best understood through the experience of poetry. Franke reads Christian epic and prophetic tradition as a secularization of religious revelation that preserves an understanding of the essentially apocalyptic character of truth and its disclosure in history. The usually neglected negative theology that undergirds this apocalyptic tradition provides the key to a radically new view of apocalypse as at once religious and poetic

This paper develops an interpretation of nature in classical Chinese culture through dialogue with the work of François Jullien. I understand nature negatively as precisely what never appears as such nor ever can be exactly apprehended and defined. For perception and expression entail inevitably human mediation and cultural transmission by semiotic and hermeneutic means that distort and occult the natural in the full depth of its alterity. My claim is that the largely negative approach to nature that Jullien finds in sources of Chinese tradition can also be found in the West, particularly in its apophatic currents or countercurrents that contest all along the more powerful positive conceptions and systems for construing and mastering the natural world. These insights grow especially from the critique of idolatry, in which worship of nature, in concrete, objective forms taken as gods, is negated. Bringing out this negative-theological matrix can give us a perspective on Jullien’s treatment and expose some of his own biases notably in favor of immanence to the exclusion of metaphysical transcendence. Comparative philosophy serves in this negative-theological key self-critically to identify blind spots in one’s own culture

ABSTRACTAs a contribution to comparative East-West poetics, this essay descries a common resource of Western and classical Chinese literatures in certain “apophatic” modes of thought and discourse that are oriented to what cannot be said, to what is manifest only in and through a certain evasion and defiance of all efforts to verbalize and conceptualize it. This argument is developed in critical counterpoint with the work of interpreting Chinese classical poetry and thought by the French philosopher and sinologist François Jullien. Jullien acutely apprehends and elegantly expounds the deeply apophatic bent of Chinese poetics. However, he sets Chinese thought and poetry categorically apart from Western approaches, whereas my analysis brings them together under the aegis of their common inspiration from the experience of the limits of language vis-à-vis an unspeakable origin of thinking and its source in reality.

This essay represents part of an effort to rewrite the history metaphysics in terms of what philosophy never said, nor could say. It works from the Neoplatonic commentary tradition on Plato's Parmenides as the matrix for a distinctively apophatic thinking that takes the truth of metaphysical doctrines as something other than anything that can be logically articulated. It focuses on Damascius in the 5—6th century AD as the culmination of this tradition in the ancient world and emphasizes that Neoplatonism represents the crisis of Greek metaphysics on account of the inability to give a rational account of foundations for knowing and of the ultimate principle of beings. Neoplatonism discovered how all such ultimate principles were necessarily beyond the reach of reason and speech. This apophatic insight is drawn out with the help of contemporary criticism of Neoplatonic philosophy, defining also some points of divergence. The essay then discusses the motives for thinking the unsayable in postmodern times on the basis of this parallel with Neoplatonic thought. Discourse's becoming critical of itself to the point of self-subversion animates them both. However, the tendency in postmodern thought to totally reject theology, including negative theology, is a betrayal of its own deepest motivations. This tendency is debated through an examination of the thought of Jean-Luc Nancy. While any traditional discourse can be negated, the negating and self-negating capacity of discourse itself is infinite, and this is where a perennial negative theological philosophy of the unsayable is to be located. Language, eminently the language of philosophy, as infinitely open, points in a direction which becomes equally and ineluctably theological.

There is an obvious paradox in any attempt to map the topography of Paradise, for Paradise, theologians assure us, is outside of space as well as time. Yet mapping Paradise is what Dante's poem, the Paradiso, attempts to do. For the two preceding realms of the afterlife, hell and purgatory, Dante provides numerous finely articulated descriptions of rigorously ordered regions. And again for Paradise, the variegated states of the souls making up the spiritual order of the realm are expressed very precisely by a topographical scheme, one in this case based on Ptolemy's system of the heavens. The seven planetary spheres are followed by the sphere of the fixed stars and the primum mobile, the whole finally bordering on the completely nonspatial heaven of the Empyrean. But this last “sphere” alone is Paradise in the full and strict sense. As Dante has Beatrice explain in canto 4.28–48, the whole poem attempts to describe this totally nonspatial order in terms of the array of the nine physical heavens as metaphorical correlatives for the successive degrees of beatitude experienced by the souls “in” the Empyrean. Paradise in this sense—as the Empyrean—is thus utopic, if any place is: it is literally “no place” at all