By William Franke
In Poetry and Apocalypse, Franke seeks to discover the premises for discussion among cultures, specially non secular fundamentalisms―including Islamic fundamentalism―and sleek Western secularism. He argues that during order to be really open, discussion must settle for percentages equivalent to spiritual apocalypse in ways in which may 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 primarily apocalyptic personality of fact and its disclosure in heritage. the customarily ignored detrimental theology that undergirds this apocalyptic culture presents the main to a notably new view of apocalypse as right away spiritual and poetic.
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Extra info for Poetry and Apocalypse: Theological Disclosures of Poetic Language (Cultural Memory in the Present)
This is a truly revolutionary hope, and it does not have to wait idly for its time to come, but rather can and must reach proactively into the future and bring it closer by beginning to realize its possibilities in the present. Apocalypse stands for the contradiction of all that is human and of every worldly order—Moltmann’s “contradiction of the given reality” (Widerspruch zur gegebenen Wirklichkeit)—by the advent of a higher power and authority. This “other” order is unspeakable within the present world order.
On the question of the negative essence of literature, see further Languages of the Unsayable: The Play of Negativity in Literature and Literary Theory, ed. Sanford Budick and Wolfgang Iser (New York: Columbia University Press, 1989), in particular the contributions of Derrida and Kermode. 36. Maurice Blanchot, L’écriture du désastre (Paris: Gallimard, 1980), 14. Especially instructive in this regard is Hans Blumenberg, “Ausblick auf eine Theorie der Unbegrifflichkeit,” in Schiffbruch mit Zuschauer: Paradigmen einer Daseinsmetapher (Frankfurt am Main: Suhrkamp, 1979), 75–93.
For Eugène Guillevic, the core of poetry consists in its halts and pauses, blank spaces and silence—“This silence gone off / in search of itself ” (Ce silence parti / À sa propre recherche) (“Un clou”). 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”).