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The idea of a connection between poetry and religion is as old as civilization. Homer consulted the Olympian gods on the fate of the fighters on the plain before Troy, and the poet made the heavenly ones speak. It was through poetry that the gods were brought within reach of human hearing. In the centuries after Homer, the Athenian stage became the setting where gods made their poetic interventions, resolving human impasses and contributing to the emotional synchronization of the public life of the city.
Sloterdijk argues that, as with the culture of the Ancient Greeks, all religions inscribe a kind of "theopoetry" at the heart of their cultural life and thought, even as they strenuously obscure these poetic origins through the cultivation and enforcement of orthodox norms. Sloterdijk also shows how, in conditions of religious pluralism, religions poetically reshape themselves to accommodate the demands of the religious marketplace.
This highly original study of the poetic devices that inform accounts of the otherworldly offers a new interpretation of religious practice and its theological elaboration through history, as well as a fresh perspective on our contemporary age in which collective life, interwoven with imaginative fabrications, is fraying under critical stress.
Sommario
Acknowledgements
Preface
I Deus ex machina, Deus ex cathedra
1 The gods in the theater
2 Plato's contestation
3 Of the true religion
4 Representing God, being God: an Egyptian solution
5 On the best of all possible heaven dwellers
6 Poetries of power
7 Dwelling in plausibilities
8 The theopoetical difference
9 Revelation whence?
10 The death of the gods
11 'Religion is unbelief': Karl Barth's intervention
12 In the garden of infallibility: Denzinger's world
II Under the high heavens
13 Fictive belonging together
14 Twilight of the gods and sociophany
15 Glory: poems of praise
16 Poetry of patience
17 Poetry of exaggeration: religious virtuosos and their excesses
18 Kerygma, propaganda, supply-side offense, or, When fiction is not to be trifled with
19 On the prose and poetry of the search
20 Religious freedom
In lieu of an afterword
Notes
Index
Info autore
Peter Sloterdijk is Professor of Philosophy and Aesthetics at the Karlsruhe School of Design.
Robert Hughes, the translator, is associate professor of English at Ohio State University.
Riassunto
The idea of a connection between poetry and religion is as old as civilization. Homer consulted the Olympian gods on the fate of the fighters on the plain before Troy, and the poet made the heavenly ones speak. It was through poetry that the gods were brought within reach of human hearing. In the centuries after Homer, the Athenian stage became the setting where gods made their poetic interventions, resolving human impasses and contributing to the emotional synchronization of the public life of the city.
Sloterdijk argues that, as with the culture of the Ancient Greeks, all religions inscribe a kind of "theopoetry" at the heart of their cultural life and thought, even as they strenuously obscure these poetic origins through the cultivation and enforcement of orthodox norms. Sloterdijk also shows how, in conditions of religious pluralism, religions poetically reshape themselves to accommodate the demands of the religious marketplace.
This highly original study of the poetic devices that inform accounts of the otherworldly offers a new interpretation of religious practice and its theological elaboration through history, as well as a fresh perspective on our contemporary age in which collective life, interwoven with imaginative fabrications, is fraying under critical stress.
Relazione
"Religion is poetry, poetry is religion, and both are concerned with the 'overarching' that is at once cosmic and political. The avatars of this triple connectivity, and what happens to it when the overarching becomes paradoxically contested, are brilliantly explored in this new book. Agree with Peter Sloterdijk or not, he will assist you to think further about what is truly fundamental to our human existence and its future."
--John Milbank, University of Nottingham
