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“The No to Nothing, and the Nothing to Know”: Immanent Transcendence as Eschatological Mystery

机译：“无为无，无所不知”：超越超越作为末世论之谜

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At an annual American Academy of Religion conference thirty years ago, Robert Scharlemann presented a paper in which he compared and contrasted Barth and Tillich with reference to how they named God in their respective theologies. He suggested that the former labeled God the “no to nothing,” while the latter symbolized God as the “nothing to know”—appellations out of which he formed his presentation title “The No to Nothing and the Nothing to Know: Barth and Tillich and the Possibility of Theological Science.” I have purloined Scharlemann’s title for my own essay, with the intent not only to maintain its theological implications but also to use it as a rubric for prosecuting the putative relationships that obtain among anticipation, nihilism, transcendence, mystery, and eschatology. If there are various species of transcendence, and if one can use and not merely mention the word “mystery” in some constative manner, then how may one speak of the actuality and potentiality of meaning? Is there a futurity to existential significance that empowers a life-affirming hope, which, in turn, embraces the inescapability of the “nothing” without plunging, or leaping, into the abyss of nihilism—the “no to nothing?” Alternatively, may one genuinely anticipate eschatological aspirations while remaining open to the enigma of the unprogrammable aleatoric “to come”—the “nothing to know?” Furthermore, how might one name “God” under either of these circumstances, even were one not to hold to any type of confessional theological ontology? Using John Caputo’s radical theology of the insistence of “God” as my Virgil (or Beatrice, which ever applies!) to guide us through the various paths one might take towards a genuine hope, I propose to investigate the plurivocity of discourses on meaning by inter-relating Caputo’s “nihilism of grace” with several supplementary works, including Ray Hart’s God Being Nothing, Amie Thomasson’s Fiction and Metaphysics, Stuart Kaufmann’s Humanity in a Creative Universe, Catherine Keller’s Cloud of the Impossible, and Richard Kearney’s Anatheism. Additionally, I will also consult aesthetic vocabularies that address the issue, specifically the poetry of Robert Browning, Dan Fogelberg, and Wallace Stevens, along with the Abstract Expressionist work of Mark Rothko. I will conclude the essay by suggesting that although one may expound on the desire for existential meaning through diverse discourses, if there is genuinely any realization of that meaning, it will occur regardless of how it is articulated. That is to say, the creative and transformative function of any transcendent meaning may work ex opere operato in a manner similar to Shakespeare’s rose that does not depend on one exclusive naming.
机译：30年前，在每年一次的美国宗教学院会议上，罗伯特·沙勒曼（Robert Scharlemann）提交了一篇论文，他在对巴特和提利希的各自神学命名方式中进行了比较和对比。他建议前者将上帝标记为“无所不能”，而后者则将上帝象征为“无所不知” —从他的称谓中形成了他的演讲题目“无所不为，无所不知：巴特和蒂利希和神学的可能性。”我为自己的论文冠以Scharlemann的头衔，目的不仅在于保持其神学意义，而且还将其用作起诉书，以推定在预期，虚无主义，超越，神秘和末世论之间获得的推定关系。如果存在各种各样的超越性，并且如果人们可以使用并且不仅以某种确定性的方式提及“神秘”一词，那么人们如何说出含义的现实性和潜在性？存在意义的未来是否可以赋予生命肯定的希望，而这种希望又包含了“无”的必然性，而又没有陷入或跳入虚无主义的深渊-“无至无有”？另一种选择是，一个人能真正预期到末世的抱负，同时对无法编程的“来之不易”的神秘主义者敞开大门吗？此外，在这两种情况下的任何一种情况下，如何称呼“上帝”，甚至不坚持任何一种of悔的神学本体论？我以约翰·卡普托（John Caputo）关于维系“上帝”的激进神学作为我的维吉尔（或比阿特丽斯，曾经适用！）引导我们走上一条可能通往真正希望的道路，我建议通过以下方式研究关于意义的各种话语：卡普托的“恩典虚无主义”与其他补充作品之间的联系，包括雷·哈特的《虚无的上帝》，阿米·托马森的小说和形而上学，斯图尔特·考夫曼的创作宇宙中的人性，凯瑟琳·凯勒的《不可能的云》和理查德·科尼的无神论。此外，我还将参考解决该问题的美学词汇，特别是罗伯特·布朗宁，丹·福格伯格和华莱士·史蒂文斯的诗歌以及马克·罗斯科的抽象表现主义作品。我将在本文的结尾提出一个建议，即尽管可以通过各种话语来阐述对存在意义的渴望，但是，如果真正实现了该意义，那么无论它如何表达，它都会发生。也就是说，任何超越意义的创造和转化功能都可以像莎士比亚玫瑰一样以某种操作方式发挥作用，而莎士比亚的玫瑰则不依赖于唯一的命名方式。

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