Poetics as Praise: ‘Theology and Literature’, Shakespeare and Doxology

This essay challenges the assumption that ‘theology and literature’ deals with two sealed off orders of words, the former establishing a doctrinal ground to which the latter provides merely comparative or corroborative material. It argues instead that language itself, understood as a theological phe...

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Bibliographic Details
Subtitles:Metaphysics and Poetics
Main Author: Gerlier, Valentin (Author)
Format: Electronic Article
Language:English
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Published: Wiley-Blackwell 2024
In: Modern theology
Year: 2024, Volume: 40, Issue: 1, Pages: 46-62
Standardized Subjects / Keyword chains:B Nicholas of Cusa 1401-1464 / Shakespeare, William 1564-1616, King Lear / Doxology / Literature / Language
IxTheo Classification:CD Christianity and Culture
KAF Church history 1300-1500; late Middle Ages
KAH Church history 1648-1913; modern history
Online Access: Volltext (lizenzpflichtig)
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520 |a This essay challenges the assumption that ‘theology and literature’ deals with two sealed off orders of words, the former establishing a doctrinal ground to which the latter provides merely comparative or corroborative material. It argues instead that language itself, understood as a theological phenomenon, provides the ground through which these two disciplines coincide. This phenomenon can be encountered through a doxological reading of literature, in which the original presence of the Word in words can be encountered as a gift which calls for counter-gifts. Looking at recent forays into Shakespeare criticism that engages with theology, I argue that a ‘secular’ conception of language prevents readers from encountering this theological phenomenon in the play. Through Oliver-Thomas Venard's theological reading of Rimbaud, I show that even fiercely secular poetry seems inhabited by a call to recover a connection between words, world and the transcendent. Drawing on Nicholas of Cusa to argue that this connection is ultimately found in doxology, I conclude with a reading of King Lear which, both epitomising and supplementing this approach, shows that the play is inhabited by a call to find once again the profound connection between word and gift, and thus world and God. 
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