Abstract

Since his 1977 The Idol and Distance, Jean-Luc Marion has almost continually drawn upon the work of the 5th-6th century Christian mystic Pseudo-Denys the Areopagite, not only within his explicitly theological considerations, but throughout his Cartesian and phenomenological work as well. The present essay maps out the influence of Denys upon Marion’s thinking, organizing Marion’s career into a three-part periodization, each of which corresponds to a distinct portion of the Dionysian corpus—in Marion’s work of the seventies the Celestial Hierarchy and the Ecclesiastical Hierarchy are foregrounded, in the eighties this emphasis is shifted to the The Divine Names, and in the nineties The Mystical Theology takes center stage. Insofar as these emphases directly correlate to the unique tasks that Marion has set himself in each of these various periods, Dionysius is revealed as a hermeneutical key, unlocking and clarifying crucial aspects of Marion’s theologically-inflected phenomenology.