Noli me tangere: On the Raising of the Body (Perspectives in Continental Philosophy)

Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: "Who hath ears to hear, let him hear." There is no message without there first being--or, more subtly, without there also being in the message itself--an address to a capacity or an aptitude for listening. This is not an exhortation of the kind "Pay attention!" Rather, it is a warning: if you do not understand, the message will go away. The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, "Noli me tangere," a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves. "Do not touch me." Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy's project of a "deconstruction of Christianity" and an exemplum of his remarkable writings on art, in analyses of "Noli me tangere" paintings by such painters as Rembrandt, Durer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida's monumental tribute to Nancy's work in Le toucher--Jean-Luc Nancy. For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of "In Heaven and on the Earth," a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of "the deconstruction of Christianity, '" this lecture may give the most accesible account of his ideas about God.

Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: 'Who hath ears to hear, let him hear.' There is no message without there first being—or, more subtly, without there also being in the message itself—an address to a capacity or an aptitude for listening. This is not an exhortation of the kind 'Pay attention!' Rather, it is a warning: if you do not understand, the message will go away.The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, 'Noli me tangere,' a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves.'Do not touch me.' Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy's project of a 'deconstruction of Christianity' and an exemplum of his remarkable writings on art, in analyses of 'Noli me tangere' paintings by such painters as Rembrandt, Dürer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida's monumental tribute to Nancy's work in Le toucher—Jean-Luc Nancy.For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of 'In Heaven and on the Earth,' a remarkable lecture he gave in a series designed to address children between sixand twelve years of age. Closely aligned with his entire project of 'the deconstruction of Christianity,'' this lecture may give the most accesible account of his ideas about God.

Annotation Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: Who hath ears to hear, let him hear. There is no message without there first being - or, more subtly, without there also being in the message itself - an address to a capacity or an aptitude for listening. This is not an exhortation of the kind "Pay attention!" Rather, it is a warning: if you do not understand, the message will go away. The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, "Noli me tangere," a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves. "Do not touch me." Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch inorder to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy's project of a "deconstruction of Christianity" and an exemplum of his remarkable writings on art, in analyses of "Noli me tangere" paintings by such painters as Rembrandt, Durer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida's monumental tribute to Nancy's work in Le toucher - Jean-Luc Nancy. For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of "In Heaven and on the Earth," a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of "the deconstruction of Christianity," this lecture may give the most accesible account of his ideas about God Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: ?Who hath ears to hear, let him hear.? There is no message without there first being?or, more subtly, without there also being in the message itself?an address to a capacity or an aptitude for listening. This is not an exhortation of the kind ?Pay attention!? Rather, it is a warning: if you do not understand, the message will go away.The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, ?Noli me tangere,? a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves.?Do not touch me.? Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy?s project of a ?deconstruction of Christianity? and an exemplum of his remarkable writings on art, in analyses of ?Noli me tangere? paintings by such painters as Rembrandt, Dürer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida?s monumental tribute to Nancy?s work in Le toucher?Jean-Luc Nancy.For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of ?In Heaven and on the Earth,? a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of ?the deconstruction of Christianity,?? this lecture may give the most accesible account of his ideas about God
Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: Who hath ears to hear, let him hear.There is no message without there first being-or, more subtly, without there also being in the message itself-an address to a capacity or an aptitude for listening. This is not an exhortation of the kind Pay attention!Rather, it is a warning: if you do not understand, the message will go away.The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, Noli me tangere,a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves.Do not touch me.Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy's project of a deconstruction of Christianityand an exemplum of his remarkable writings on art, in analyses of Noli me tangerepaintings by such painters as Rembrandt, Drer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida's monumental tribute to Nancy's work in Le toucher-Jean-Luc Nancy.For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of In Heaven and on the Earth,a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of the deconstruction of Christianity,'this lecture may give the most accesible account of his ideas about God. Frontmatter Illustrations (page ix) Noli me tangere: On the Raising of the Body Prologue (page 3) On the Point of Departure (page 11) Mē mou haptou—Noli me tangere (page 20) The Gardener (page 27) The Hands (page 31) Mary of Magdala (page 38) Do Not Touch Me (page 44) Epilogue (page 49) Mary, Magdalene (page 57) In Heaven and on Earth Author's Note (page 69) In Heaven and on Earth (page 71) Question and Answers (page 86) Appendix—Works Depicting Noli me tangere (page 101) Notes (page 107) The title essay here is both a contribution to Nancy's project of a 'deconstruction of Christianity' and an exemplum of his writings on art. In analysing the 'Noli me tangere' trope in art, he looks at paintings by Rembrandt, Durer, Titian and others. The book also contains an essay on Mary Magdalene and a lecture for children.