The general argument of this thesis contends that the poetics of Dostoevsky and Nietzsche, in particular a comparison between The Brothers Karamazov and Thus Spoke Zarathustra, remain profitable for political theological ethics. I conduct this analysis in critical comparison with the political theology of Henri de Lubac, with a focus on the question of desire and the sacramental mediation of the divine as it is embodied politically. Following de Lubac, especially in The Drama of Atheist Humanism, I argue that both Dostoesvky and Nietzsche were both deeply attuned to the fundamental human desire for the transcendent in modernity, a desire which engenders the creation of new images of the divine in order to unify society as a whole, mediating new forms of political identity. More specifically, I examine the problem of retributive desire in the poetics of The Brothers Karamazov and Thus Spoke Zarathustra as it connects with the historical development of Western Christianity and modernism. I demonstrate how their poetic formulations of retribution relates to suffering and the desire for the transcendent. In particular, I compare the characters of Dostoevsky’s novel, especially Ivan Karamazov and the Grand Inquisitor with the antagonists in the narrative of Thus Spoke Zarathustra, the “dragon” of Christian valuation and the “cold monster” of the modernist state.
Furthermore, I demonstrate that Dostoesvky, Nietzsche, and de Lubac espouse conceptions of sacramental mediation that reflect a desire for a higher social unity that circumvents imperialistic intention, stimulating new possibilities for posthumanist political community. I maintain that Zarathustra can be interpreted as the poetic embodiment of immanent Dionysian desire, mediating a conception of transcendence, expressed through the thought of eternal recurrence, which transvaluates retributively rooted Western Christianity and modernist morality. In Zarathustra, Nietzsche reimagines a politic of friendship, whereby adversarial oriented relationships spur healthier life-affirming forms of living, courageously confronting the sick, unhealthy values of Christianity and modernism. In The Brothers Karamazov, as reflected in the story of Alyosha Karamazov, Dostoevsky imagines the divine as a mystery that envelops the immanent, mediated through the Incarnation of Christ, freely embraced through the sacrifice of the self. Dionysian desire is transfigured through the power of Resurrection, generating a cruciform way of living, embodied in the active, commitment of neighbour-love and a forgiveness-oriented spirit. For de Lubac, what remains decisive is the recovery of the social meaning of the Eucharist, the sacramental self-offering of Christ mediated through the church. Like Dostoevsky, de Lubac argues for the necessity of an inner, transformative reception of the divine Word embodied socially, yet this possibility is mediated through the liturgical practice of Roman Catholicism. For the Russian Dostoevsky, the particular ecclesial form of community is less defined institutionally. His poetics accentuate the reality of an innate eucharistically oriented “social structure,” expressed as a prophetic hope for the possibility of a healthier, life-affirming politic in Western culture if incarnationally embraced by the peoples of the West. / Dissertation / Doctor of Philosophy (PhD)
| Identifer | oai:union.ndltd.org:mcmaster.ca/oai:macsphere.mcmaster.ca:11375/25839 |
| Date | January 2020 |
| Creators | Suderman, Alex |
| Contributors | Kroeker, Travis P., Ward, Bruce, Widdicombe, Peter, Religious Studies |
| Source Sets | McMaster University |
| Language | English |
| Detected Language | English |
| Type | Thesis |
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