Easter as Epiphany
Epiphanies are suggestive of transcendence. Michael Morgan (1994, pp. 56f)) points out that Charles Taylor sees a parallel between the epiphanies of art and poetry in the nineteenth and twentieth centuries and the I-Thou epiphany of religious encounter with the divine. Taylor elaborates the idea of epiphanies (1989, pp. 419f, especially 490-93). He sees Post-Romantic and modernist art as oriented to epiphanies, episodes of realization, revelation, or disclosure. Epiphanies and epiphanic art are about a kind of transcendence, about the self coming in touch with that which lies beyond it, a ground or qualitative pre-eminence.
Taylor reviews various ways of articulating epiphany in Sources of the Self (1989, pp. 419- 93). He articulates how God, inserted into this idea of epiphany, fits as a moral source (Sources of the Self, pp. 449-52). Epiphanies can be a way of connecting with spiritual and moral sources through the exercise of the creative imagination: sources may be divine (Taylor), or in the world or nature (Romantics), or in the powers of the imaginative, expressive self (Foucault).
These epiphanies are a paradigm case of what Taylor calls recovering contact with moral sources. A special case of this renewal of relationship between the self and the moral source is religion and the relation to God, which he sees in the work of Dostoyevski. The relationship to art parallels the relationship to religion. The self is oriented in the presence of the inaccessible or sublime, that which captures one’s amazement or awe, for example, when one’s eyes are riveted to a certain painting, and one’s inner emotions are deeply moved by a poem. One is taken beyond oneself, in an experience of transcendence; the experience involves both encounter and revelation. Read More…




