tracing the black sun in the derridean khôral mise en abyme: elliptical reflections on the “word-space-flesh”

This paper reflects the inversion between the discourse on the good and that on the khôra in view of the deconstructionist paradigm of the khôral mise en abyme as portrayed by jacques derrida and later elaborated on by john d. caputo. iddo dickmann, further describing this paradigm as “lacunal”, schematically illustrates how it can create sameness in difference through reflective repetitions. this schema is used here in a christian negative theological context and on the accounts of incarnation and reincarnation to investigate the immanence khôra introduces into transcendence, rendering the word/logos as flesh. the present study takes a novel perspective in observing how this self-referential and meta-significatory paradigm can conversely render flesh as the word, when flesh comes to reflect/interface the good by negating itself ending up with the elliptical and creative contours that transcribe the word, and outline a khôral negative-fleshly space that infinitely traces an abyssal “black sun”.

tracing the black sun in the derridean khôral mise en abyme: elliptical reflections on the “word-space-flesh”

this paper reflects the inversion between the discourse on the good and that on the khôra in view of the deconstructionist paradigm of the khôral mise en abyme as portrayed by jacques derrida and later elaborated on by john d. caputo. iddo dickmann, further describing this paradigm as “lacunal”, schematically illustrates how it can create sameness in difference through reflective repetitions. this schema is used here in a christian negative theological context and on the accounts of incarnation and reincarnation to investigate the immanence khôra introduces into transcendence, rendering the word/logos as flesh. the present study takes a novel perspective in observing how this self-referential and meta-significatory paradigm can conversely render flesh as the word, when flesh comes to reflect/interface the good by negating itself ending up with the elliptical and creative contours that transcribe the word, and outline a khôral negative-fleshly space that infinitely traces an abyssal “black sun”.