The Unrealized Eschatology of Michel Henry: Theological Gestures from his Phenomenological Aesthetics

This study responds to readings of Michel Henry’s eschatology as over‐realized through an analysis of his frequently neglected phenomenological aesthetics in Seeing the Invisible: On Kandinsky in light of the theological articulation of his phenomenology of life. It argues for a distinctly unrealized thrust to his program by foregrounding the notion of monumental art and the rootedness of human praxis , artistic and otherwise, in concrete sensible reality. The conclusion suggests that Henry’s project, while theologically problematic, opens a path towards the development of a theological phenomenological cosmology when supplemented.