Abstract
In this chapter, Chambers begins by examining important touchstones in negative theology: Augustine of Hippo, Pseudo-Dionysius the Areopagite, Nicholas of Cusa, Saint John of the Cross, and Emmanuel Levinas. Linking these touchstones illustrates how apophaticism explores three interrelated things: the unknowability of not only the absolute or divine, but also the self and the human other. Chambers then turns to the history of theatre and performance studies to consider it a negative tradition as well, focusing on the dismissal of religious or spiritual language from theatre and performance studies around the early 1990s. Chambers suggests that such language did not disappear, but took on new negative aspects in the language of critical theory and new forms of feminist critique that link unknowability and the natural world.
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