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82 on apophasis. See Sugimura, Matter of Glorious Trial, 196-230, on occupatio.
As for White's style, Clements argues that he never resorts to apophasis, preferring "to evoke the mystical ...
There is no "apophatic theology" within Christianity, then, but only the interplay between cataphasis and apophasis. Some emphasize one movement over the other.
(27) Unsaying, apophasis, is a key element of mystical poetry, and can be glimpsed at work in poems by Rumi, Donne, and Baudelaire.
Williams, Denying Divinity: Apophasis in the Patristic Christian and Soto Zen Buddhist Traditions (Oxford: Oxford University Press, 2000), and Chris Boesel and Catherine Keller Apophatic Bodies : Negative Theology, Incarnation, and Relationality, (Bronx, NY, USA: Fordham University Press, 2009).
There still remains the problem of squaring the circle between apophasis and cataphasis: If we cannot say that God is ontologically trinitarian, can we say that God is ontologically singular?
An apophasis sublimely renders the very things that the argument claims, at another level, remain unperceived.
(4) Put simply, apophasis is the negation of all attributes of God; its ultimate expression is silence.
That the trope should be seen as genuine religious apophasis (as opposed to simply the literary trope) would be contingent upon its already being situated in a system of negative theology For Roeschlein, the trope itself seems to function as valid proof that such a religious system is posited in the text.
Beyond the difficulties presented by such a task as regards to its own articulation, to the aporias it itself faces in describing its own project and the "successful" attainment of the poetic object or the silent utterance, the kinship that Valente's poetry holds with respect to apophasis becomes evident in its considering the poetic object as the word of words, that is to say, in its considering the poetic object as the originary word that sustains all others--a word which, for this very reason, remains paradoxically abject and marginalized.
In her examination of Three Guineas and Between the Acts, Detloff first points to Woolf's skill in the use of apophasis, through which Woolf represents pain and loss as negative space, successfully communicating the incommunicable.