Abstract

If there is one pivotal epistemological issue the Eastern and the Western Christian churches have agreed upon, this must be the understanding that God’s essence is inherently and conclusively unavailable to humans. This settlement is based on the shared assumption that there is no possible mode of accessing this or any essence, other than either from objective or subjective knowl­edge. Neo-Orthodoxy has preserved the heritage of Pateric apophaticism and has built upon the shared assumption its own, ecclesial accessibility instead to God’s existence. In this exclusivist orientation Neo-Orthodoxy has further proclaimed itself the only true heir to ancient Greece, cutting off the West and criticizing it as a bastion of rational alienation. A phenomenological investigation of Greek statuary art, however, addresses prosody as a third, hitherto unexplored mode of epistemological intelligibility for an access to the essence of “God.” Through the implementation of suprasegmental theory in the phenomenological reduction of a certain statue, we revisit certain key concepts in the discussion between Christos Yannaras, whose works comprise the Neo-Orthodox manifesto, and Martin Heidegger, who claimed that the Greek statue “is the god himself.” Amongst the conclusions emerging from this comparative hermeneutics is the idea that in fact the West may have remained all along more ready than the East to move into the next historical step of man’s self-elucidation in the light of what is Holy.