Although Eugen Fink often reflected upon the role religion, these reflections are yet to be addressed in secondary literature in any substantive sense. For Fink, religion is to be understood in relation to “play,” which is a metaphor for how the world presents itself. Religion is a non-repetitive, and entirely creative endeavor or “symbol” that is not achieved through work and toil, or through evaluation or power, but rather, through his idea of play and “cult” as the imaginative distanciation from a predictable lifeworld. This paper describes Fink’s understanding of religion and its most relevant aspects found in Spiel als Weltsymbol. The paper is organized into five sections—1: An introduction to his phenomenological approach in general, and description of the role of “play”; 2: investigations into the relation between play and world; 3: a description of his phenomenology of religion; 4: engagements in the idea of cult-play and the sacred sphere, and 5: reflection on his idea of the play of God.

尽管欧金·芬克经常对宗教角色进行反思，但这些反思在二级文学中仍未从任何实质意义上得到解决。对于芬克（Fink）而言，宗教应理解为与“游戏”相关，这是对世界如何呈现自己的隐喻。宗教是一种非重复性的，完全是创造性的努力或“象征”，不是通过工作和辛劳，通过评估或权力来实现的，而是通过他的玩耍和“崇拜”的思想而实现的，这是从可预见的生活世界中脱颖而出的想象力。 。本文介绍了芬克对宗教的理解及其在《尖峰世界》中发现的最相关的方面。该论文分为五个部分：第一部分：对他的现象学方法的一般介绍，以及“游戏”的作用的描述；第二部分是对“游戏”的描述。2：调查游戏与世界之间的关系；3：描述他的宗教现象；4：参与邪教游戏和神圣领域的想法，5：反思他对上帝游戏的想法。