Abstract

In lieu of an abstract, here is a brief excerpt of the content:The Idiot Patrick BatemanA New Configuration of Caricatural "Ultra-Christianity"Fabrizio Arcuri (bio)INTRODUCTIONThis paper1 aims to analyze the figure of Patrick Bateman, the protagonist of the novel American Psycho,2 through René Girard's mimetic theory. It links the character created by Bret Easton Ellis to the concept of caricatural "ultra-Christianity," meaning the degeneration of Christian-based concern for innocent victims.Methodologically, it adopts the approach of the sociology of the imaginary, which is characterized by the division between invisible levels of signification and visible elements of culture. The latter, as a set of representations, narratives, and products, both material and ideal, are influenced by the former, which represent their condition of possibility.3 When considering caricatural "ultra-Christianity" as a phenomenon traceable to the "Regimes of the Imaginary" of the sacred,4 it can be regarded as the deep substratum from which Patrick [End Page 177] Bateman's particular idiocy emerges as a paranoid and victimistic intensification of mimetic desire.For this reason, this paper is subdivided into three sections. In the first, the focus is on the conception of caricatural "ultra-Christianity" that derives from Girard's work, identifying its origin in the revelation of Christ Paraclete. The second examines "idiotism," one of the types of "ultra-Christianity" present in contemporary society. "Idiotism" is understood as a paranoid reaction due to the traumatic split, psychiatrically based, between one's idios kosmos (own-world) and koinos kosmos (common world). Finally, in the third, I concentrate on the peculiarities of American Psycho via the theoretical framework delineated in the previous parts.FROM PARACLETE TO CARICATURAL "ULTRA-CHRISTIANITY"To provide a definition of the nature and function of caricatural "ultra-Christianity," we must first refer to the main concepts of mimetic theory, specifically, the revelation of Christianity in Girard's work. According to René Girard, desire is never authentically spontaneous or individual. Rather, it is influenced by the mutual fascination of subjects. These, often unconsciously, regard their fellow human beings as entities endowed with the fullness of being that they irretrievably lack.5Desire is a form of ontological contagion perpetuated by the continuous activity of imitation. The individual aspires to resolve metaphysical contradictions by emulating the physical, moral, symbolic, and social features of all those he/she prefers as his/her models.6 Nevertheless, within a mimetic relationship, the mediator will defend his/her own position, denying the imitating disciple the chance to match his/her status. Due to the "viral" characteristics of mimesis, the result is a situation of vindication and rivalry that is likely to spread throughout the community, fomenting a vicious cycle of fratricidal violence.7In Girard's view, that form of generalized conflict can lead society to collapse. A community needs to find an object or, better, an individual, always in a mimetic way, on whom to discharge the growing tension. The identification of the collective nemesis occurs through the scapegoat mechanism.8 Although the epidemic of violence plaguing the community is due to the desires and rivalries of all its members, the construction of the collective nemesis designates a single culprit for the mimetic crisis and results in both the disavowal of blame and the enfranchisement of the majority from responsibility. The enemy must be immolated, as only his sacrifice can save the collective. The violence of lynching [End Page 178] becomes the only means of restraining the previous violence of the mimetic escalation. Once the antagonist is killed, the destructive effects of fratricidal mimesis are appeased, at least temporarily.For Girard, the handling of salvific violence represents the essence of the sacred.9 This is a type of managing that, in its regenerative and foundational aspects, constitutes the value system that regulates the circulation of mimesis and the desires of each member of the community. It ensures, albeit precariously, the compactness of the group structure. It could be argued that the construction of meaning that emerges from the lynching of the scapegoat structures the representation of the social order,10 that is, the collective imaginary, understanding it as an instituting narrative of meanings: "This narrative resides in the shared imagination of the group that constructed it and encompasses...