Abstract

In lieu of an abstract, here is a brief excerpt of the content:Nietzsche contra GirardAgonistic Steps for Mimetic StudiesNidesh Lawtoo (bio)It has gradually become clear to me what every great philosophy has hitherto been: a confession on the part of its author and a kind of involuntary and unconscious memoir.—Friedrich Nietzsche, Beyond Good and EvilFriedrich Nietzsche's exemplary position in the history of philosophy owes as much to the untimely content of his thought as to the heterogeneous forms he used to express it. It is thus no accident that both his philosophical logic (logos) and the formal affect (pathos) that animate his writings are now a source of inspiration for mimetic studies as well—a transdisciplinary field that goes beyond antiquarian approaches to mimesis in order to develop a new theory of imitation that accounts for the becoming other of homo mimeticus in the present and future.1If I opt for an agonistic title, then, it is not to set up a violent and rivalrous opposition of false polarities between mimetic theory and mimetic studies—for the debts and genealogical continuities between Girard and Nietzsche [End Page 145] are numerous, profound, and do not conform to the pathological dynamic of mimetic rivalry. Rather, I opt for this Nietzschean title to alert the reader in advance to the following methodological point: What appears, at first sight, as a straightforward antagonistic opposition might reveal, at a closer genealogic look, mirroring continuities and overturnings of perspectives. The goal is to go beyond rivalrous principles constitutive of violent pathologies to propose a new theory on the logic or logos of mimetic pathos. This also means that the "contra" in my title should be read with a genealogical understanding of what agonistic confrontations actually entail: namely, a complex double movement with and against worthy predecessors that, as I have shown elsewhere, are already constitutive of Nietzsche's mimetic "patho(-)logies," and that I now group under the rubric of "mimetic agonism."2 Whether Nietzsche and Girard have the same understanding of agonism, or not quite, is what these further steps for mimetic studies now aim to find out.If the transdisciplinary field of mimetic studies emerges in the twenty-first century, its genealogy looks back to the foundations of philosophy and reaches, via Nietzsche and other modernist writers of mimesis, into the present. As an introductory gesture, let me first step back to the past century to recall why one of mimetic studies' major precursors, such as Nietzsche, continues to be read and reread today from different perspectives. Considered one of the "masters of suspicion" along with Marx, Freud, and, we should add, Darwin, Nietzsche is mostly known for overturning Western metaphysics, proclaiming the death of God, reevaluating the value of morality, undermining faith in rationality, and affirming an immanent world of becoming in constant tension, conflict, and transformation. Given his perspectival, often conflicted, and seemingly contradictory approach, it is not surprising that the name of Nietzsche has been associated with strikingly different and equally conflicting philosophical traditions: from existentialism to hermeneutics, materialism to psychoanalysis, structuralism to poststructuralism, modernism to postmodernism, critical theory to feminism, deconstruction to queer theory, and new materialism to environmental philosophy to posthumanism, among other emerging perspectives. Despite the disagreements he generates, or perhaps because of them, Nietzsche's perspectival thought powerfully informs, and continues to transform, some of the most heterogeneous philosophical traditions of the twentieth and twenty-first centuries.Still, as the epigraph whereby we started suggests, Nietzsche was not only a philosopher; he was also one of the most formidable critics of philosophy—and in a characteristic overturning of perspectives, he often turned this critique into an attempt at self-critique. Nietzsche's philosophical diagnostics, in fact, [End Page 146] tend to be double-faced insofar as he is equally implicated in the phenomena he dissects—and this applies to his definition of philosophy as well. There is, in fact, a formal, confessional element at play in Nietzsche's famous account of philosophy as "confession [Selbstbekenntnis]" (BGE 6;47).3 The phrase performs what it describes, generating mirroring effects that run, like an undercurrent, throughout Nietzsche's entire oeuvre, giving it an experiential, autobiographical, and experimental tone that informs mimetic studies as well...