Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

Anthropocentrism has been claimed to be the root of the global environmental crisis. Based on a multidisciplinary (e.g. environmental philosophy, animal ethics, anthropology, law) and multilingual (English, Spanish, French, German, Japanese) literature review, this article proposes a conceptual analysis of ‘anthropocentrism’ and reconstructs the often implicit argument that links anthropocentrism to the environmental crisis. The variety of usages of the concept of ‘anthropocentrism’ described in this article reveals many underlying disagreements under the apparent unanimity of the calls to reject (...) anthropocentrism, both regarding what exactly is the root of the problem, and the nature of the possible solutions. It highlights the limitations of the argument of anthropocentrism as the scapegoat of the environmental crisis and identifies two main challenges faced by attempts to go beyond anthropocentrism: an epistemological challenge regarding knowledge and the place of sciences, and a metaethical challenge related to values and cultural pluralism. Beyond the issue of an anthropocentric point of view, the core of the problem might be an intertwinement of views and assumptions that work together to undermine attempts to protect the environment from the greed of some humans, such as the human-nature dichotomy, capitalism, consumerism, industrialism, etc. Finally, this article suggests that making the nuances and the presuppositions that underlie various versions of the anti-anthropocentric rhetoric explicit is necessary to foster constructive dialogue among different anti-anthropocentrism proponents, as well as with their detractors. (shrink)

Previous research has mostly focused on Internet use behaviors, such as usage time of the Internet or social media after individuals experienced offline social exclusion. However, the extant literature has ignored online response behaviors, such as online review responses to social exclusion. To address this gap, drawing on self-protection and self-serving bias, we proposed three hypotheses that examine the effect of offline social exclusion on online reviews, which are verified by two studies using different simulating scenarios with 464 participants. (...) The results show that when individuals are socially excluded offline, regardless of where the exclusion comes from, they will be more likely to give negative online reviews. In addition, brand awareness moderates the effect of offline social exclusion on online reviews. Specifically, if the brand is less known, compared with social inclusion, offline social exclusion will lead individuals to give more negative online reviews; conversely, for well-known brands, no significant difference exists in the online reviews between social exclusion and inclusion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cancel Culture and the Trope of the ScapegoatA Girardian Defense of the Importance of Contemplative ReadingJoakim Wrethed (bio)What unfolds in this article encompasses violence, language/reading, and ethics. René Girard addresses these topics primarily in terms of mimesis, its potential violence, and the trope of the scapegoat. Still, toward the end of his career and life, he relentlessly pointed out the dangers implicated in the dynamism of these forces. (...) He addressed it clearly in his "apocalyptic book" Battling to the End (2010):I have been accused of repeating myself too often, of turning my theory into a fetish, of using it to explain everything. Yet it has described mechanisms that recent discoveries in neuroscience confirm: imitation is the initial and essential means of learning; it is not something acquired later on. We can escape mimetism only by understanding the laws that govern it. Only by understanding the dangers of imitation can we conceive of authentic identification with the Other. However, we are becoming aware of the primacy of moral relationship at the very time when the atomization of humanity is being realized, and when violence has increased in intensity and unpredictability.1[End Page 15] It is this thin line between necessary/harmless imitation and its dangerous versions that will be the central theme in the analysis. As Girard states, a vast amount of established research confirms that the mimetic impulse is innate.2 We should pay specific attention to "the atomization of humanity," since it zooms in on our contemporary epoch's paradoxical "mass-individualism," evidently tremendously enhanced by information and communication technology (ICT). In order to contribute to Girard's lifework and to extend it beyond his own writing, we outline a few contemporary phenomena that clearly exhibit the primordial dangers of human violence that Girard draws attention to. These phenomena are initially only roughly sketched, but subsequent sections give them sharper relief. The central phenomena are cancel culture, speed, and the reading of literature. Just to be clear, the intended mode of reading should be construed in a broad sense, thus potentially including philosophy and theology, if one is inclined to emphasize the differences between these disciplines and the reading of literature.3Cancel culture in certain ways makes manifest a social welfare society version of escalating violence, indicating that "violence has increased in intensity and unpredictability."4 A succinct definition of cancel culture will initially suffice:Cancel culture refers to ending (or attempting to end) an individual's career or prominence to hold them accountable for immoral behavior. Driven primarily by young progressives, often through social media, cancel culture has attracted controversy since it swept into the national conversation.5This definition can easily be extended into larger historical patterns in which, for instance, colonial crimes are highlighted and demands are raised for contemporary acts of atonement. As Rob Henderson points out, the obvious flip side is that "the swift and decisive nature of cancel culture can stifle debate, and some believe that dialogue is a more productive way to foster change."6 The "swiftness" and the immediate collectable consequences are decisive in their functions as social punishment and exclusion; in other words, digitalized speed accomplishes verdict and punishment in a very short time span, which is a reflection of desire pure and simple. The rapidity from intention to anticipated effect rather resembles an instinctive and violent action more than the forwarding of a carefully thought through argument or statement. The present becomes an invincible ivory tower bristling with power to finally mete out the justice that the erroneous ethics of earlier times were incapable of conceiving and achieving. An always already accelerating modernity speeded up immensely through [End Page 16] the fast growth of information and communication technology (ICT). To be sure, the whole evolution of computer technology is defined primarily in terms of processing speed, together with the quantity of information that can be contained in as small a spatial entity as possible. The present-day reality of having almost everything only one or a few clicks away on a screen—as a modern day realization of the library in Alexandria—enhances the relevance of a phenomenon historians have referred to... (shrink)

This study aims at developing a theoretical model for workplace bullying using René Girard’s scapegoating framework. Despite the wide range of labels and related constructs present in workplace bullying literature, the explanation of the phenomenon is often studied under theoretical frameworks that do not always capture the nature of the concept. Indeed, the need to find instruments and tools to reduce or solve workplace bullying overshadowed conceptual and theoretical matters, leaving the concept undertheorized. By broadening the spectrum of social (...) sciences beyond managerial and organizational studies, we propose to use René Girard’s scapegoating framework to shed new light on workplace bullying. The scapegoating framework allows us to understand better some collective and social dimensions of workplace bullying, catching relevant elements that characterize this phenomenon, also those that are less evident from organizational studies. In a Girardian sense, scapegoating is like a trap that every human society falls into, and many aspects of workplace bullying recall its mechanism. For Girard, a human group or society can fall into a spiral of reciprocal violence because of the mimetic desire mechanism, risking a conflict escalation: violence begets more violence, putting at risk the stability or even the existence of this group or society. Scapegoating is a way to overcome reciprocal violence by uniting against a single victim who cannot reciprocate this violence. This study also proposes a tentative way to escape this trap: positive mimesis and gift-giving. (shrink)

This paper examines the literary representation of the beginnings of the Northern Irish Troubles with regard to a gender variable, in the selected poems by Heaney, Durcan, Boland, Meehan and Morrissey. The reading of Heaney’s “Punishment” will attempt to focus not solely on the poem’s repeatedly criticized misogyny but on analyzing it in a broader, historical context of the North’s conflict. In Durcan’s case, his prominent nationalist descent or his declared contempt for any form of paramilitary terrorism do not seem (...) to prevent him entirely from immortalizing female victims of the Troubles. Boland’s attitude seems the most unequivocal: the clear aversion to the language of death and rendering Irish women’s experiences in this discourse. The article concludes with analysis of Meehan’s “Southern” guilt for the situation of Catholics in the North with the simultaneous critique of perpetrated violence and Morrissey’s complicated standpoint: atheist/neutral/Protestant/communist and her striving for the impossible impartiality in a war-ridden and politically divided country. Trying to avoid systemic victimization of Irish women, the paper intends to analyze the historical and political circumstances which made them more susceptible to various forms of attacks at the beginnings of the Troubles, as reflected in the titular labels. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMESIS AND SCAPEGOATING IN THE WORKS OF HOBBES, ROUSSEAU, AND KANT Wolfgang Palaver Universität Innsbruck i: "ntellectual fashion in our academic world forces us towards -originality. Searching for mimetic desire or traces of scape-goating in literature or philosophical texts gets therefore some applause because it has not been done before. It has become fashionable in the humanities to have your own special French intellectual to be innovative and (...) conquer new fields. For many ofus Girard's mimetic theory might be of some help to better our standings in originality. But what seems to be an easy game at first sight has its disadvantages, too. Applying mimetic theory gets at least as much criticism as it earns applause. What is praised as an original contribution by some might atthe same time be debased as something quite idiosyncratic by many others. I still remember the reaction of a quite reputable political scientist from Berkeley to a paper of Girard given at a little seminar at Stanford, in which he reflected on the origin of human culture in the scapegoat mechanism. The political scientist welcomed the paper in a friendly way, asking us, however, ifby taking Girard's thesis for granted one might not as well be allowed to say that culture is based on jellybeans. This strange joke is in a way a typical reaction to the mimetic theory ifwe remember how often people do not understand at all why it is of any importance to deal with mimetic desire and scapegoating. Mimetic theory seems to be either one of those fashions which are caused by the necessity to be original or a strange obsession of a small sect following a Wolfgang Palaver127 guru who at least understood that you just have to insist on some bizarre ideas long enough to get some recognition in the end. My paper will try to show that such a critique ofthe mimetic theory is definitely wrong. Whatever major work in political philosophy I read I often came across exactlythose questionsthat are addressed by the mimetic theory. I think the collaboration of some scholars in mimetic theory would allow it to write a history of political philosophy by focusing on mimesis and scapegoating without excluding any ofthe major authors. I will try to do this today by the examples ofHobbes, Rousseau and Kant. In a first step I will show you how these three founding fathers of modern political philosophy were all concerned with mimetic desire. The rise ofthe modem world forced them to view human beings as mimetic competitors. In a second, more difficult step I will focus on traces of the scapegoat mechanism in the works ofthese three authors. Although scapegoating is less visible than mimetic desire it is nevertheless possible to see how this relates to the violent origin of human culture. A third part will address the differences between Girard's view on mimetic desire and scapegoating and the comparable views taken by Hobbes, Rousseau, and Kant. These differences are caused by the respective relationships to the biblical revelation. Whereas Girard's theory emphasizes the importance of the Bible to understand mimesis and scapegoating, Hobbes, Rousseau, and Kant are representatives of the modern neglect of the biblical revelation. A comparison ofthese three authors with an Augustinian perspective helps to understand the way, in which they differ from Girard's mimetic theory. 1. Mimesis in the works of Hobbes, Rousseau, and Kant A. Hobbes Hobbes's anthropology describes human beings as genuinely mimetic (Achterhuis 23f; Palaver 1991, 40-45). In Hobbes's early treatise The Elements ofLaw Natural andPolitic this is most explicitly visible. Human beings desire according to the other by always comparing themselves with one another. "All joy and grief of mind" consists "in a contention for precedence to them with whom they compare themselves" (Hobbes 1994, 163f; see also 50-60; 1991, 119). Human life with all its passions is paralleled in this book to a race, which has "no other goal...but being foremost" (Hobbes 1994, 59). It is a race in which "Continually to be out-gone is misery. Continually to out-go the next before is felicity. 128 Mimesis and Scapegoating in Hobbes, Rousseau, & Kant And... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Girardian Critique of the Liberal Democratic Peace TheoryKyle Scott (bio)IntroductionRené Girard is unfamiliar to most political scientists, but the liberal democratic peace theory (LDPT) is known by almost all in the discipline. René Girard has developed a theory of the origin and perpetuation of violence that is well known to scholars in literature, anthropology, and theology. Girard’s theory can be adapted to the LDPT in order to (...) provide a causal explanation for the empirical evidence that finds democracies do not go to war with one another. Without understanding why democracies do not fight one another, the LDPT is only an empirical artifact. Uncovering a causal explanation, if one exists, can help lead researchers to unravel the paradox of why democracies do not go to war with one another but are just as war prone as nondemocracies. In addition to unraveling this paradox, understanding the causal link between peace and democracy will help us find out whether more democracies will lead to more peace.Girard poses a challenge to the democratization for peace thesis, a thesis that serves as the basis for much of the foreign policy of the United States.1 For Girard, violence originates in desire. A subject desires what others desire and [End Page 45] therefore others are seen as roadblocks to that desire. This can turn violent. But the violence does not have to occur between the two subjects who have the same desire; it can be redirected to a surrogate victim who ends up being a scapegoat. If Girard’s theory is applied to the LDPT, the conclusion would be that nondemocracies are merely scapegoats for democracies so that order can be maintained in communities of democracies. Therefore, if the world becomes composed entirely of democracies, there will be no scapegoats left and democracies will fight one another.Such a theory of violence, and such a critique of the LDPT, is unfamiliar to mainstream political scientists.2 I do not suggest that Girard’s theory holds the answer to the problem of achieving perpetual peace, but the base assumption of Girard’s theory should be addressed by those who favor the LDPT. Girard begins from the idea that to achieve peace one must first understand the origin of violence. The LDPT, on the other hand, looks only at the conditions in which peace occurs, ignoring the origins of violence, thus potentially arriving at misleading conclusions.3 Applying Girard’s theory to the LDPT, and deriving alternative hypotheses from that application, will benefit all those who study war, as Girard provides a fresh perspective in the search for the causal mechanism underlying the empirical findings.Fortunately this article is not the first to apply Girard’s theory outside its traditional arenas. John Steele explains that expressive punishment can be explained in Girardian terms; R. G. Hamerton-Kelly argues that nuclear deterrence can be understood in Girardian terms; and Scott Thomas examines the current state of international affairs in a Girardian context.4 These studies can be used as a template by scholars trying to apply Girard’s theory to a field of study that has not previously used it. I will follow this template by first providing a critical examination of the current state of LDPT scholarship and then moving on to a discussion of Girard’s theory of violence. Section III contrasts Girard’s theory with other alternative explanations of war and peace in order to distinguish Girard’s theory from these explanations and to help clarify Girard’s theory.I. The Liberal Democratic Peace TheoryThe most widely accepted theory in international relations is the LDPT, even though empirical evidence supports both sides in the debate. However, most scholars agree that stable democracies do not go to war with other stable democracies.5 There are critics who suggest that the logic underlying the democratic [End Page 46] peace theory is flawed, and that exceptions to the theory can be found.6 The point of this article is not to contest the findings of those who support or refute the LDPT, but to illuminate one of its gravest shortcomings—the lack of a convincing causal explanation—and to provide direction to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system ([email protected]).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)

_ Source: _Volume 7, Issue 2, pp 114 - 135 It is a commonly accepted assumption in contemporary epistemology that we need to find a solution to ‘closure-based’ sceptical arguments and, hence, to the ‘scepticism or closure’ dilemma. In the present paper I argue that this is mistaken, since the closure principle does not, in fact, do real sceptical work. Rather, the decisive, scepticism-friendly moves are made before the closure principle is even brought into play. If we cannot avoid the (...) sceptical conclusion, this is not due to closure’s holding it in place, but because we’ve already been persuaded to accept a certain conception of perceptual reasons, which both issues a standing invitation to radical scepticism and is endemic in the contemporary literature. Once the real villain of the piece is exposed, it will become clear that the closure principle has been cast in the role of scapegoat in this debate. (shrink)

A systematic introduction into the mimetic theory of the French-American literary theorist and philosophical anthropologist René Girard, this essential text explains its three main pillars with the help of examples from literature and philosophy. This book also offers an overview of René Girard’s life and work, showing how much mimetic theory results from existential and spiritual insights into one’s own mimetic entanglements. Furthermore it examines the broader implications of Girard’s theories, from the mimetic aspect of sovereignty and wars to (...) the relationship between the scapegoat mechanism and the question of capital punishment. Mimetic theory is placed within the context of current cultural and political debates like the relationship between religion and modernity, terrorism, the death penalty, and gender issues. Drawing textual examples from European literature and philosophy, Palaver uses mimetic theory to explore the themes they present. A highly accessible book, this text is complemented by bibliographical references to Girard’s widespread work and secondary literature on mimetic theory and its applications, comprising a valuable bibliographical archive that provides the reader with an overview of the development and discussion of mimetic theory until the present day. (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand in 1981 as (...) the President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The King and the Crowd: Divine Right and Popular Sovereignty in the French Revolution Robert G. Hamerton-Kelly Stanford University We French cannot really think about politics or philosophy or literature without remembering that all this— politics, philosophy, literature—began, in the modem world, under the sign of a crime. A crime was committed in France in 1793. They killed a good and entirely likable king who was the (...) incarnation of legitimacy. We cannot not remember that this crime was horrible... When we speak about writing, the accent is on what is necessarily criminal in writing. (Jean-François Lyotard, "Discussion Lyotard-Rorty" 583; quoted in Dunn 165) The condemnation ofthe king is at the crux ofour contemporary history. It symbolizes the secularization of our history and the disincarnation of the Christian God. (Albert Camus, The Rebel 120; quoted in Dunn 140) Susan Dunn makes a well-documented case that the death of Louis XVI was unconsciously understood, especially by the Jacobins, as a human sacrifice that was necessary for the founding of the republic. "Louis must die because the patrie must live," said Robespierre at the king's trial, and the representative Carra considered Louis "the source of corruption and servitude... the fatal talisman ofall our ills" whose death would cause the people to be "regenerated in morality and virtue" (Dunn 15-37). The king was a monster and the source ofall the ills, and his death 68Robert G. Hamerton-Kelly had the power to alleviate those ills and regenerate the nation. This image of the king as sacrificial victim persisted throughout the first half of the nineteenth century in French literature and politics, sometimes assimilating itself to the image of Jesus Christ who died for the sins of the world. Legitimist writers like Joseph de Maistre saw his death precisely in this light as a great Christian sacrifice that would do France and the world good (Dunn 28-37). The king as a sacred monster whose life causes all ill and whose death brings healing is the classic figure of the scapegoat or sacrificial victim identified by René Girard. Susan Dunn recognizes this but because she does not know Girard's mimetic theory she is not able to explain the significance of the scapegoat king. Her work is, indeed, as Conor Cruise O'Brien says in the foreword, a work ofdemonstration rather than argument, of evidence rather than interpretation. I offer a mimetic interpretation ofthe Jacobin claim that the death ofthe king was the human sacrifice that founded the republic, and an argument that a universally operative generative mechanism forged the historical events of the revolution.1 There is no essential difference between the sovereignty ofthe king and the sovereignty of the people. In both cases sovereignty arises from a metaphorical contract that threatens death to anyone who violates it. The royal metaphors are organic while the revolutionary metaphors are legal and rational, but they all express the sacrificial structure ofpolitical power. Revolutionary democracy imports the fiction ofrationality to obscure its sacrificial structure. The desire ofthe general will for contractual equality is a transformation of mimetic desire in search of a victim around which the bad violence ofmimetic rivalry can coalesce into the good violence of sacred order. Sovereignty, therefore, is structurally single and simple; it is violence transformed through the sacred into the powers oforder. Max Weber understood this in general ifnot in its particulars when he defined sovereignty as the monopoly of the means of violence within a single territory.2 1 Mimetic theory was discovered by René Girard. I have given an account of my understanding of it in 7Ae Gospel and the Sacred 129-52. The idea of a mechanism universally operative in human history isjustified in the emerging discipline ofevolutionary psychology. Such mechanisms are the result ofthe interaction ofgenetic and environmental factors in the process of evolution (see Robert Wright). 2 The precise quotation from Weber is as follows: "The state is a human community that (successfully) claims the monopoly of the legitimate use of physical force within a The King and the Crowd69 The transition from royal to popular sovereignty is a transformation of the basic pattern of victim and group. The... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Characterization of Hanno in Plautus’ PoenulusGeorge Fredric FrankoPoenulus commands our attention because it is the one specimen of Roman New Comedy in which the main characters are not Greeks. Although the action takes place in the Aetolian city of Calydon, the young lover Agorastocles, his beloved Adelphasium, her sister Anterastilis, and the title character Hanno are all natives of Carthage. While the first three are represented as if (...) they were typical Greeks in Roman comedy, Hanno is represented as patently Punic in his physiognomy, dress, speech, and behavior, making him the earliest extant portrayal of a Carthaginian in Latin literature. Since the Carthaginians were the most formidable and vilified enemies of the Romans, any Roman portrayal of a Carthaginian figure holds our interest. Yet the portrayal of Hanno rouses special interest because he is not a villain. Modern readers familiar with the anti-Punic discourse prevalent throughout Latin literature are continually struck by the “sympathetic” portrayal of this Carthaginian, especially since Poenulus was composed when the Second Punic War was in recent memory. A. S. Gratwick, in his masterly chapter on Roman drama in the Cambridge History of Classical Literature (vol. 2, 94) observed that Hanno’s “portrayal is wholly (if disparately) sympathetic, and there is no trace of xenophobia, although the play was certainly produced within Hannibal’s lifetime.... that Plautus should even have envisaged its successful production tells us something of his authority in the theatre and of the openmindedness of his audience.” Others have seen more than mere sympathy and openmindedness. For example, a review of a recent performance of Poenulus observed that “the play is timely in light of the American university’s recent preoccupation with multiculturalism” and proceeded to make much ado about the sympathetic portrayal of the Carthaginian title character and the magnanimity that such sympathy reveals. The review even saw proof of “Plautus as humanitarian and social commentator” (Frauenfelder, “Plautus non manu”). Certainly the fact that an amiable Carthaginian is portrayed as neither villain nor scapegoat deserves our close attention; however, Poenulus must not be appropriated as an example of benevolent Roman multiculturalism without reflection because while there are indeed cosmopolitan elements in the play there are also powerful images of xenophobia and ethnocentrism. We must not allow our present-day preoccupations with magnanimous pluralism to influence our interpretation of [End Page 425] how the play was understood by a Roman audience. This analysis of Hanno’s characterization will reveal that the attractive aspects of his portrayal are offset by some unsavory ethnic stereotyping.We should not dismiss Hanno’s portrayal as “sympathetic” (whatever one takes that word to mean) without further comment, for his portrayal is far more complex than that, containing strongly positive and strongly negative elements which do not permit encapsulation by such a simple adjective. In fact, there are at least four distinct components or layers of Hanno’s characterization and these components constantly play off of each other. 1) Hanno is first and foremost a senex filling traditional roles in the palliata. He is primarily the father who recovers his lost children, a pater pius like Hegio in Captivi or Daemones in Rudens. He also assumes the role of senex lepidus, like Periplectomenus in Miles, and thus at times he behaves like a servus callidus (Gratwick, “Drama” 110). He is indeed the “master of many roles” (Slater, “Plautine Negotiations” 143). 2) But Hanno is unique because he is our only extant Carthaginian senex and the Roman audience must have viewed him differently from other senes because of his Punic ethnicity. The speaker of the prologue, the slave Milphio, and the soldier Antamoenides draw the audience’s attention to negative stereotypes of Punics and attribute perceived vices in Hanno’s behavior to his non-Greek ethnicity. 3) Although Hanno does display some stereotyped Punic vices, he also manages to display two peculiarly Roman virtues, namely, exemplary pietas and a mastery of Roman law. This is not a mere sidelight but a central issue of the play: Hanno uses Roman strengths, not the expected Punic or servile trickery, to recover his family and achieve a happy ending. 4) Yet Hanno also uses these Roman strengths for frivolous... (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Girardian Event and the Literary EventThe Scapegoat and Revelation in Alice Munro's "Runaway"Joakim Wrethed (bio)My critics constantly accuse me of switching back and forth between the representation and the reality of what is being represented. Readers who have been following the text attentively will understand that I do not deserve the reproach or, if I do, we all deserve it equally because we affirm the existence of (...) real victims behind the almost mythological texts of medieval persecutors.—René Girard, The Scapegoat, 57Girardian philosophical and theological thinking is founded on events: mainly the two generic events of mimetic desire and the purifying sacrifice. However, in addition, there is more nuanced cognition of evental structures that becomes highlighted, particularly when engaging with literary texts through Girardian concepts. It is my intent here to probe deeply into Girard's evental layers through the analytic encounter with Alice Munro's short story "Runaway," which clearly indicates the existence of "real victims" in the sense Girard describes it in the epigraph just shown, even though obviously Munro's victims are moved into the context of our times through the use of [End Page 53] literature as a form of myth-making. We shall more closely examine the literary event as such and what it may mean in Munro's work, but then also bring relevant insights back into Girard's evental framework to ponder some conceptual timbres in his thinking about the scapegoat and revelation. In the Canadian author's short story we therefore focus on these interrelated topics of revelation and scapegoating in order to analyze them in close connection with Girard. The central claim is that Girard uses founding events to ground the generic aspects of the theory, but in addition the argument suggests that the engagement with Munro's short story reveals that the literary event "overflows" any theoretical appropriation of evental structures. Thus, the cognition of the event displays a hermeneutical circle that moves events back into narrativity, myth, and religion, out of which Girard once derived his central ideas.There are mainly three different aspects that need to be outlined here from the beginning, which constitute an organizing structure that is useful when exposing Munro's fiction to close analysis, namely, Christian revelation, anthropological revelation, and the capacity of events to generate new meaning through the underlying phenomenon of eventfulness. According to Bernard Perret, Girard has two central principles attached to his usage of the concept of "revelation":When he speaks of "Christian revelation," he gives this term its usual theological meaning: that of a self-revelation by God giving access to truths that human reason is unable to discover through its own forces. In addition to this first meaning, Girard on many occasions uses the word "revelation"—or "unveiling," which is almost synonymous—in the sense of a discovery giving access to a rational understanding of anthropological facts.1This seemingly incompatible usage will be an important distinction when we move into the realm of contemporary fiction. Moreover, Girard also adds yet another aspect of the event that needs to be taken into consideration as well, and this is the third characteristic referred to above. Perret stresses that Girard and Christianity as a whole state "that all human existence is characterized by events creative of new meanings."2 This last claim fits the dominion of creative fiction in a fertile way. As we shall see when we approach Munro's rather complex short story, we will have to engage with issues that are in line with Girard's theological thinking, but also with elements that problematize certain aspects of these phenomena. It should be mentioned that the Girard scholar Perret is mainly used in this analysis, since he provides a clear focus on aspects [End Page 54] of Girardian thinking that are particularly relevant. There are references directly to Girard's writing mainly in the notes.In order to set up a meaningful dialogue, we need to first ponder the literary event per se, partly since it is such a broad term but also since not all literary events can be seen as revelatory in the theological sense. I here outline a set... (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Il Mostro e il sapiente: Studi sull'erotica grecaEva CantarellaRiccardo Vattuone. Il Mostro e il sapiente: Studi sull'erotica greca. Studi di Storia 11. Bologna: Pàtron, 2004. 345 pp. 15 black-and-white figs. Paper, €24."Il mostro e il sapiente" (the monster and the wise man), referred to in the title of Riccardo Vattuone's book, are, respectively, the loathed figure of the modern pedophile and an elected official who stands almost as (...) a symbol of wisdom, the great Athenian legislator Solon. Each of them, as Vattuone observes in the introduction, "loves" boys. No one, however, has ever for this reason considered the wise man Solon to be a monster, as today's media tend to view the modern pedophile. Thus it is clear from the title and made explicit in the foreword (7–10) that Vattuone is not merely interested in the past. As he repeats several times, "It is the past that puts the most significant questions to the contemporary age, and not vice-versa" (9, and passim). In this case, the past that interrogates the present is the pederastic relationship, and the question that this has asked Vattuone is whether or not there is a relationship between so-called Greek love and modern pedophilia. According to Vattuone, from the nineteenth century on, the immense quantity of literature about the pederastic relationship oscillates between radical condemnation and attempts to defend the past by "distancing it" (8). Il Mostro e il sapiente, he declares, was written to get away from this "ideological hypocrisy" and to dispel, if possible, "the suspicion that behind the contemporary pedophile there lurk the worst vices, the most obvious repressions of Western culture... and that that person is a creation of the system, constructed as a scapegoat for the unspeakable Other" (9).The following eight chapters are therefore dedicated to this objective. In the first, "Osservazioni preliminari: i crimini di Solone" (Preliminary Observations: the Crimes of Solon), Vattuone begins with an epigram of Straton (AP 12.246) to contest—in my opinion correctly—the reading of pederasty that he calls "anesthetic," according to which the pais would have experienced his relationship with the adult as a kind of social obligation, without feeling desire or pleasure. It is not only the adult that loves and desires, says Vattuone. Pederasty implies reciprocity of affection. On this point, as I observed years ago, I believe it very likely that Vattuone is approaching the truth. (See E. Cantarella, Bisexuality in the Ancient World [2d ed., Yale University Press, 2002], xii–xiii, and, at greater length, "A proposito di C. Calame, L'Amour en grece," Annales ESC 1999.)The second chapter, "Pais kalos. Una bellezza incomparabile" (Pais Kalos. An Incomparable Beauty), argues, correctly, against the idea that the boy's attractions depend on his resemblance to a woman. The scarce contact that Greek [End Page 461] men had with women has nothing to do with the reasons for which the paides from the age of approximately twelve to seventeen years were irresistible to the Greek man. Though their face and gaze might be soft, their body structure and ethos were virile. Pederasty was a relationship between males, among other things allowed and culturally valued only within the age limits to which an ample and exhaustive part of the chapter is dedicated.The third chapter, "Eros, un 'dovere' sociale?" (Eros, a Social "Duty?"), goes into the erotic aspect of the relationship, dedicating ample space to the problem of the so-called origins of pederasty. The Greeks considered that pederasty originated with a crime (the rape of Chrysippus), and modern scholars, according to Vattuone, have followed this line of thinking, concentrating their efforts on the attempt—this is a leitmotif of the book—to save the Greeks from accusations of immorality and perversion. A long section of criticism follows, attacking hypotheses of the historic-psychoanalytic type and those that link the social role of pederasty to "rites of passage," with the objective, according to Vattuone, of distancing it from us and the present world. I do not agree, however. As I have pointed out elsewhere, to connect a sexual relationship with a rite does not necessarily... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mimetic Desire and the Nigerian Novel:The Case of Chike Momah's Titi: Biafran Maid in GenevaTerri Ochiagha (bio)René Girard's mimetic theory was first informed by Western canonical novels. Girard's paradigm, with its psychological, anthropological, and historical backing, provides explanations for universal phenomena like rivalry, violence, scapegoat mechanisms, and the religious processes of sin and redemption. While it is not reflected in his choice of literary subjects, Girard has endeavored (...) to assert the universality of mimetic desire and its implications in "Other," non-Western cultures. However, little or no attention has been paid to novels that do not circulate primarily within Western canonical circles. To start redressing this gap in the literature, I use Girard's mimetic theory to study a Nigerian novel, Chike Momah's Titi: Biafran Maid in Geneva and show how the paradigm is suited to a novel so distant in space, time, and culture from the famous works that first inspired it. Apart from identifying the nature and phases of mimetic desire that appear in the novel, I propose other possible triangulations of desire, separating out the mimetic from the nonmimetic, and address the possible implications of the homosexual nature of the novel's interracial triangular desire. [End Page 205]A First Encounter with the NovelSince I assume that neither the author nor the novel under discussion are well known to the readers of this article, I will briefly discuss the author and trace the outline of the plot, in order to allow for an uninterrupted flow in my explication of the dialectics of mimetic desire.The situation of Chike Momah in Nigerian letters is singular. He belongs to the Ibadan golden generation of authors, heralded by Chinua Achebe's first novel, Things Fall Apart (1958), and his contemporaries at University College, Ibadan, including the Nobel laureate Wole Soyinka, plus Chukwuemeka Ike, Elechi Amadi, Christopher Okigbo, Flora Nwapa, and J. P. Clark, among others. Despite his talent, Momah did not join the literary movement that his fellow alumni inaugurated. Almost 40 years later and two years prior to his retirement from his United Nations position in 1990, he began his literary career, which has yielded five novels and several essays. Being a firsthand witness to the birth of Nigerian written literature, he was sought after by biographers and conference organizers. However, his oeuvre has not garnered sufficient attention. This could be the result of a number of factors: first, the distribution of most of his novels has been limited; second, his writings began to emerge at a time when the literary reputations of his contemporaries had long since arrived at their zenith; and third, novels that primarily seek to entertain, as most of his do, are often disregarded in the realm of postcolonial criticism.Titi: Biafran Maid in Geneva (1999) is Momah's second novel. It is the sole Nigerian Civil War novel to portray the horrors of the conflict from the viewpoint of a Biafran family living in Geneva, the Okekes. Its excellent exploration of war trauma frames an entertaining story line. This involves Titi, the Okekes' maid, and her multiple love affairs. Mimetic desire sets in during the course of her relationship with Eddy Mafa and the love triangle that ensnares them with Suzanne, Eddy's European lover. This tangled web provides the perfect substrate on which to test Girard's theory of mimetic desire.Suzanne, Titi, and Eddy: The Genesis of Mimetic DesireAccording to Girard, mimetic desire occurs when we crave for an object, place, status, or person simply because someone else desires it. The resulting rivalry can bring us into conflict with the models we imitate. According to this theory, [End Page 206] the romantic concept of spontaneous desire is illusory since it is learned from the Other. One therefore learns the value of desired objects from desiring subjects. Mimetic desire is schematized by a triangle. However, as we will see, not all love triangles are triangulations of mimetic desire.In Titi: Biafran Maid in Geneva, the eponymous protagonist meets Eddy at the Okekes' house. They begin a relationship, which does not show many signs of prospering beyond its physicality. Apart from the fact that both... (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Myrmidon vs. the AbbessHow Contrasting Mechanisms to Resolve Mimetic Contagion in Shakespeare's Troilus and Cressida and Comedy of Errors Stand as a Warning Against the Rejection of Christianity in Favor of Resurgent Homeric EthosBrian P. Quaranta (bio)This investigation started with a question: Why does Shakespeare hate the Iliad?The question arose after first reading Troilus and Cressida (T&C), Shakespeare's play set during the Trojan War. In his retelling, all (...) claims to glory for Homer's heroes are undermined; a world that is presented by Homer as brutal but honorable is replaced, by Shakespeare, with one that is rife with social and physical disease. As I continued to consider why Shakespeare displayed such hostility toward the Iliad, I found myself recognizing multiple, much more subtle, allusions to the Trojan War in another of his plays set in ancient Greece, The Comedy of Errors (COE). In time, it became apparent that the connection of these two plays with each other, and with the Iliad, was deliberate; through this comparison, Shakespeare rejects the Homeric ethos in favor of a Christian one. A consideration of René Girard's work on Shakespeare helps to bring home the connection between the plays and the concern that they illuminate.In his Theatre of Envy, Girard famously claimed that Shakespeare was consciously familiar with the concepts of mimetic desire and its relationship [End Page 183] to collective violence.1 He drew upon T&C and COE for examples: T&C for its explication of the importance of degree, its employment of collective murder, and the association of mimetic contagion with disease,2 and COE primarily for its emphasis on the special role of twins in mimetic theory as exemplars of identical rivals.3 Girard, I believe, is correct that Shakespeare understood the mechanisms and implications of mimetic theory, and he demonstrates how in these plays its consequences play out in a purely pagan world, and then in another in which there is a saving Christian intervention.The intellectual current of Shakespeare's time has been characterized by two primary themes: Reformation and Renaissance. The use of the word reformation, when taken on its own terms, suggests a benign and necessary process. But for an Englishman in the late 16th century, reformation also would have meant violence, displacement, fracture, war, and the disintegration of a once-unified Christendom. This crumbling of the ancient universal catholic church was accompanied by the Renaissance, a term used to refer to the rebirth of interest in, and progressive obsession with, the culture and literature of the ancient Greeks and Romans.4 My argument is that the two plays discussed here can be read as Shakespeare's response to these developments, demonstrating an anxiety over the threat of resurgent pagan values to a troubled Christianity, with T&C's ending standing as a warning of the danger of a return to the scapegoat mechanism, and COE reminding the reader of the power of the Christian alternative.The essay begins with a brief reminder of the depth of the enthusiasm for the classical era that emerged in Europe in the century leading up to, and including, the life of Shakespeare. I then detail the surprising ways in which Shakespeare thoroughly upends expectations in his retelling of the Trojan War story, discrediting the original tale. Next, the similarities of the Comedy of Errors to Troilus and Cressida, and to the Iliad, are documented. Because this area has received little previous scholarly attention, and because it is crucial to the argument, the inversions of the Trojan War in COE are meticulously detailed. Once it has been established that the two plays both respond to the Iliad, Girard's mimetic theory is brought to bear to explain the very different endings of the plays and to reveal Shakespeare's underlying concern about the Homeric ethos.THE RENAISSANCE AND SHAKESPEARE'S RESPONSE TO THE CLASSICSThe emerging triumph of the Greco-Roman pagan world over the renaissance mind, and its intrusion into the Christian realm, are evident in the development [End Page 184] of visual art in the decades preceding Shakespeare's work. Works by Michelangelo, Raphael, and Giulio Romano, depicting... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:René Girard and Giorgio AgambenConvergent and Divergent Political and Theological ProspectsBart Leenman (bio)INTRODUCTIONUnfortunately, categorical violence (violence wrought against a scapegoat minority, like ethnic cleansing and genocide) is a perpetual human problem. Although many thinkers concerned themselves with the issue of categorical violence, I would like to discuss René Girard (1923–2015) and Giorgio Agamben (born in 1942), two contemporary thinkers who present intriguing perspectives on categorical violence. Rather than (...) viewing violence as an external element of societal life, they discuss the societal function of categorical violence while situating a sacred victim at the heart of their theories. Girard and Agamben are an unlikely pairing. Girard is renowned for his socio-anthropological mimetic theory, while Agamben is known for his political philosophy. However, despite these different perspectives, Girard's mimetic theory and Agamben's political philosophy share some intriguing similarities. For example, both thinkers employ an archaeological (anthropogenetic) methodology and situate their [End Page 203] thoughts against the background of Judeo-Christian concepts such as messianism, revelation, and apocalypse. However, the most striking similarity is their shared focus on violence and the sacred. Rather than viewing violence as an external element of human life, Girard and Agamben discuss the societal "function" of violence while situating a sacred victim at the heart of their theories. Girard situates this sacred victim (the scapegoat) at the heart of his socio-anthropological theory of violence, mimesis, and desire. In contrast, Agamben situates his sacred victim (the homo sacer) at the heart of his political philosophy. Despite this intriguing similarity, Girard's and Agamben's political and theological prospects diverge. Even though both thinkers turn to Judeo-Christian concepts in their political and theological explorations, they interpret this Judeo-Christian context differently. Girard relates his political–theological prospects to Christian revelation. In contrast, Agamben connects his political–theological prospects to a philosophical reading of St. Paul.In this article, I compare and discuss Girard's and Agamben's perspectives on violence, their sacred victims, and the theological and political implications of their theories. I argue that Girard's and Agamben's divergent theological and political prospects can be traced to their opposing definition of their sacred victims, which, in turn, derives from a fundamentally different ontological conceptualization of the sacred. Therefore, the research question arises: "What constitutes Girard's and Agamben's opposing definition of the sacred victim and their fundamentally different conceptualization of the sacred underlying this definition, and what are the political and theological implications of this fundamentally different conceptualization of the sacred?"In order to answer this research question, I begin by discussing the basics of Girard's mimetic theory and Agamben's political philosophy. Then, I provide an overview of pertinent academic literature concerning the comparison between Girard and Agamben. This overview demonstrates the academic embeddedness of Girard and Agamben and their discussion of a sacred victim. Furthermore, it helps us to explore the apparent similarities and fundamental differences between Girard's mimetic theory and Agamben's political philosophy. Following that, I explicate the fundamental differences and argue that one could trace these differences to Girard's and Agamben's divergent ontological conceptualization of the sacred. Finally, I argue that Girard's and Agamben's divergent political and theological prospects do not obstruct a comparison between Girard and Agamben but invoke further research concerning Girard, Agamben, and the ontological conceptualization of the sacred. [End Page 204]GIRARD, AGAMBEN, AND THEIR SACRED VICTIMSIn 1961, René Girard published Deceit, Desire and the Novel. In this book, Girard introduces the principles of his mimetic theory.1 These principles derive from a careful analysis of classic European novels. Until that point, Girard occupied himself predominantly with the study of literature, arguing that the classic European novels reveal a kind of (psychological–biological) truth. This truth has everything to do with the notion of desire and how it is portrayed in classic European novels. According to Girard, the classic European novels reveal that desire is triangular rather than bilateral.2 The subject (S) desires an object (O) through a model of mediation (M).3 In other words, people desire what the other desires, and desire is not authentic but mimetic. Although desire... (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

While the majority of organised religions determine the origins of religion itself in an act of divine revelation, social science literature takes an evolutionary perspective. Without engaging the question of origin of religion from either perspective, this article proposes seven correlations between interpersonal violence and the progression of organised religion by suggesting that interpersonal violence plays a significant role in the institutionalising process of organised religion. Although interpersonal violence does not necessarily cause the structuring of faith, it reinforces and (...) provides solutions to the existing patterns of threat faced by the community, which together lead to the organisation of religion. The first part of this article (stages 1–4) surveys the psychology of violence by focusing on the theories of frustration–aggression, mimetic rivalry, triangulation and the genesis of scapegoating and guilt. The second part (stages 5–6) marks the transition from personal to social psychology and surveys violence in the primitive religion, as manifested in the ritualising process of the scapegoat, and the genesis of sacrifice. The third part (stage 7) highlights the complexity of ritual, ethics and doctrine, in the evolution of religion from a primitive state to an advanced organised institution. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Mimetic SacredGirard and Bataille Transcending DesireJeffery D. McNeil (bio)René Girard's (1923–2015) mimetic theory and Georges Bataille's (1897–1962) theory of the sacred both describe an unwitting pull to violence fueled by an aspect of desire. This violence cannot be denied but may be channeled through ritual, resulting in social cohesion or utter catastrophe. Their theories also illustrate the contagious flow of affective violence between individuals, quickly infecting the whole. (...) Girard describes a violent contagion that threatens physical annihilation, while Bataille's more vital contagion illustrates the dissolution of self into other. Both come to the same result—collective cohesion. However, for all the similarities, the essential mechanisms "end up with profoundly different visions of the dynamics sustaining the social bond and, indeed, of society's whole affective economy."1 For Girard, the operative community requires distinct individuals specific in their identities. A lack of distinctions between individuals—a state he calls undifferentiation—leads to a struggle for identity, conflict, and violence. Unity comes from the catharsis of collectively thwarting violence before conflict can destroy the community. For Bataille, unity comes from collectively communicating through ritual. A [End Page 103] primal urge to slip out of the hierarchical mastery of discontinuous being and join with the other in a step closer to continuous being unites through mutual affect generated through shared experience. Girard asserts that cohesion occurs by maintaining separation, while Bataille describes cohesion generated in its destruction.Despite their similar concerns and many agreements, Girard and Bataille have rarely been compared. Among those few studies, Tiina Arppe argues that the divergence in both thinkers' theories can be found in their sources, namely, Emile Durkheim's theory of the sacred and Alexandre Kojève's reading of Hegel.2 Antony D. Traylor argues in answering the question of the purpose of sacrifice that Bataille's understanding may add to or replace Girard's scapegoat mechanism.3 Traylor dissects both theories focusing on Girard's critique of metaphysical desire and Bataille's notion of sovereignty. Nidesh Lawtoo mobilizes both thinkers and others to unmask the mimetic forces entwined in ego creation.4 First, similar to Arppe, I argue that apparent contradictions between Girard and Bataille arise from critical influences of each thinker and offer an analysis paving the way, like Traylor, toward compatibility. However, I focus on the influence (or denial) of Sigmund Freud and Marcel Mauss—whom I argue are the most crucial influences for untangling these theories. By examining Girard's interpretation of Freud's theory of cultural origin and Bataille's use of Mauss's notion of the gift and potlatch, I trace a short anthropological genealogy of the sacred that proves critical to both theories.5 In that regard, I eschew wrestling with metaphysical concerns and instead take an anthropological approach to the sacred that moves beyond compatibility. Second, we perform a synthetization, illuminating a shared mimetic force lurking within both theories and how Bataille offers an expansion to Girard's already acute observations—for which Lawtoo's notions of the mimetic unconscious and mimetic communication are essential.My primary source for Girard's theory is Violence and the Sacred, with secondary support from The Scapegoat and Things Hidden since the Foundation of the World. For Bataille, I consult Erotism: Death and Sensuality and two essays: "The Notion of Expenditure" (and its later development in The Accursed Share) and "Definition of Heterology." I also use a small but significant excerpt from Theory of Religion concerning sacrifice and the festival. Secondary literature is introduced as needed. [End Page 104]PSYCHOANALYTIC ANTHROPOLOGYGirard and Bataille found varying degrees of influence in Freud. A short detour through the relationship between subject and desire and the violent origins of the sacred will set the stage for a deeper comparison. While Girard does not explicitly admit using the father of psychoanalysis as a starting point,6 he acknowledges the influence and relegates it under his own, claiming that Freud's theory "has been replaced by another explanation, at once very close to and very far removed from the Freudian viewpoint."7 Lawtoo illustrates essential similarities to be "Girard's emphasis on desire as the essence of... (shrink)

The paper by Salloch and Eriksen (2024) offers an insightful contribution to the ethical debate on Machine Learning-driven Clinical Decision Support Systems (ML_CDSS) and provides much-needed conce...

In lieu of an abstract, here is a brief excerpt of the content:How We Write Plagues JAMES UDEN One advantage of writing about historical pandemics is that they have already occurred. From where I sit, as I listen to the loudspeaker on the council truck telling me to stay indoors, it is impossible to know what direction the covid-19 crisis will take. Certainly, aspects of the virus’s social impact have mirrored the trajectory of previous pandemics. Back in February, people in (...) France began circulating the phrase Je ne suis pas un virus, protesting acts of violence against Asian communities and resisting the well-documented tendency for societies to target ethnic minorities as scapegoats for epidemic disease. The President’s labeling of covid-19 as the “Chinese virus” aroused similar protest in the United States.1 At an armed rally at the state house in Lansing, MI, armed protesters demanded the reopening of businesses despite public health advice to the contrary, an act that raised familiar questions about the freedom of the individual versus the health of the collective in times of health crisis. Here in Boston, anti-lockdown protesters assembled at the Massachusetts State House on May 4, chanting “no more dictatorship”—language congenial to Boston’s history of colonial rebellion, though not especially fitting to the crisis at hand. Just one day earlier, a banner had flown over the buildings of Manhattan with the words CAPITALISM IS THE PANDEMIC. Whether the virus will redistribute power and become, in Walter Scheidel’s words, a “great leveler,” remains to be seen.2 arion 28.1 spring/summer 2020 Hunter H. Gardner, Pestilence and the Body Politic in Latin Literature. Oxford: Oxford University Press, 2019. x + 303 pages. $90.00. Brian Walters, The Deaths of the Republic: Imagery of the Body Politic in Ciceronian Rome, 2020. xv + 158 pages. $80.00. 132 how we write plagues Given that we have frequently been reminded that we are facing a pandemic of historic proportions, it is natural that people have turned to history for perspective. Daniel Defoe’s journalistic account of plague in London in 1665, A Journal of the Plague Year (1722), has catapulted to an unlikely relevance, promoted on the publisher’s website as the “surprise ‘must-read’ for people facing the covid-19 epidemic.” Thucydides ’ description of Athens’s experience of the plague in 430 bc has made news in The Economist, The Washington Post and The Guardian. Historical accounts of plagues are regularly being called upon to offer advice to the present. Yet not all plagues are alike. Historians have rightly protested about parallels being made between covid-19 and the aids crisis, since the current emergency response contrasts damningly with the Reagan government’s protracted silence and willful ignorance throughout the 1980s.3 One problem is the word “plague” itself, a term too suggestive of sin to represent the devastating impartiality of viral disease. “Plagues,” Susan Sontag wrote in aids and its Metaphors (1988), are “inflicted, not just endured.” She argued that the term imposed additional burdens on patients, who were portrayed as suffering some punishment, and could not simply be ill.4 To speak of “plagues” in the plural also suggests a common experience across time, a regular and shared event. Literary accounts of the plague do indeed share many common tropes. Yet there are important differences in the way communities have responded to outbreaks in different eras, and significant divergences in the meaning of disease. Accounts of plagues understandably arouse interest during a pandemic, but they are apt to mislead us, because the plagues so often look the same. One unshakable constant is the analogy between the body and the state, the “body politic.” As has long been recognized, the symbol surfaces across many, unrelated world cultures.5 In seeking to explain a unity composed of many parts, human beings have tended to look to the most immediate parallel— themselves. Although it has been invoked famously to justify James Uden 133 hierarchies within the state (Livy, Shakespeare, Hobbes), the image seems to resonate most intuitively when it conceptualizes danger, when the “health” of the state is threatened by “infection” or “disease.” In 2009, psychologists asked sixty -nine undergraduates at the University of Arizona to read a popular... (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Violence and Difference. Girard, Derrida, and DeconstructionSandor GoodhartViolence and Difference. Girard, Derrida, and Deconstruction, by Andrew J. McKenna; 238 pp. Urbana: University of Illinois Press, 1992, $15.95 paper.McKenna’s book is disturbingly intelligent. I have the impression in reading it that there is nothing that has not crossed the author’s mind regarding contemporary theory, that here is a book of inquiry and thought in the grand tradition of European (...) letters. I am also struck by how few books there are of this high quality, either on Derrida’s work or Girard’s, a lament which is also one of the book’s subtexts.McKenna’s expressed goal is to engage Jacques Derrida’s work with René Girard’s. The project is certainly overdue. Both writers have been working for a long time now on structures of exclusion and victimage, Derrida at the level of language, writing, and signifiers, Girard at that of cultural anthropology and institutional formation. Neither has fully acknowledged—let alone engaged—the other. Girard is almost entirely absent from Derrida’s writing, appearing in the convoluted context of a review of a book by Derrida’s student, Lacoue-Labarthes, containing an essay on Girard’s reading of Plato. Girard repeatedly cites Derrida’s treatment of the theme of the scapegoat and of the supplement—for example, in “Plato’s Pharmacy” (“La pharmacie de Platon”)—largely ignoring Derrida’s primary concern, his critique of philosophic essentialism.McKenna sets out less to right these “baleful circumstances” than to explore them. Through a highly diplomatic “shuttling back and forth between Girard’s and Derrida’s contribution” to our understanding of the foundational occlusionary mechanisms of language and the social, McKenna lays out, definitively in my view, the case for their similarities. But equally evident throughout these chapters both to the reader and McKenna is the “logic of [a] preference” which becomes explicit only in the concluding chapter when he turns to the question of the sacred.For, in McKenna’s view, what Derrida and deconstruction has resisted throughout is its own implication in the very logic of totalization it everywhere exposes, ironically by way of its very persistent and totalizing appeal for dismantling such logic. Derrida’s “systematic indisposition” is “permanent,” “structural,” and “crippling,” “frustrating” its best insights by participating in an antitranscendentalism as old as romanticism and which alone escapes detection, although it licenses the suspicion of all discourse. Deconstructing all philosophy after Plato as literature, Derrida succeeds ironically only in waging Plato’s own battle, recreating the same rigorous synchronic antithesis (philosophy/literature) which is already the stake of Platonic idealism if in reverse polarity.The difference is decisive. Deconstructing philosophic language as writing, metaphor, signifier, text, Derrida repeats the “sacrificial scenario” of philosophy [End Page 252] itself. Mistaking the symptom (the “crisis of all cultural signs”) for the cure, constituting itself as an impossible demand for a “total” or metalinguistic account, deconstructing all language as difference, deferral, or “differance,” deconstruction defers finally to the very representational strategies it exposes. It scapegoats and retrieves in marginalized form the absolute in the face of the antisacrificial staging of truth that great literature posits. What begins as a critique of the widespread “symmetrical allergy to the sacred and to signifiers” concludes on one hand with an exposition of the mechanism of sacralization, and on the other with a via negativa hardly distinguishable from the tradition it opposes, a hypersensitivity to language which may be only the latest version of a transcendental skepticism which has a long and distinguished history in the West, perhaps the history of philosophy itself.One may disagree with McKenna. In fact, in a curious way, not to do so would be to betray the book’s polemical challenge, that we develop a positive knowledge of culture as the product of questioning and examination. But one would be hard put to find a more penetratingly thoughtful study of its topic. It is an example of the practice of intellectual activity at its finest. In an age of mindless epigonism, here is a book about such dangers whose spirit of critical thinking we would do well to emulate.Sandor GoodhartWhitman... (shrink)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion (...) declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

The article explores the possibilities of literary studies as a hermeneutics of the social by focusing on intermediations of literary and social studies in the present and in the early days of the DVjs, i.e. in the 1920s. It first investigates, how sociology interrogates itself by reading detective stories (Kracauer, Boltanski). As a testing ground for the productivity of the proposed orientation the article then takes a closer look at German crime fiction of the interwar years (Perutz, Jacques) and demonstrates (...) how these novels problematize the workings of a social imaginary in the »time of monsters«. (shrink)