Chris Fleming

In recent years there has been a renewed interest in the work of Rene Girard, thought by many to be one of the most important, if controversial, cultural theorists of the twentieth century. Girard's work is extraordinarily innovative and wide-ranging, cutting across central concerns in philosophy, psychoanalysis, literary theory, anthropology, theology, and sociology. In this much-needed introduction, Chris Fleming traces the development of Girard's thought over forty years, describing the context in which he worked and his influence on a number of disciplines. He unpacks the hypotheses at the centre of Girard's thought - mimetic desire, surrogate victimage and scapegoating, myth, ritual, and the sacred - and provides an assessment of Girard's place in the contemporary academy. Comprehensive and clearly written, this book constitutes an excellent overview of Girard's work and is essential reading for students and researchers in continental philosophy, theology, literary studies, French studies, and cultural studies.

In this article de Beauvoir defends a conception of literature as a kind of unveiling of something that exists outside itself, a mode of action which reveals certain truths about the world. What we call “literature” is eminently capable of grasping the world—a world which de Beauvoir, following Jean-Paul Sartre, conceives of as a “detotalized totality”; one that is real and independent of us, which exists for all, but is only graspable through our own projects and our perspectives. Yet far from keeping us stranded within our unique subjectivities, literature restores to subjective experience its generality; it allows other to “taste” the world as it exists for others. We can communicate through literature because in it our world, our languages, and our projects overlap. Ultimately, for de Beauvoir, literature is what allows us to see the world as others see it—all the while remaining, irreducibly, ourselves.

In this article, Pierre Hadot examines the late philosophy of Ludwig Wittgenstein and the so-called “linguistic turn” in philosophy and the social sciences. Although certain interpreters of Wittgenstein have thought that Philosophical Investigations shows philosophy to be predicated on a series of confusions based on the misuse of language, Hadot argues contrarily that an understanding of Wittgenstein’s idea of “language games”—far from ending philosophy—allows us to see it anew and to discern the source of some of its deepest perplexities. Of particular concern is the notion of the ancient idea of philosophical discourse as intrinsically connected to various forms of apprenticeship or spiritual formation. It is in this context that the supposed inconsistencies and unusual repetitions of ancient philosophy can be understood. Only from the Middle Ages do philosophical language games begin slowly to become detached from certain kinds of training, of pedagogies connected to forms of life, and become texts—and “systems”—in the sense of being written for the purposes of merely conventional reading.

The interdisciplinary French-American thinker René Girard (1923-2015) has been one of the towering figures of the humanities in the last half-century. The title of René Girard's first book offered his own thesis in summary form: romantic lie and novelistic truth [mensonge romantique et vérité romanesque]. And yet, for a thinker whose career began by an engagement with literature, it came as a shock to some that, in La Conversion de l'art, Girard asserted that the novel may be an “outmoded” form for revealing humans to themselves. However, Girard never specified what, if anything, might take the place of the novel. This collection of essays is one attempt at answering this question, by offering a series of analyses of films that aims to test mimetic theory in an area in which relatively little has so far been offered. Does it make any sense to talk of vérité filmique? In addition, Mimetic Theory and Film is a response to the widespread objection that there is no viable “Girardian aesthetics.” One of the main questions that this collection considers is: can we develop a genre-specific mimetic analysis (of film), and are we able to develop anything approaching a “Girardian aesthetic”? Each of the contributors addresses these questions through the analysis of a film.

In this essay from 1933, Simone Weil—only 24 at the time—offers her analysis of war, particularly as it appears in leftist discourse and revolutionary movements, and set in the context of a brewing war with Germany. In Marxism, and in leftist theory more generally, Weil finds no consistent attitude towards armed conflict, and certainly no principled opposition to it. Through certain historical falsifications and philosophical feints, leftists—of which Weil counted herself—end up propagating the very forms of oppression to which they declare themselves opposed. For Weil, “la guerre révolutionnaire est la tombe de la revolution” [revolutionary war is the tomb of the revolution], as long as workers are denied the means of waging it without a state machine controlling them, without military courts, and without execution for desertion. The conventional attitude towards (and the means of) revolutionary war threatens, in the words of Marx, to perfect the state apparatus rather than to overthrow it.

This article traces certain rhetorics of knowledge-change as well as a few models of such change. In particular, it focuses on models that emphasize novelty and sudden transformation. To this end, the works of Thomas Kuhn, and the debates surrounding his celebrated modeling of the paradigm, are explored. Having established – at least in an illustrative fashion – the role of novelty in Kuhn’s philosophy of science, we then look more briefly at the mid-career work of Michel Foucault (his Order of Things and the Archaeology of Knowledge ), and the debate between Jürgen Habermas and Jean-François Lyotard to find (in Foucault’s case) analogies with the earlier models and debates surrounding Popper and Kuhn, and then (in the Habermas/Lyotard discussion), to see how revolutionary and reactionary status count in assigning value to models of knowledge. In all these inquiries, we seek less to criticize particular theorists (that has already been done) than to understand a dominant strand of understanding of knowledge and knowledge-change in the contemporary academy

This article examines the work of the Australian performance artist, Stelarc, in terms of philosophies of mind and body. It argues that Stelarc's work can profitably be seen as a kind of performative `research' into the body; Stelarc's actions take the form of a hypothetical or speculative ontology which does not operate in order to represent possibility but to enact possibilities in real time and space. His work is compared with and shown to have some resonances with recent cybernetic and systems theories of cognition, in which cognition is figured as a form of `enaction'. This being so, Stelarc's performances suggest an exemplary mode in which `hypotheses' about alternative corporeal existences may be creatively entertained.

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games as prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge.

Chris Fleming examines the connections between William James’ pragmatism and 12-step addiction recovery programs, such as those of Alcoholics Anonymous and Narcotics Anonymous. In doing so, he not only discusses the influence that James’ The Varieties of Religious Experience had on the founders of Alcoholics Anonymous and their development of the first-ever 12-step program but rebuts a critique of the founders’ attempt to apply James’ ideas to their program. Finally, after finding that James’ ideas on mind and epistemology fit quite well with 12-step programs, Fleming presents several observations related to philosophy with an eye toward its history and its connections with the lived realities of human beings.

In this essay, Weil undertakes a meditation on the idea of “reading”, which she thinks can shed new light on a diverse range of conceptual and experiential “mysteries”, especially with respect to our existential responses to the world. A central concern is how we ascribe meaning and respond to phenomena. She argues that, for the most part, our reading of the world and the things in it are immediate, not subject to “interpretation”, at least as this is regularly conceived. Further, Weil says, our readings of the world are invariably tied to particular kinds of valuation, of ethical assessment and orientation, which appear to us as both obvious and immediate. This immediacy of reading, however, does not entail that our readings cannot be changed or challenged—only that such a change or challenge requires a particular kind of labor.