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. (shrink)

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. (shrink)

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. (shrink)

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. (shrink)

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. (shrink)

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. (shrink)

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. (shrink)