René Girard

In one volume, an anthology of seminal work of one of the twentieth century's most original thinkers.

Widely regarded as one of the most profound critics of our time, Rene Girard has pursued a powerful line of inquiry across the fields of the humanities and the social sciences. His theories, which the French press has termed "l'hypothese girardienne," have sparked interdisciplinary, even international, controversy. In The Scapegoat, Girard applies his approach to "texts of persecution," documents that recount phenomena of collective violence from the standpoint of the persecutor-documents such as the medieval poet Guillaume de Machaut's Judgement of the King of Navarre, which blames the Jews for the Black Death and describes their mass murder. Girard compares persecution texts with myths, most notably with the myth of Oedipus, and finds strikingly similar themes and structures. Could myths regularly conceal texts of persecution? Girard's answers lies in a study of the Christian Passion, which represents the same central event, the same collective violence, found in all mythology, but which is read from the point of view of the innocent victim. The Passion text provides the model interpretation that has enabled Western culture to demystify its own violence-a demystification Girard now extends to mythology. Underlying Girard's daring textual hypothesis is a powerful theory of history and culture. Christ's rejection of all guilt breaks the mythic cycle of violence and the sacred. The scapegoat becomes the Lamb of God; "the foolish genesis of blood-stained idols and the false gods of superstition, politics, and ideologies" are revealed.

An individual desires an object, not for itself, but because another individual also desires it. This mimetic desire, Rene Girard contends, lies at the source of all human disorder and order. In brilliant readings of Dante, Camus, Nietzsche, Dostoevski, Levi-Strauss, Freud, and others, Girard draws out the thesis of mimetic desire -- and ponders its suppression in the West since Plato: "The historical mutilation of mimesis ...was no mere oversight, no fortuitous 'error.' Real awareness of mimetic desire threatens the flattering delusion we entertain not only about ourselves as individuals but also about the nature and origin of that collective self we call our society."

What do we know about the Book of Job? Not very much. The hero complains endlessly. He has just lost his children all his livestock. He scratches his ulcers. The misfortunes of which he complains are all duly enumerated in the prologue. They are misfortunes brought on him by Satan with God's permission. We think we know, but are we sure? Not once in the Dialogues does Job mention either Satan or anything about his misdeeds. Could it be that they are too much on his mind for him to mention them? Possibly, yet Job mentions everything else, and does much more than mention. He dwells heavily on the cause of his misfortune, which is none of those mentioned in the prologue. The cause is not divine, satanic nor physical, but merely human.

An astonishing work of cultural criticism, this book is widely recognized as a brilliant and devastating challenge to conventional views of literature, anthropology, religion, and psychoanalysis. In its scope and itnerest it can be compared with Freud's Totem and Taboo, the subtext Girard refutes with polemic daring, vast erudition, and a persuasiveness that leaves the reader compelled to respond, one way or another. This is the single fullest summation of Girard's ideas to date, the book by which they will stand or fall. In a dialogue with two psychiatrists (Jean-Michel Oughourlian and Guy Lefort), Girard probes an encyclopedic array of topics, ranging across the entire spectrum of anthropology, psychoanalysis, and cultural production. Girard's point o departure is what he calles "mimesis," the conflict that arises when human rivals compete to differentiate themselves from each other, yet succeed only in becoming more and more alike. At certain points in the life of a society, according to Girard, this mimetic conflict erupts into a crisis in which all difference dissolves in indiscriminate violence. In primitive societies, such crises were resolved by the "scapegoating mechanism," in which the community, en masse, turned on an unpremeditated victim. The repression of this collective murder and its repetition in ritual sacrifice then formed the foundations of both religion and the restored social order. How does Christianity, at once the most "sacrificial" of religions and a faith with a non-violent ideology, fit into this scheme? Girard grants Freud's point, in Totem and Taboo, that Christianity is similar to primitive religion, but only to refute Freud-if Christ is sacrificed, Girard argues, it is not becuase God willed it, but becaus ehuman beings wanted it. The book is not merely, or perhaps not mainly, biblical exegesis, for within its scope fall some of the most vexing problems of social history-the paradox that violance has social efficacy, the function of the scapegoat, the mechanism of anti-semitism.

"His fascinating and ambitious book provides a fully developed theory of violence as the `heart and secret soul' of the sacred. Girard's fertile, combative mind links myth to prophetic writing, primitive religions to classical tragedy."--Victor Brombert, 'Chronicle of Higher Education.'

This study extends beyond the scope of literature into the psychology of much of our contemporary scene, including fashion, advertising, and propaganda techniques. In considering such aspects, the author goes beyond the domain of pure aesthetics and offers an interpretation of some basic cultural problems of our time."