Mimesis And Theory Essays On Literature And Criticism Of Freud

Literary Theory

"Literary theory" is the body of ideas and methods we use in the practical reading of literature. By literary theory we refer not to the meaning of a work of literature but to the theories that reveal what literature can mean. Literary theory is a description of the underlying principles, one might say the tools, by which we attempt to understand literature. All literary interpretation draws on a basis in theory but can serve as a justification for very different kinds of critical activity. It is literary theory that formulates the relationship between author and work; literary theory develops the significance of race, class, and gender for literary study, both from the standpoint of the biography of the author and an analysis of their thematic presence within texts. Literary theory offers varying approaches for understanding the role of historical context in interpretation as well as the relevance of linguistic and unconscious elements of the text. Literary theorists trace the history and evolution of the different genres—narrative, dramatic, lyric—in addition to the more recent emergence of the novel and the short story, while also investigating the importance of formal elements of literary structure. Lastly, literary theory in recent years has sought to explain the degree to which the text is more the product of a culture than an individual author and in turn how those texts help to create the culture.

Table of Contents

  1. What Is Literary Theory?
  2. Traditional Literary Criticism
  3. Formalism and New Criticism
  4. Marxism and Critical Theory
  5. Structuralism and Poststructuralism
  6. New Historicism and Cultural Materialism
  7. Ethnic Studies and Postcolonial Criticism
  8. Gender Studies and Queer Theory
  9. Cultural Studies
  10. References and Further Reading
    1. General Works on Theory
    2. Literary and Cultural Theory

1. What Is Literary Theory?

"Literary theory," sometimes designated "critical theory," or "theory," and now undergoing a transformation into "cultural theory" within the discipline of literary studies, can be understood as the set of concepts and intellectual assumptions on which rests the work of explaining or interpreting literary texts. Literary theory refers to any principles derived from internal analysis of literary texts or from knowledge external to the text that can be applied in multiple interpretive situations. All critical practice regarding literature depends on an underlying structure of ideas in at least two ways: theory provides a rationale for what constitutes the subject matter of criticism—"the literary"—and the specific aims of critical practice—the act of interpretation itself. For example, to speak of the "unity" of Oedipus the King explicitly invokes Aristotle's theoretical statements on poetics. To argue, as does Chinua Achebe, that Joseph Conrad’s The Heart of Darkness fails to grant full humanity to the Africans it depicts is a perspective informed by a postcolonial literary theory that presupposes a history of exploitation and racism. Critics that explain the climactic drowning of Edna Pontellier in The Awakening as a suicide generally call upon a supporting architecture of feminist and gender theory. The structure of ideas that enables criticism of a literary work may or may not be acknowledged by the critic, and the status of literary theory within the academic discipline of literary studies continues to evolve.

Literary theory and the formal practice of literary interpretation runs a parallel but less well known course with the history of philosophy and is evident in the historical record at least as far back as Plato. The Cratylus contains a Plato's meditation on the relationship of words and the things to which they refer. Plato’s skepticism about signification, i.e., that words bear no etymological relationship to their meanings but are arbitrarily "imposed," becomes a central concern in the twentieth century to both "Structuralism" and "Poststructuralism." However, a persistent belief in "reference," the notion that words and images refer to an objective reality, has provided epistemological (that is, having to do with theories of knowledge) support for theories of literary representation throughout most of Western history. Until the nineteenth century, Art, in Shakespeare’s phrase, held "a mirror up to nature" and faithfully recorded an objectively real world independent of the observer.

Modern literary theory gradually emerges in Europe during the nineteenth century. In one of the earliest developments of literary theory, German "higher criticism" subjected biblical texts to a radical historicizing that broke with traditional scriptural interpretation. "Higher," or "source criticism," analyzed biblical tales in light of comparable narratives from other cultures, an approach that anticipated some of the method and spirit of twentieth century theory, particularly "Structuralism" and "New Historicism." In France, the eminent literary critic Charles AugustinSaint Beuve maintained that a work of literature could be explained entirely in terms of biography, while novelist Marcel Proust devoted his life to refuting Saint Beuve in a massive narrative in which he contended that the details of the life of the artist are utterly transformed in the work of art. (This dispute was taken up anew by the French theorist Roland Barthes in his famous declaration of the "Death of the Author." See "Structuralism" and "Poststructuralism.") Perhaps the greatest nineteenth century influence on literary theory came from the deep epistemological suspicion of Friedrich Nietzsche: that facts are not facts until they have been interpreted. Nietzsche's critique of knowledge has had a profound impact on literary studies and helped usher in an era of intense literary theorizing that has yet to pass.

Attention to the etymology of the term "theory," from the Greek "theoria," alerts us to the partial nature of theoretical approaches to literature. "Theoria" indicates a view or perspective of the Greek stage. This is precisely what literary theory offers, though specific theories often claim to present a complete system for understanding literature. The current state of theory is such that there are many overlapping areas of influence, and older schools of theory, though no longer enjoying their previous eminence, continue to exert an influence on the whole. The once widely-held conviction (an implicit theory) that literature is a repository of all that is meaningful and ennobling in the human experience, a view championed by the Leavis School in Britain, may no longer be acknowledged by name but remains an essential justification for the current structure of American universities and liberal arts curricula. The moment of "Deconstruction" may have passed, but its emphasis on the indeterminacy of signs (that we are unable to establish exclusively what a word means when used in a given situation) and thus of texts, remains significant. Many critics may not embrace the label "feminist," but the premise that gender is a social construct, one of theoretical feminisms distinguishing insights, is now axiomatic in a number of theoretical perspectives.

While literary theory has always implied or directly expressed a conception of the world outside the text, in the twentieth century three movements—"Marxist theory" of the Frankfurt School, "Feminism," and "Postmodernism"—have opened the field of literary studies into a broader area of inquiry. Marxist approaches to literature require an understanding of the primary economic and social bases of culture since Marxist aesthetic theory sees the work of art as a product, directly or indirectly, of the base structure of society. Feminist thought and practice analyzes the production of literature and literary representation within the framework that includes all social and cultural formations as they pertain to the role of women in history. Postmodern thought consists of both aesthetic and epistemological strands. Postmodernism in art has included a move toward non-referential, non-linear, abstract forms; a heightened degree of self-referentiality; and the collapse of categories and conventions that had traditionally governed art. Postmodern thought has led to the serious questioning of the so-called metanarratives of history, science, philosophy, and economic and sexual reproduction. Under postmodernity, all knowledge comes to be seen as "constructed" within historical self-contained systems of understanding. Marxist, feminist, and postmodern thought have brought about the incorporation of all human discourses (that is, interlocking fields of language and knowledge) as a subject matter for analysis by the literary theorist. Using the various poststructuralist and postmodern theories that often draw on disciplines other than the literary—linguistic, anthropological, psychoanalytic, and philosophical—for their primary insights, literary theory has become an interdisciplinary body of cultural theory. Taking as its premise that human societies and knowledge consist of texts in one form or another, cultural theory (for better or worse) is now applied to the varieties of texts, ambitiously undertaking to become the preeminent model of inquiry into the human condition.

Literary theory is a site of theories: some theories, like "Queer Theory," are "in;" other literary theories, like "Deconstruction," are "out" but continue to exert an influence on the field. "Traditional literary criticism," "New Criticism," and "Structuralism" are alike in that they held to the view that the study of literature has an objective body of knowledge under its scrutiny. The other schools of literary theory, to varying degrees, embrace a postmodern view of language and reality that calls into serious question the objective referent of literary studies. The following categories are certainly not exhaustive, nor are they mutually exclusive, but they represent the major trends in literary theory of this century.

2. Traditional Literary Criticism

Academic literary criticism prior to the rise of "New Criticism" in the United States tended to practice traditional literary history: tracking influence, establishing the canon of major writers in the literary periods, and clarifying historical context and allusions within the text. Literary biography was and still is an important interpretive method in and out of the academy; versions of moral criticism, not unlike the Leavis School in Britain, and aesthetic (e.g. genre studies) criticism were also generally influential literary practices. Perhaps the key unifying feature of traditional literary criticism was the consensus within the academy as to the both the literary canon (that is, the books all educated persons should read) and the aims and purposes of literature. What literature was, and why we read literature, and what we read, were questions that subsequent movements in literary theory were to raise.

3. Formalism and New Criticism

"Formalism" is, as the name implies, an interpretive approach that emphasizes literary form and the study of literary devices within the text. The work of the Formalists had a general impact on later developments in "Structuralism" and other theories of narrative. "Formalism," like "Structuralism," sought to place the study of literature on a scientific basis through objective analysis of the motifs, devices, techniques, and other "functions" that comprise the literary work. The Formalists placed great importance on the literariness of texts, those qualities that distinguished the literary from other kinds of writing. Neither author nor context was essential for the Formalists; it was the narrative that spoke, the "hero-function," for example, that had meaning. Form was the content. A plot device or narrative strategy was examined for how it functioned and compared to how it had functioned in other literary works. Of the Russian Formalist critics, Roman Jakobson and Viktor Shklovsky are probably the most well known.

The Formalist adage that the purpose of literature was "to make the stones stonier" nicely expresses their notion of literariness. "Formalism" is perhaps best known is Shklovsky's concept of "defamiliarization." The routine of ordinary experience, Shklovsky contended, rendered invisible the uniqueness and particularity of the objects of existence. Literary language, partly by calling attention to itself as language, estranged the reader from the familiar and made fresh the experience of daily life.

The "New Criticism," so designated as to indicate a break with traditional methods, was a product of the American university in the 1930s and 40s. "New Criticism" stressed close reading of the text itself, much like the French pedagogical precept "explication du texte." As a strategy of reading, "New Criticism" viewed the work of literature as an aesthetic object independent of historical context and as a unified whole that reflected the unified sensibility of the artist. T.S. Eliot, though not explicitly associated with the movement, expressed a similar critical-aesthetic philosophy in his essays on John Donne and the metaphysical poets, writers who Eliot believed experienced a complete integration of thought and feeling. New Critics like Cleanth Brooks, John Crowe Ransom, Robert Penn Warren and W.K. Wimsatt placed a similar focus on the metaphysical poets and poetry in general, a genre well suited to New Critical practice. "New Criticism" aimed at bringing a greater intellectual rigor to literary studies, confining itself to careful scrutiny of the text alone and the formal structures of paradox, ambiguity, irony, and metaphor, among others. "New Criticism" was fired by the conviction that their readings of poetry would yield a humanizing influence on readers and thus counter the alienating tendencies of modern, industrial life. "New Criticism" in this regard bears an affinity to the Southern Agrarian movement whose manifesto, I'll Take My Stand, contained essays by two New Critics, Ransom and Warren. Perhaps the enduring legacy of "New Criticism" can be found in the college classroom, in which the verbal texture of the poem on the page remains a primary object of literary study.

4. Marxism and Critical Theory

Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist societies. In keeping with the totalizing spirit of Marxism, literary theories arising from the Marxist paradigm have not only sought new ways of understanding the relationship between economic production and literature, but all cultural production as well. Marxist analyses of society and history have had a profound effect on literary theory and practical criticism, most notably in the development of "New Historicism" and "Cultural Materialism."

The Hungarian theorist Georg Lukacs contributed to an understanding of the relationship between historical materialism and literary form, in particular with realism and the historical novel. Walter Benjamin broke new ground in his work in his study of aesthetics and the reproduction of the work of art. The Frankfurt School of philosophers, including most notably Max Horkheimer, Theodor Adorno, and Herbert Marcuse—after their emigration to the United States—played a key role in introducing Marxist assessments of culture into the mainstream of American academic life. These thinkers became associated with what is known as "Critical theory," one of the constituent components of which was a critique of the instrumental use of reason in advanced capitalist culture. "Critical theory" held to a distinction between the high cultural heritage of Europe and the mass culture produced by capitalist societies as an instrument of domination. "Critical theory" sees in the structure of mass cultural forms—jazz, Hollywood film, advertising—a replication of the structure of the factory and the workplace. Creativity and cultural production in advanced capitalist societies were always already co-opted by the entertainment needs of an economic system that requires sensory stimulation and recognizable cliché and suppressed the tendency for sustained deliberation.

The major Marxist influences on literary theory since the Frankfurt School have been Raymond Williams and Terry Eagleton in Great Britain and Frank Lentricchia and Fredric Jameson in the United States. Williams is associated with the New Left political movement in Great Britain and the development of "Cultural Materialism" and the Cultural Studies Movement, originating in the 1960s at Birmingham University's Center for Contemporary Cultural Studies. Eagleton is known both as a Marxist theorist and as a popularizer of theory by means of his widely read overview, Literary Theory. Lentricchia likewise became influential through his account of trends in theory, After the New Criticism. Jameson is a more diverse theorist, known both for his impact on Marxist theories of culture and for his position as one of the leading figures in theoretical postmodernism. Jameson’s work on consumer culture, architecture, film, literature and other areas, typifies the collapse of disciplinary boundaries taking place in the realm of Marxist and postmodern cultural theory. Jameson’s work investigates the way the structural features of late capitalism—particularly the transformation of all culture into commodity form—are now deeply embedded in all of our ways of communicating.

5. Structuralism and Poststructuralism

Like the "New Criticism," "Structuralism" sought to bring to literary studies a set of objective criteria for analysis and a new intellectual rigor. "Structuralism" can be viewed as an extension of "Formalism" in that that both "Structuralism" and "Formalism" devoted their attention to matters of literary form (i.e. structure) rather than social or historical content; and that both bodies of thought were intended to put the study of literature on a scientific, objective basis. "Structuralism" relied initially on the ideas of the Swiss linguist, Ferdinand de Saussure. Like Plato, Saussure regarded the signifier (words, marks, symbols) as arbitrary and unrelated to the concept, the signified, to which it referred. Within the way a particular society uses language and signs, meaning was constituted by a system of "differences" between units of the language. Particular meanings were of less interest than the underlying structures of signification that made meaning itself possible, often expressed as an emphasis on "langue" rather than "parole." "Structuralism" was to be a metalanguage, a language about languages, used to decode actual languages, or systems of signification. The work of the "Formalist" Roman Jakobson contributed to "Structuralist" thought, and the more prominent Structuralists included Claude Levi-Strauss in anthropology, Tzvetan Todorov, A.J. Greimas, Gerard Genette, and Barthes.

The philosopher Roland Barthes proved to be a key figure on the divide between "Structuralism" and "Poststructuralism." "Poststructuralism" is less unified as a theoretical movement than its precursor; indeed, the work of its advocates known by the term "Deconstruction" calls into question the possibility of the coherence of discourse, or the capacity for language to communicate. "Deconstruction," Semiotic theory (a study of signs with close connections to "Structuralism," "Reader response theory" in America ("Reception theory" in Europe), and "Gender theory" informed by the psychoanalysts Jacques Lacan and Julia Kristeva are areas of inquiry that can be located under the banner of "Poststructuralism." If signifier and signified are both cultural concepts, as they are in "Poststructuralism," reference to an empirically certifiable reality is no longer guaranteed by language. "Deconstruction" argues that this loss of reference causes an endless deferral of meaning, a system of differences between units of language that has no resting place or final signifier that would enable the other signifiers to hold their meaning. The most important theorist of "Deconstruction," Jacques Derrida, has asserted, "There is no getting outside text," indicating a kind of free play of signification in which no fixed, stable meaning is possible. "Poststructuralism" in America was originally identified with a group of Yale academics, the Yale School of "Deconstruction:" J. Hillis Miller, Geoffrey Hartmann, and Paul de Man. Other tendencies in the moment after "Deconstruction" that share some of the intellectual tendencies of "Poststructuralism" would included the "Reader response" theories of Stanley Fish, Jane Tompkins, and Wolfgang Iser.

Lacanian psychoanalysis, an updating of the work of Sigmund Freud, extends "Postructuralism" to the human subject with further consequences for literary theory. According to Lacan, the fixed, stable self is a Romantic fiction; like the text in "Deconstruction," the self is a decentered mass of traces left by our encounter with signs, visual symbols, language, etc. For Lacan, the self is constituted by language, a language that is never one's own, always another’s, always already in use. Barthes applies these currents of thought in his famous declaration of the "death" of the Author: "writing is the destruction of every voice, of every point of origin" while also applying a similar "Poststructuralist" view to the Reader: "the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted."

Michel Foucault is another philosopher, like Barthes, whose ideas inform much of poststructuralist literary theory. Foucault played a critical role in the development of the postmodern perspective that knowledge is constructed in concrete historical situations in the form of discourse; knowledge is not communicated by discourse but is discourse itself, can only be encountered textually. Following Nietzsche, Foucault performs what he calls "genealogies," attempts at deconstructing the unacknowledged operation of power and knowledge to reveal the ideologies that make domination of one group by another seem "natural." Foucaldian investigations of discourse and power were to provide much of the intellectual impetus for a new way of looking at history and doing textual studies that came to be known as the "New Historicism."

6. New Historicism and Cultural Materialism

"New Historicism," a term coined by Stephen Greenblatt, designates a body of theoretical and interpretive practices that began largely with the study of early modern literature in the United States. "New Historicism" in America had been somewhat anticipated by the theorists of "Cultural Materialism" in Britain, which, in the words of their leading advocate, Raymond Williams describes "the analysis of all forms of signification, including quite centrally writing, within the actual means and conditions of their production." Both "New Historicism" and "Cultural Materialism" seek to understand literary texts historically and reject the formalizing influence of previous literary studies, including "New Criticism," "Structuralism" and "Deconstruction," all of which in varying ways privilege the literary text and place only secondary emphasis on historical and social context. According to "New Historicism," the circulation of literary and non-literary texts produces relations of social power within a culture. New Historicist thought differs from traditional historicism in literary studies in several crucial ways. Rejecting traditional historicism's premise of neutral inquiry, "New Historicism" accepts the necessity of making historical value judgments. According to "New Historicism," we can only know the textual history of the past because it is "embedded," a key term, in the textuality of the present and its concerns. Text and context are less clearly distinct in New Historicist practice. Traditional separations of literary and non-literary texts, "great" literature and popular literature, are also fundamentally challenged. For the "New Historicist," all acts of expression are embedded in the material conditions of a culture. Texts are examined with an eye for how they reveal the economic and social realities, especially as they produce ideology and represent power or subversion. Like much of the emergent European social history of the 1980s, "New Historicism" takes particular interest in representations of marginal/marginalized groups and non-normative behaviors—witchcraft, cross-dressing, peasant revolts, and exorcisms—as exemplary of the need for power to represent subversive alternatives, the Other, to legitimize itself.

Louis Montrose, another major innovator and exponent of "New Historicism," describes a fundamental axiom of the movement as an intellectual belief in "the textuality of history and the historicity of texts." "New Historicism" draws on the work of Levi-Strauss, in particular his notion of culture as a "self-regulating system." The Foucaldian premise that power is ubiquitous and cannot be equated with state or economic power and Gramsci's conception of "hegemony," i.e., that domination is often achieved through culturally-orchestrated consent rather than force, are critical underpinnings to the "New Historicist" perspective. The translation of the work of Mikhail Bakhtin on carnival coincided with the rise of the "New Historicism" and "Cultural Materialism" and left a legacy in work of other theorists of influence like Peter Stallybrass and Jonathan Dollimore. In its period of ascendancy during the 1980s, "New Historicism" drew criticism from the political left for its depiction of counter-cultural expression as always co-opted by the dominant discourses. Equally, "New Historicism’s" lack of emphasis on "literariness" and formal literary concerns brought disdain from traditional literary scholars. However, "New Historicism" continues to exercise a major influence in the humanities and in the extended conception of literary studies.

7. Ethnic Studies and Postcolonial Criticism

"Ethnic Studies," sometimes referred to as "Minority Studies," has an obvious historical relationship with "Postcolonial Criticism" in that Euro-American imperialism and colonization in the last four centuries, whether external (empire) or internal (slavery) has been directed at recognizable ethnic groups: African and African-American, Chinese, the subaltern peoples of India, Irish, Latino, Native American, and Philipino, among others. "Ethnic Studies" concerns itself generally with art and literature produced by identifiable ethnic groups either marginalized or in a subordinate position to a dominant culture. "Postcolonial Criticism" investigates the relationships between colonizers and colonized in the period post-colonization. Though the two fields are increasingly finding points of intersection—the work of bell hooks, for example—and are both activist intellectual enterprises, "Ethnic Studies and "Postcolonial Criticism" have significant differences in their history and ideas.

"Ethnic Studies" has had a considerable impact on literary studies in the United States and Britain. In W.E.B. Dubois, we find an early attempt to theorize the position of African-Americans within dominant white culture through his concept of "double consciousness," a dual identity including both "American" and "Negro." Dubois and theorists after him seek an understanding of how that double experience both creates identity and reveals itself in culture. Afro-Caribbean and African writers—Aime Cesaire, Frantz Fanon, Chinua Achebe—have made significant early contributions to the theory and practice of ethnic criticism that explores the traditions, sometimes suppressed or underground, of ethnic literary activity while providing a critique of representations of ethnic identity as found within the majority culture. Ethnic and minority literary theory emphasizes the relationship of cultural identity to individual identity in historical circumstances of overt racial oppression. More recently, scholars and writers such as Henry Louis Gates, Toni Morrison, and Kwame Anthony Appiah have brought attention to the problems inherent in applying theoretical models derived from Euro-centric paradigms (that is, structures of thought) to minority works of literature while at the same time exploring new interpretive strategies for understanding the vernacular (common speech) traditions of racial groups that have been historically marginalized by dominant cultures.

Though not the first writer to explore the historical condition of postcolonialism, the Palestinian literary theorist Edward Said's book Orientalism is generally regarded as having inaugurated the field of explicitly "Postcolonial Criticism" in the West. Said argues that the concept of "the Orient" was produced by the "imaginative geography" of Western scholarship and has been instrumental in the colonization and domination of non-Western societies. "Postcolonial" theory reverses the historical center/margin direction of cultural inquiry: critiques of the metropolis and capital now emanate from the former colonies. Moreover, theorists like Homi K. Bhabha have questioned the binary thought that produces the dichotomies—center/margin, white/black, and colonizer/colonized—by which colonial practices are justified. The work of Gayatri C. Spivak has focused attention on the question of who speaks for the colonial "Other" and the relation of the ownership of discourse and representation to the development of the postcolonial subjectivity. Like feminist and ethnic theory, "Postcolonial Criticism" pursues not merely the inclusion of the marginalized literature of colonial peoples into the dominant canon and discourse. "Postcolonial Criticism" offers a fundamental critique of the ideology of colonial domination and at the same time seeks to undo the "imaginative geography" of Orientalist thought that produced conceptual as well as economic divides between West and East, civilized and uncivilized, First and Third Worlds. In this respect, "Postcolonial Criticism" is activist and adversarial in its basic aims. Postcolonial theory has brought fresh perspectives to the role of colonial peoples—their wealth, labor, and culture—in the development of modern European nation states. While "Postcolonial Criticism" emerged in the historical moment following the collapse of the modern colonial empires, the increasing globalization of culture, including the neo-colonialism of multinational capitalism, suggests a continued relevance for this field of inquiry.

8. Gender Studies and Queer Theory

Gender theory came to the forefront of the theoretical scene first as feminist theory but has subsequently come to include the investigation of all gender and sexual categories and identities. Feminist gender theory followed slightly behind the reemergence of political feminism in the United States and Western Europe during the 1960s. Political feminism of the so-called "second wave" had as its emphasis practical concerns with the rights of women in contemporary societies, women's identity, and the representation of women in media and culture. These causes converged with early literary feminist practice, characterized by Elaine Showalter as "gynocriticism," which emphasized the study and canonical inclusion of works by female authors as well as the depiction of women in male-authored canonical texts.

Feminist gender theory is postmodern in that it challenges the paradigms and intellectual premises of western thought, but also takes an activist stance by proposing frequent interventions and alternative epistemological positions meant to change the social order. In the context of postmodernism, gender theorists, led by the work of Judith Butler, initially viewed the category of "gender" as a human construct enacted by a vast repetition of social performance. The biological distinction between man and woman eventually came under the same scrutiny by theorists who reached a similar conclusion: the sexual categories are products of culture and as such help create social reality rather than simply reflect it. Gender theory achieved a wide readership and acquired much its initial theoretical rigor through the work of a group of French feminist theorists that included Simone de Beauvoir, Luce Irigaray, Helene Cixous, and Julia Kristeva, who while Bulgarian rather than French, made her mark writing in French. French feminist thought is based on the assumption that the Western philosophical tradition represses the experience of women in the structure of its ideas. As an important consequence of this systematic intellectual repression and exclusion, women's lives and bodies in historical societies are subject to repression as well. In the creative/critical work of Cixous, we find the history of Western thought depicted as binary oppositions: "speech/writing; Nature/Art, Nature/History, Nature/Mind, Passion/Action." For Cixous, and for Irigaray as well, these binaries are less a function of any objective reality they describe than the male-dominated discourse of the Western tradition that produced them. Their work beyond the descriptive stage becomes an intervention in the history of theoretical discourse, an attempt to alter the existing categories and systems of thought that found Western rationality. French feminism, and perhaps all feminism after Beauvoir, has been in conversation with the psychoanalytic revision of Freud in the work of Jacques Lacan. Kristeva’s work draws heavily on Lacan. Two concepts from Kristeva—the "semiotic" and "abjection"—have had a significant influence on literary theory. Kristeva’s "semiotic" refers to the gaps, silences, spaces, and bodily presence within the language/symbol system of a culture in which there might be a space for a women’s language, different in kind as it would be from male-dominated discourse.

Masculine gender theory as a separate enterprise has focused largely on social, literary, and historical accounts of the construction of male gender identities. Such work generally lacks feminisms' activist stance and tends to serve primarily as an indictment rather than a validation of male gender practices and masculinity. The so-called "Men’s Movement," inspired by the work of Robert Bly among others, was more practical than theoretical and has had only limited impact on gender discourse. The impetus for the "Men’s Movement" came largely as a response to the critique of masculinity and male domination that runs throughout feminism and the upheaval of the 1960s, a period of crisis in American social ideology that has required a reconsideration of gender roles. Having long served as the de facto "subject" of Western thought, male identity and masculine gender theory awaits serious investigation as a particular, and no longer universally representative, field of inquiry.

Much of what theoretical energy of masculine gender theory currently possesses comes from its ambiguous relationship with the field of "Queer theory." "Queer theory" is not synonymous with gender theory, nor even with the overlapping fields of gay and lesbian studies, but does share many of their concerns with normative definitions of man, woman, and sexuality. "Queer theory" questions the fixed categories of sexual identity and the cognitive paradigms generated by normative (that is, what is considered "normal") sexual ideology. To "queer" becomes an act by which stable boundaries of sexual identity are transgressed, reversed, mimicked, or otherwise critiqued. "Queering" can be enacted on behalf of all non-normative sexualities and identities as well, all that is considered by the dominant paradigms of culture to be alien, strange, unfamiliar, transgressive, odd—in short, queer. Michel Foucault's work on sexuality anticipates and informs the Queer theoretical movement in a role similar to the way his writing on power and discourse prepared the ground for "New Historicism." Judith Butler contends that heterosexual identity long held to be a normative ground of sexuality is actually produced by the suppression of homoerotic possibility. Eve Sedgwick is another pioneering theorist of "Queer theory," and like Butler, Sedgwick maintains that the dominance of heterosexual culture conceals the extensive presence of homosocial relations. For Sedgwick, the standard histories of western societies are presented in exclusively in terms of heterosexual identity: "Inheritance, Marriage, Dynasty, Family, Domesticity, Population," and thus conceiving of homosexual identity within this framework is already problematic.

9. Cultural Studies

Much of the intellectual legacy of "New Historicism" and "Cultural Materialism" can now be felt in the "Cultural Studies" movement in departments of literature, a movement not identifiable in terms of a single theoretical school, but one that embraces a wide array of perspectives—media studies, social criticism, anthropology, and literary theory—as they apply to the general study of culture. "Cultural Studies" arose quite self-consciously in the 80s to provide a means of analysis of the rapidly expanding global culture industry that includes entertainment, advertising, publishing, television, film, computers and the Internet. "Cultural Studies" brings scrutiny not only to these varied categories of culture, and not only to the decreasing margins of difference between these realms of expression, but just as importantly to the politics and ideology that make contemporary culture possible. "Cultural Studies" became notorious in the 90s for its emphasis on pop music icons and music video in place of canonical literature, and extends the ideas of the Frankfurt School on the transition from a truly popular culture to mass culture in late capitalist societies, emphasizing the significance of the patterns of consumption of cultural artifacts. "Cultural Studies" has been interdisciplinary, even antidisciplinary, from its inception; indeed, "Cultural Studies" can be understood as a set of sometimes conflicting methods and approaches applied to a questioning of current cultural categories. Stuart Hall, Meaghan Morris, Tony Bennett and Simon During are some of the important advocates of a "Cultural Studies" that seeks to displace the traditional model of literary studies.

10. References and Further Reading

a. General Works on Theory

  • Culler, Jonathan. Literary Theory: A Very Short Introduction. Oxford: Oxford University Press, 1997.
  • During, Simon. Ed. The Cultural Studies Reader. London: Routledge, 1999.
  • Eagleton, Terry. Literary Theory. Minneapolis, MN: University of Minnesota Press, 1996.
  • Lentricchia, Frank. After the New Criticism. Chicago: University of Chicago Press, 1980.
  • Moore-Gilbert, Bart, Stanton, Gareth, and Maley, Willy. Eds. Postcolonial Criticism. New York: Addison, Wesley, Longman, 1997.
  • Rice, Philip and Waugh, Patricia. Eds. Modern Literary Theory: A Reader. 4th edition.
  • Richter, David H. Ed. The Critical Tradition: Classic Texts and ContemporaryTrends. 2nd Ed. Bedford Books: Boston, 1998.
  • Rivkin, Julie and Ryan, Michael. Eds. Literary Theory: An Anthology. Malden, Massachusetts: Blackwell, 1998.

b. Literary and Cultural Theory

  • Adorno, Theodor. The Culture Industry: Selected Essays on Mass Culture. Ed. J. M. Bernstein. London: Routledge, 2001.
  • Althusser, Louis. Lenin and Philosophy: And Other Essays. Trans. Ben Brewster. New York: Monthly Review Press, 1971.
  • Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature. Trans.
  • Willard R. Trask. Princeton, NJ: Princeton University Press, 1953.
  • Bakhtin, Mikhail. The Dialogic Imagination. Trans. Caryl Emerson and Michael Holquist. Austin, TX: University of Texas Press, 1981.
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Author Information

Vince Brewton
Email: vbrewton@unanov.una.edu
University of North Alabama
U. S. A.

René Girard (1923—2015)

René Girard’s thought defies classification. He has written from the perspective of a wide variety of disciplines: Literary Criticism, Psychology, Anthropology, Sociology, History, Biblical Hermeneutics and Theology. Although he rarely calls himself a philosopher, many philosophical implications can be derived from his work. Girard’s work is above all concerned with Philosophical Anthropology (that is, ‘What is it to be human?’), and draws from many disciplinary perspectives. Over the years he has developed a mimetic theory. According to this theory human beings imitate each other, and this eventually gives rise to rivalries and violent conflicts. Such conflicts are partially solved by a scapegoat mechanism, but ultimately, Christianity is the best antidote to violence.

Perhaps Girard’s lack of specific disciplinary affiliation has promoted a slight marginalization of his work among contemporary philosophers. Girard is not on par with more well known French contemporary philosophers (for example Derrida, Foucault, Deleuze, Lyotard), but his work is becoming increasingly recognized in the humanities, and his commitment as a Christian thinker has given him prominence among theologians.

Table of Contents

  1. Life
  2. Mimetic Desire
    1. External Mediation
    2. Internal Mediation
    3. Metaphysical Desire
    4. The Oedipus Complex
  3. The Scapegoat Mechanism
    1. The Origins of Culture
    2. Religion
    3. Ritual
    4. Myth
    5. Prohibitions
  4. The Uniqueness of the Bible and Christianity
    1. The Hebrew Bible
    2. The New Testament
    3. Nietzsche’s Criticism of Christianity
    4. Apocalypse and Contemporary Culture
  5. Theological Implications
    1. God
    2. The Incarnation
    3. Satan
    4. Original Sin
    5. Atonement
  6. Criticisms
    1. Mimetic Theory Claims Too Much
    2. The Origins of Culture are Not Verifiable
    3. Girard Exaggerates the Contrast Between Myths and the Bible
    4. Christian Uniqueness Does Not Imply a Divine Origin
    5. Lack of a Precise Scientific Language
  7. References and Further Reading
    1. Primary
    2. Secondary

1. Life

René Girard was born on December 25, 1923, in Avignon, France. He was the son of a local archivist, and he went on to follow his father’s footsteps. He studied in Paris’ École Nationale des Chartes, and specialized in Medieval studies. In 1947, Girard took the opportunity to emigrate to America, and pursued a doctorate at Indiana University. His dissertation was on Americans’ opinions about France. Although his later work has had little to do with his doctoral dissertation, Girard has kept a live interest in French affairs.

After the completion of his doctorate, Girard began to take interest in Jean-Paul Sartre’s work. Although on a personal level Girard is still very much interested in Sartre’s philosophy, it has had little influence on his thought. Girard settled in America, and has taught at different institutions (Indiana University, State University of New York in Buffalo, Duke, Johns Hopkins, Bryn Mawr and Stanford) until his retirement in 1995. He died in 2015.

During the beginning of his career as lecturer, Girard was assigned to teach courses on European literature; he admits he was not at all familiar with the great works of European novelists. As Girard began to read the great European novels in preparation for the course, he became especially engaged with the work of five novelists in particular: Cervantes, Stendhal, Flaubert, Dostoyevsky and Proust.

His first book, Mensonge Romantique et Vérité Romanesque (1961), is a literary comment on the works of these great novelists. Until that time, Girard was a self-declared agnostic. As he researched the religious conversions of some of Dostoyevsky’s characters, he felt he had lived a similar experience, and converted to Christianity. Ever since, Girard has been a committed and practicing Roman Catholic.

After the publication of his first book, Girard turned his attention to ancient and contemporary sacrifice rituals, as well as Greek myth and tragedy. This led to another important book, La Violence et le Sacré (1972), for which he gained much recognition. On a personal level, he was a committed Christian, but his Christian views were not publicly expressed until the publication of Des Choses Cachées Depuis la Fondation du Monde (1978), his magnum opus, and best systematization of his thought. Ever since, Girard has written books that expand various aspects of his work. In 2005, Girard was elected to the Académie Française, a very important distinction among French intellectuals.

2. Mimetic Desire

Girard’s fundamental concept is ‘mimetic desire’. Ever since Plato, students of human nature have highlighted the great mimetic capacity of human beings; that is, we are the species most apt at imitation. Indeed, imitation is the basic mechanism of learning (we learn inasmuch as we imitate what our teachers do), and neuroscientists are increasingly reporting that our neural structure promotes imitation very proficiently (for example, ‘mirror neurons’).

However, according to Girard, most thinking devoted to imitation pays little attention to the fact that we also imitate other people’s desires, and depending on how this happens, it may lead to conflicts and rivalries. If people imitate each other’s desires, they may wind up desiring the very same things; and if they desire the same things, they may easily become rivals, as they reach for the same objects. Girard usually distinguishes ‘imitation’ from ‘mimesis’. The former is usually understood as the positive aspect of reproducing someone else’s behavior, whereas the latter usually implies the negative aspect of rivalry. It should also be mentioned that because the former usually is understood to refer to mimicry, Girard proposes the latter term to refer to the deeper, instinctive response that humans have to each other.

a. External Mediation

Girard calls ‘mediation’ the process in which a person influences the desires and preferences of another person. Thus, whenever a person’s desire is imitated by someone else, she becomes a ‘mediator’ or ‘model’. Girard points out that this is very evident in publicity and marketing techniques: whenever a product is promoted, some celebrity is used to ‘mediate’ consumers’ desires: in a sense, the celebrity is inviting people to imitate him in his desire of the product. The product is not promoted on the basis of its inherent qualities, but simply because of the fact that some celebrity desires it.

In his studies on literature, Girard highlights this type of relationship in his literary studies, as for example in his study of Don Quixote. Don Quixote is mediated by Amadis de Gaula. Don Quixote becomes an errant knight, not really because he autonomously desires so, but in order to imitate Amadis. Nevertheless, Amadis and Don Quixote are characters on different planes. They will never meet, and in such a manner, they never become rivals.

The same can be said of the relation between Sancho and Don Quixote. Sancho desires to be governor of an island, mostly because Don Quixote has suggested to Sancho that that is what he should desire. Again, although they interact continuously, Sancho and Don Quixote belong to two different worlds: Don Quixote is a very complex man, Sancho is simple in extreme. Girard calls ‘external mediation’ the situation when the mediator and the person mediated are on different planes. Don Quixote is an ‘external mediator’ to Sancho, inasmuch as he mediates his desires ‘from the outside’; that is, Don Quixote never becomes an obstacle in Sancho’s attempts to satisfy his desires.

External mediation does not carry the risk of rivalry between subjects, because they belong to different worlds. Although the source of Sancho’s desire to be governor of an island is in fact Don Quixote, they never desire the same object. Don Quixote desires things Sancho does not desire, and vice versa. Hence, they never become rivals. Girard believes ‘external mediation’ is a frequent feature of the psychology of desire: from our earliest phase as infants, we look up in imitation to our elders, and eventually, most of what we desire is mediated by them.

b. Internal Mediation

In ‘internal mediation’, the ‘mediator’ and the person mediated are no longer abysmally separated and hence, do not belong to different worlds. In fact, they come to resemble each other to the point that they end up desiring the same things. But, precisely because they are no longer on different worlds and now reach for the same objects of desire, they become rivals. We are fully aware that competition is fiercer when competitors resemble each other.

Thus, in internal mediation the subject imitates the model’s desires, but ultimately, unlike external mediation, the subject falls into rivalry with the model/mediator. Consider this example: a toddler imitates his father in his occupations, and he desires to pursue his father’s career when he grows up. This will hardly cause any rivalry (although it may account for Freud’s Oedipus Complex; see section 2.d). This is, as we have seen, a case of external mediation. But, now consider a PhD candidate that learns a great deal from his supervisor, and seeks to imitate every aspect of his work, and even his life. Eventually, they may become rivals, especially if both are looking for scholarly recognition. Or, consider further the case of a toddler that is playing with a toy, and another toddler that, out of imitation, desires that very same toy: they will eventually become rivals for the control of the toy. This is ‘internal mediation’; that is the person is mediated from the ‘inside’ of his world, and therefore, may easily become his mediator’s rival. This rivalry often has tragic consequences, and Girard considers this a major theme in modern novels. In Girard’s view, this literary theme is in fact a portrait of human nature: very often, people will desire something as a result of imitating other people, but eventually, this imitation will lead to rivalries with the very person imitated in the first place.

c. Metaphysical Desire

In Girard’s view, mimetic desire may grow to such a degree, that a person may eventually desire to be her mediator. Again, publicity is illustrative: sometimes, consumers do not just desire a product for its inherent qualities, but rather, desire to be the celebrity that promotes such a product. Girard considers that a person may desire an object only as part of a larger desire; that is, to be her mediator. Girard calls the desire to be other people, ‘metaphysical desire’. Furthermore, acquisitive desire leads to metaphysical desire, and the original object of desire becomes a token representing the “larger” desire of having the being of the model/rival.

Whereas external mediation does not lead to rivalries, internal mediation does lead to rivalries. But, metaphysical desire leads a person not just to rivalry with her mediator; actually, it leads to total obsession with and resentment of the mediator. For, the mediator becomes the main obstacle in the satisfaction of the person’s metaphysical desire. Inasmuch as the person desires to be his mediator, such desire will never be satisfied. For nobody can be someone else. Eventually, the person developing a metaphysical desire comes to appreciate that the main obstacle to be the mediator is the mediator himself.

According to Girard, metaphysical desire can be a very destructive force, as it promotes resentment against others. Girard considers that the anti-hero of Dostoyevsky’s Notes From the Underground is the quintessential victim of metaphysical desire: the unnamed character eventually goes on a crusade against the world, as he is disillusioned with everything around him. Girard believes that the origin of his alienation is his dissatisfaction with himself, and his obsession to be someone else; that is, an impossible task.

d. The Oedipus Complex

Girard’s career has been mostly devoted to literary criticism, and the analysis of fictional characters. Girard believes that the great modern novelists (such as Stendhal, Flaubert, Proust and Dostoevsky) have understood human psychology better than the modern field of Psychology does. And, as a complement of his literary criticism, he has developed a psychology in which the concept of ‘mimetic desire’ is central. Inasmuch as human beings constantly seek to imitate others, and most desires are in fact borrowed from other people, Girard believes that it is crucial to study how personality relates to others.

Departing from the main premise of mimetic desire, Girard has sought to reformulate some of psychology’s long-held assumptions. In particular, Girard seeks to reconsider some of Freud’s concepts. Although Girard has been careful enough to warn that Freud’s thought may be highly misleading in many ways, he has been engaged with Freud’s work in a number of ways. Girard admits that Freud and his followers had some good initial intuitions, but criticizes Freudian psychoanalytic theory on the grounds that it tends to obviate the role that other individuals have on the development of personality. In other words, psychoanalysis tends to assume that human beings are largely autonomous, and hence, do not desire in imitation of others.

Girard grants that Freud was a superb observer, but was not a good interpreter. And, in a sense, Girard accepts that there is such a thing as the Oedipus Complex: the child will eventually come to unconsciously have a sexual desire for his mother, and a desire to kill his father; and indeed, perhaps this complex will endure throughout adulthood. But, Girard considers that the Oedipus Complex is the result of a mechanism very different from the one outlined by Freud.

According to Freud, the child has an innate sexual desire towards the mother, and eventually, discovers that the father is an obstacle to the satisfaction of that desire. Girard, on the other hand, reinterprets the Oedipus Complex in terms of mimetic desire: the child becomes identified with his father and imitates him. But, inasmuch as he imitates his father, the child imitates the sexual desire for his mother. Then, his father becomes his model and rival, and that explains the ambivalent feelings so characteristic of the Oedipus Complex.

3. The Scapegoat Mechanism

In Girard’s psychology, internal mediation and metaphysical desire eventually lead to rivalry and violence. Imitation eventually erases the differences among human beings, and inasmuch as people become similar to each other, they desire the same things, which leads to rivalries and a Hobbesian war of all against all. These rivalries soon bear the potential to threaten the very existence of communities. Thus, Girard asks: how is it possible for communities to overcome their internal strife?

Whereas the philosophers of the 18th century would have agreed that communal violence comes to an end due to a social contract, Girard believes that, paradoxically, the problem of violence is frequently solved with a lesser dose of violence. When mimetic rivalries accumulate, tensions grow ever greater. But, that tension eventually reaches a paroxysm. When violence is at the point of threatening the existence of the community, very frequently a bizarre psychosocial mechanism arises: communal violence is all of the sudden projected upon a single individual. Thus, people that were formerly struggling, now unite efforts against someone chosen as a scapegoat. Former enemies now become friends, as they communally participate in the execution of violence against a specified enemy.

Girard calls this process ‘scapegoating’, an allusion to the ancient religious ritual where communal sins were metaphorically imposed upon a he-goat, and this beast was eventually abandoned in the desert, or sacrificed to the gods (in the Hebrew Bible, this is especially prescribed in Leviticus 16).The person that receives the communal violence is a ‘scapegoat’ in this sense: her death or expulsion is useful as a regeneration of communal peace and restoration of relationships.

However, Girard considers it crucial that this process be unconscious in order to work. The victim must never be recognized as an innocent scapegoat (indeed, Girard considers that, prior to the rise of Christianity, ‘innocent scapegoat’ was virtually an oxymoron; see section 4.b below); rather, the victim must be thought of as a monstrous creature that transgressed some prohibition and deserved to be punished. In such a manner, the community deceives itself into believing that the victim is the culprit of the communal crisis, and that the elimination of the victim will eventually restore peace.

a. The Origins of Culture

Girard believes that the scapegoat mechanism is the very foundation of cultural life. Natural man became civilized, not through some sort of rational deliberation embodied in a social contract, (as it was fashionable to think among 18th century philosophers) but rather, through the repetition of the scapegoat mechanism. And, very much as many philosophers of the 18th Century believed that their descriptions of the natural state were in fact historical, Girard believes that, indeed, Paleolithic men continually used the scapegoat mechanism, and it was precisely this feature what allowed them to lay the foundations of culture and civilization.

In fact, Girard believes that this process goes farther back in the evolution of Homo sapiens: hominids probably were engaged in scapegoating. But, it was precisely scapegoating what allowed a minimum of communal peace among early hominid groups. Hominids could eventually develop their main cultural traits due to the efficiency of the scapegoat mechanism. The murder of a victim brought forth communal peace, and this peace promoted the flourishing of the most basic cultural institutions.

Once again, Girard takes deep inspiration from Freud, but reinterprets his observations. Freud’s Totem and Taboo presents a thesis that the origins of culture are founded upon the original murder of a father figure by his sons. Girard considers that Freud’s observations were only partially correct. Freud is right in pointing out that indeed, culture is founded upon a murder. But, this murder is not due to the oedipal themes Freud was so fond of. Instead, the founding murder is due to the scapegoat mechanism. The horde murdered a victim (not necessarily a father figure) in order to project upon her all the violence that was threatening the very existence of the community.

However, as mimetic desire has been a constant among human beings, scapegoating has never been entirely efficient. Nevertheless, human communities need to periodically recourse to the scapegoating mechanism in order to maintain social peace.

b. Religion

According to Girard, the scapegoat mechanism brings about unexpected peace. But, this moment is so marvelous, that it soon acquires a religious overtone. Thus, the victim is immediately consecrated. Girard is in the French sociological tradition of Durkheim, who considered that religion essentially accomplishes the function of social integration. In Girard’s view, inasmuch as the deceased victim brings forth communal peace and restores social order and integration, she becomes sacred.

At first, while living, victims are considered to be monstrous transgressors that deserve to be punished. But, once they die, they bring peace to the community. Then, they are not monsters any longer, but rather gods. Girard highlights that, in most primitive societies, there is a deep ambivalence towards deities: they hold high virtues, but they are also capable of performing some very monstrous deeds. That is how, according to Girard, primitive gods are sanctified victims.

In such a manner, all cultures are founded upon a religious basis. The function of the sacred is to offer protection for the stability of communal peace. And, to do this, it ensures that the scapegoat mechanism provides its effects through the main religious institutions.

c. Ritual

Girard considers rituals the earliest cultural and religious institution. In Girard’s view, ritual is a reenactment of the original scapegoating murder. Although, as anthropologists are quick to assert, rituals are very diverse, Girard considers that the most popular form of ritual is sacrifice. When a victim is ritually killed, Girard believes, the community is commemorating the original event that promoted peace.

The original victim was most likely a member of the community. Girard considers that, probably, earliest sacrificial rituals employed human victims. Thus, Aztec human sacrifice may have impacted Western conquistadors and missionaries upon its discovery, but this was a cultural remnant of a popular ancient practice. Eventually, rituals promoted sacrificial substitution, and animals were employed. In fact, Girard considers that hunting and the domestication of animals arose out of the need to continually reenact the original murder with substitute animal victims.

d. Myth

Following the old school of European anthropologists, Girard believes that myths are the narrative corollary of ritual. And, inasmuch as rituals are mainly a reenactment of the original murder, myths also recapitulate the scapegoating themes.

Now, Girard’s crucial point about the necessary unconsciousness of scapegoating: must be kept in mind in order for this mechanism to work, its participants must not recognize it as such. That is to say, the victim must never appear as what it really is: a scapegoat that is no guiltier of disturbance, than other members of the community.

The way to assure that scapegoats are not recognized as what they really are is by distorting the story of the events that led to their death. This is accomplished by telling the story from the perspective of the scapegoaters. Myths will usually tell a story of someone doing a terrible thing and, thus, deserving to be punished. The victim’s perspective will never be incorporated into the myth, precisely because this would spoil the psychological effect of the scapegoating mechanism. The victim will always be portrayed as a culprit whose deeds brought about social chaos, but whose death or expulsion brought about social peace.

Girard’s most recurrent example of myths is that of Oedipus. According to the myth, Oedipus was expelled from Thebes because he murdered his father and married his mother. But, according to Girard, the myth should be read as a chronicle written by a community that chose a scapegoat, blamed him of some crime, punished him, and once expelled, peace returned. Under Girard’s interpretation, the fact that there was a pest in Thebes is suggestive of a social crisis. To solve the crisis, Oedipus is selected as a scapegoat. But, he is never presented as such: quite the contrary, he is accused of parricide and incest, and this justifies his persecution. Thus, Oedipus’ perspective as a victim is suppressed from the myth.

Furthermore, Girard believes that, as myths evolve, later versions will tend to dissimulate the scapegoating violence (for example, instead of presenting a victim who dies by drowning, the myth will just claim that the victim went to live to the bottom of the sea), in order to avoid feeling compassion for the victim. Indeed, Girard considers that the evolution of myths may even reach a point where no violence is present. But, Girard insists, all myths are founded upon violence, and if no violence is found in a myth, it must be because the community made it disappear.

Myths are typical of archaic societies, but Girard thinks that modern societies have the equivalent of myths: persecution texts. Especially during the witch-hunts and persecution of Jews during the Middle Ages, there were plenty of chronicles written from the perspective of the mobs and witch-hunters. These texts told the story of a crisis that appeared as the consequence of some crime committed by a person or a minority. The author of the chronicle is part of the persecuting mob, as he projects upon the victim all the typical accusations, and justifies the mob’s actions. Modern lynching accounts are another prominent example of such persecutory dynamics.

e. Prohibitions

Inasmuch as, under the scapegoaters’ view, there are no innocent scapegoats, an accusation must be made. In the case of Oedipus, he was accused of parricide and incest, and these are recurrent accusations to justify persecution (for example Maria Antoinette), but many other accusations are found (for example blood libels, witchcraft, and so forth). After the victim is executed, Girard claims, a prohibition falls upon the action allegedly perpetrated by the scapegoat. By doing so, the scapegoaters believe they restore social order. Thus, along with ritual and myths, prohibitions derive from the scapegoat mechanism.

Girard also considers that prior to the scapegoating mechanism, communities go through a process he calls a ‘crisis of differences’. Mimetic desire eventually makes every member resemble each other, and this lack of differentiation generates chaos. Traditionally, this indifferentiation is represented through various symbols typically associated with chaos and disorder (plagues, monstrous animals, and so forth). The death of the scapegoat mechanism restores order and, by extension, differentiation. Thus, everything returns to its place. In such a manner, social differentiation and order in general is also derived from the scapegoat mechanism.

4. The Uniqueness of the Bible and Christianity

Girard’s Christian apologetics departs from a comparison of myths and the Bible. According to Girard, whereas myths are caught under the dynamics of the scapegoat mechanism by telling the foundational stories from the perspective of the scapegoaters, the Bible contains plenty of stories that tell the story from the perspective of the victims.

In myths, those who are collectively executed are presented as monstrous culprits that deserve to be punished. In the Bible, those who are collectively executed are presented as innocent victims that are unfairly accused and persecuted. Thus, Girard recapitulates the old Christian apologetic tradition of insisting upon the Bible’s singularity. But, instead of making emphasis on the Bible’s popularity, or fulfillment of prophecies, or consistency, Girard thinks the Bible is unique in its defense of victims.

However, according to Girard, this is not merely a shift in narrative perspective. It is in fact something much more profound. Inasmuch as the Bible presents stories from the perspective of the victims, the Biblical authors reveal something not understood by previous mythological traditions. And, by doing so, they make scapegoating inoperative. Once scapegoats are recognized for what they truly are, the scapegoating mechanism no longer works. Thus, the Bible is a remarkably subversive text, inasmuch as it shatters the scapegoating foundations of culture.

a. The Hebrew Bible

Girard thinks that the Hebrew Bible is a text in travail. There are plenty of stories that are still told from the perspective of the scapegoaters. And, more importantly, it continuously presents a wrathful God that sanctions violence. However, Girard appreciates some important shifts in some narratives from the Bible, especially when they are compared to myths that present similar structures.

For example, Girard contrasts the story of Cain and Abel with the myth of Remus and Romulus. In both stories, there is rivalry between the brothers. In both stories, there is a murder. But, in the Roman myth, Romulus is justified in killing Remus, as the latter transgressed the territorial limits they had earlier agreed upon. In the Biblical story, Cain is never justified in killing Abel. And, indeed, the blood of Abel is evoked as the blood of the innocent victims that have been murdered throughout history, and that God will vindicate.

Girard is also fond of comparing the story of Oedipus with the story of Joseph. Oedipus is accused of incest, and the myth accepts this accusation, therefore justifying his expulsion from Thebes. Joseph is also accused of incest (he allegedly attempted to rape Potiphar’s wife, his de facto step mother). But, the Bible never accepts such an accusation.

In Girard’s views, the Hebrew Bible is also crucial in its rejection of ritual sacrifice. Some prophets vehemently denounced the grotesque ritual killing of sacrificial victims, although, of course, the ritual requirement of sacrificial rituals permeates much of the Old Testament. Girard understands this as a complementary approach to the defense of victims. The prophets promote a new concept of the divinity: God is no longer pleased with ritual violence. This is evocative of Hosea’s plea from God: “I want mercy, not sacrifices”. Thus, the Hebrew Bible takes a twofold reversal of culture’s violent foundation: on the one hand, it begins to present the foundational stories from the perspective of the victims; on the other hand, it begins to present a God that is not satisfied with violence and, therefore, begins to dissociate the sacred from the violent.

b. The New Testament

Under Girard’s interpretation, the New Testament is the completion of the process that the Hebrew Bible had begun. The New Testament fully endorses the victims’ perspective, and satisfactorily dissociates the sacred from the violent.

The Passion story is central in the New Testament, and it is the complete reversal of traditional myth’s structure. Amidst a huge social crisis, a victim (Jesus) is persecuted, blamed of some fault, and executed. Even the apostles succumb to the collective pressure and abandon Jesus, tacitly becoming part of the scapegoating crowd. This is emblematic in the story of Peter’s denial of Jesus.

Nevertheless, the evangelists never succumb to the collective pressure of the scapegoating mob. The evangelists adhere to Jesus’ innocence throughout the whole story. Alas, Jesus is finally recognized as what he really is: an innocent scapegoat, the Lamb of God that was taken to the slaughterhouse, although no fault was in him. According to Girard, this is the completion of a slow process begun in the Hebrew Bible. Once and for all, the New Testament reverses the violent psychosocial mechanism upon which human culture has been founded.

Aside from that, Jesus’ ethical message is complementary. Under Girard’s interpretation, humanity has achieved social peace by performing violent acts of scapegoating. Jesus’ solution is much more radical and efficient: to turn the other cheek, to abstain from violent retribution. Scapegoating is not an efficient means to bring about peace, as it always depends on the periodic repetition of the mechanism. The real solution is in the total withdrawal from violence, and that is the bulk of Jesus’ message.

c. Nietzsche’s Criticism of Christianity

Girard is bothered by the possibility that his readers may fail to appreciate the uniqueness of the Bible and Christianity. In this sense, Girard is very critical of classical anthropologists such as Sir James Frazer, who saw the relevance of scapegoating in primitive rituals and myths, but, according to Girard, failed to see that the Christian story is fundamentally different from other scapegoating myths.

Indeed, Girard resents the fact that Christianity is usually considered to be merely one among many other religions. However, ironically, Girard seeks help from a powerful opponent of Christianity: Friedrich Nietzsche. Nietzsche criticized Christianity for its ‘slave morality’; that is, its tendency to side with the weak. Nietzsche recognized that, above other religions, Christianity promoted mercy as a virtue. Nietzsche interpreted this as a corruption of the human vital spirit, and advocated a return to the pre-Christian values of power and strength.

Girard is, of course, opposed to the Nietzschean disdain for mercy and antipathy towards the weak and victims. But, Girard considers Nietzsche a genius, inasmuch as the German philosopher saw what, according to Girard, most people (including the majority of Christians) fail to see: Christianity is unique in its defense of victims. Thus, in a sense, Girard claims that his Christian apologetics is for the most part a reversal of Nietzsche: they both agree that Christianity is singular, but whereas Nietzsche believed this singularity corrupted humanity, Girard believes this singularity is the manifestation of a power that reverses the violent foundations of culture.

d. Apocalypse and Contemporary Culture

Girard acknowledges that, on the surface, not everything in the New Testament is about peace and love. Indeed, there are some frightening passages in Jesus’ preaching, perhaps the most emblematic “I come not to bring peace, but a sword”. This is part of the apocalyptic worldview prevalent in Jesus’ days. But, much more than that, Girard believes that the apocalyptic teachings to be found in the New Testament are a warning about future human violence.

Girard considers that, inasmuch as the New Testament overturns the old scapegoating practices, humanity no longer has the capacity to return to the scapegoating mechanism in order to restore peace. Once victims are revealed as innocent, scapegoating can no longer be relied upon to restore peace. And, in such a sense, there is now an even greater threat of violence. According to Girard, Jesus brings a sword, not in the sense that he himself is going to execute violence, but in the sense that, through his work and the influence of the Bible, humanity will not have the traditional violent means to put an end to violence. The inefficacy of the scapegoat mechanism will bring even more violence. The way to restore peace is not through the scapegoat mechanism, but rather, through the total withdrawal of violence.

Thus, Girard believes that, ironically, Christianity has brought about even more violence. But, once again, this violence is not attributable to Christianity itself, but rather, to the stubbornness of human beings who do not want to follow the Christian admonition and insist on putting an end to violence through traditional scapegoating.

Girard believes that, 20th and 21st centuries are more than ever an apocalyptic age. And, once again, he acknowledges a 19th century German figure as a precursor of these views: Carl von Clausewitz. According to Girard, the great Prussian war strategist realized that modern war would no longer be an honorable enterprise, but rather, a brutal activity that has the potential to destroy all of humanity. Indeed, Girard believes 20th and 21st centuries are apocalyptic, but not in the fundamentalist sense. The ‘signs’ of apocalypse are not numerical clues such as 666, but rather, signs that humanity has not found an efficient way to put an end to violence, and unless the Christian message of repentance and withdrawal from violence is assumed, we are headed towards doomsday; not a Final Judgment brought forth by a punishing God, but rather, a doomsday brought about by our own human violence.

5. Theological Implications

Girard claims not to be a theologian, but rather, a philosophical anthropologist. But, echoing Simone Weil, he believes that the gospels, inasmuch as they reveal the nature of human beings, also indirectly reveal the nature of God. Thus, Girard’s work has great implications for theologians, and his work has generated new ways to interpret the traditional Christian doctrines.

a. God

Girard is little concerned with the classical theistic attempt to prove the existence of God (for example Aquinas, Plantinga, Craig and Swinburne). But, he does seem to assume that the only way to explain the Bible’s uniqueness in its rejection of scapegoating distortion and its refusal to succumb to the mob’s influence, is by proposing the intervention of a higher celestial power. So, in a weak sense, Girard’s apologetic works try to prove that the Bible is divinely inspired and, therefore, that God exists.

More importantly, Girard believes that the Bible reveals that the true God is far removed from violence, whereas gods that sanction violence are false gods, that is, idols. By revealing how human violence works, Girard claims, the Bible reveals that this violence does not come from God; rather, God sympathizes with victims and wants nothing to do with victimizers.

b. The Incarnation

Furthermore, the doctrine of Incarnation becomes especially important under Girard’s interpretation. For God himself incarnates in the person of Jesus, in order to become himself a victim. Thus, God is so far removed from aggressors and scapegoaters, He himself becomes a victim in order to show humanity that He sides with innocent victims. Thus, the way to overturn the scapegoat mechanism is not only by telling the stories from the perspective of the victim, but also by telling the story that the victim itself is God incarnate.

c. Satan

Most liberal contemporary Christians pay little attention to Satan, but Girard wishes to keep its relevance. Girard has little patience for the literal mythological interpretation of Satan as the red, horned creature. According to Girard, the concept of Satan and the Devil most frequently referred to in the gospels is what it etymologically expresses: the opponent, the accuser. And, in this sense, Satan is the scapegoating mechanism itself (or, perhaps more precisely, the accusing process); that is, the psychological processes in which human beings are caught up by the lynching mob, and eventually succumb to its influence and participate in the collective violence against the scapegoat.

Likewise, the Holy Spirit in Girard’s interpretation is the reverse of Satan. Again, Girard recurs to etymology: the Paraclete etymologically refers to the spirit of defense. Thus, Satan accuses victims, and the Paraclete mercifully defends victims. Thus, the Holy Spirit is understood by Girard as the overturning of the old scapegoating practices.

d. Original Sin

In the old Pelagian-Augustinian debate over original sin, Girard’s work clearly sides with Augustine. Under Girard’s interpretation, there is a twofold sense of original sin: 1) human beings are born with the propensity to imitate each other and, eventually, be led to violence; 2) human culture was laid upon the foundations of violence. Thus, human nature is tainted by an original sin, but it can be saved through repentance materialized in the withdrawal from violence.

The complementary aspect of the original sin debate, that is, free will, has not been tackled by Girard. But, being a Roman Catholic, it is presumable that Girard would not accept the Calvinist concepts of total depravity, irresistible grace and predestination. He seems to believe that human beings are born with sin, but they have the capacity to do something about it through repentance.

e. Atonement

Girard’s vision of Christianity also brings forth a new interpretation of the doctrine of atonement, that is, that Christ died for our sins. Anselm’s traditional account (God’s honor was offended by the sins of mankind, His honor was reestablished with the death of His own son), or other traditional interpretations (mankind was kidnapped by the Devil, God offered Christ as a ransom; Jesus died so God could show humanity what He is capable of doing if we do not repent, and so forth) are deemed inadequate by Girard. Under Girard’s interpretation, Jesus saved us by becoming a victim and overturning once and for all the scapegoat mechanism. Thanks to Jesus’ salvific mission, human beings now have the capacity to understand what scapegoats really are, and have the golden opportunity to achieve enduring social peace.

6. Criticisms

An important source of criticisms against Girard is his apologetic commitment to Christianity. Most critics argue that he has a tendency to twist interpretations of classical texts and myths in order to favor Christian doctrine. Girard has frequently asserted that he was not a Christian for the early part of his life, but that his work as a humanist eventually drove him to Christianity. Also, Girard has been seen with contempt by postmodernist critics who, on the whole, are suspicious of objective truth.

a. Mimetic Theory Claims Too Much

The first point of criticism directed at Girard is that he is too ambitious. His initial plausible interpretations of mimetic psychology and anthropology are eventually transformed into a grandiose theoretical system that attempts to explain every aspect of human nature.

Consequently, in such a manner, his methods have been questioned. His theories regarding mimetic desire are derived, not from a careful study of subjects and the implementation of tests, but rather, from the reading of works of fiction. The fact that his theory seems to coincide with what many neuroscientists are informing us about mirror neurons is immaterial: his was just a lucky guess.

The same critique may be extended to his work on the origins of culture. Again, his scapegoating thesis may be plausible, in as much as it is easy to find many examples of scapegoating processes in human culture. But, to claim that all human culture ultimately relies on scapegoating, and that the fundamental cultural institutions (myths, rituals, hunting, domestication of animals, and so forth), are ultimately derived from an original murder, is perhaps too much.

Thus, in a sense, Girard’s work is subject to the same criticism of many of the great theoretical systems of the human sciences in the 19th century (Hegel, Freud, Marx, and so forth): his sole concentration on his favorite themes makes him overlook equally plausible alternate explanations for the phenomena he highlights.

b. The Origins of Culture are Not Verifiable

As a corollary of the previous objection, empirically-minded philosophers would object that Girard’s theses are not verifiable in a meaningful way. There is little possibility to know what may have happened during Paleolithic times, apart from what paleontology and archaeology might tell us.

In some instances, Girard claims that his theses have indeed been verified. There have been plenty of archaeological remains that suggest ritual human sacrifice, and plenty of contemporary rituals and myths that suggest scapegoating violence. But, then again, the number of rituals and myths that do not display violence is even greater. Girard does not see this as a great obstacle to his theses, because according to him, cultures have a tendency to erase the track of original violence.

But, in such a case, the empirically-minded philosopher may argue that Girard’s work is not falsifiable in Popper’s sense. There seems to be no possibility of a counter-example that will refute Girard’s thesis. If a violent myth or ritual is considered, Girard will argue that this piece of evidence confirms his hypotheses. If, on the other hand, a non-violent myth or ritual is considered, Girard will once again argue that this piece of evidence confirms his evidence, because it proves that cultures erase tracks of violence in myths and rituals. Thus, Girard is open to the same Popperian objection leveled against Freud: both sexual and non-sexual dreams confirm psychoanalytic theory; therefore, there is no possible way to refute it, and in such a manner, it becomes a meaningless theory.

c. Girard Exaggerates the Contrast Between Myths and the Bible

Girard is also open to criticism inasmuch as his Christian apologetics seems to rely on an already biased comparison of myths and the Bible. It has been objected that he is not thoroughly fair in the application of standards when contrasting the Bible and myths. Girard’s hermeneutic goes to great lengths to highlight violence in rituals when, in fact, it is not all that evident. He may be accused of being predisposed to find sanctioned violence in myths and, based upon that predisposition, he interprets as sanctioned violence mythical elements that, under another interpretative lens, would not be violent at all. Metaphorically speaking, when studying many myths, Girard is just seeing faces in the clouds, and projecting upon myths some elements that are far from being clear.

In the same manner, one may object that Girard’s treatment of the Bible, and especially the New Testament, is too benevolent. Most secular historians would agree that there are some hints of persecution against the Jews in the gospels (for example, an exaggeration of Jewish guilt in the arrest and execution of Jesus), and that the historical Jesus’ apocalyptic preaching is not just a warning of future human violence, but rather, an announcement of imminent divine wrath.

d. Christian Uniqueness Does Not Imply a Divine Origin

Even if Girard’s thesis about the uniqueness of Christianity were accepted, it needn’t prove a divine origin. Perhaps Christianity is unique due to a set of historical and sociological circumstances that drove biblical authors to sympathize with victims (indeed, Max Weber’s explanation is as follows: the Bible’s authors sympathize with victims because they were themselves victims as subjects of the great empires of the Near East). In such a manner, Girard may be accused of incurring an ad ignorantiam fallacy. The fact that we cannot currently explain a given phenomenon does not imply that such phenomenon’s origins are supernatural.

e. Lack of a Precise Scientific Language

Even if one were to accept that the Bible reveals a profound nature about human beings, scientifically-minded philosophers would object that Girard’s language is too obscure and too religiously-based for scientific purposes. Perhaps the Bible does reveal some interesting insights about the nature of scapegoating. But, to name such a process ‘Satan’, or to name the human tendency to incur in rivalries ‘sin’, bears a great potential for confusion. Whenever most readers encounter the word ‘Satan’, they are prone to imagine the nasty horned tailed creature, and not in some sort of abstract psychological mechanism that gives rise to scapegoating violence. So, even if Girard’s use of those terms is metaphoric, they are easily open to confusion, and perhaps should be abandoned.

7. References and Further Reading

a. Primary

  • Deceit, Desire, and the Novel: Self and Other in Literary Structure. Baltimore: The Johns Hopkins University Press, 1965.
  • Resurrection from the Underground: Feodor Dostoevsky. New York: Crossroad, 1997.
  • Violence and the Sacred. Baltimore: The Johns Hopkins University Press, 1977.
  • Things Hidden since the Foundation of the World. Research undertaken in collaboration with Jean-Michel Oughourlian and Guy Lefort. Stanford, CA: Stanford University Press, 1987.
  • "To Double Business Bound": Essays on Literature, Mimesis, and Anthropology. Baltimore: The Johns Hopkins University Press, 1978.
  • The Scapegoat. Baltimore: The Johns Hopkins University Press, 1986.
  • Job: The Victim of His People. Stanford, CA: Stanford University Press, 1987
  • A Theater of Envy: William Shakespeare. St. Augustine's Press, 2004.
  • Quand ces choses commenceront...Entretiens avec Michel Treguer. Paris: Arléa, 1994.
  • The Girard Reader. Edited by James G. Williams. New York: Crossroad, 1996.
  • I See Satan Fall like Lightning. Maryknoll, NY: Orbis Books, 2001.
  • Celui par qui le scandale arrive: Entretiens avec Maria Stella Barberi. Paris: Brouwer, 2001.
  • Oedipus Unbound: Selected Writings on Rivalry and Desire. Edited by Mark Anspach. Stanford, CA: Stanford University Press, 2004.
  • Evolution and Conversion: Dialogues on the Origins of Culture. With Pierpaolo Antonello and Joao Cezar de Castro Rocha. London: T&T Clark/Continuum, 2007
  • Christianity, Truth, and Weakening Faith: A Dialogue. René Girard and Gianni Vattimo. Edited by Pierpaolo Antonello and translated by William McCuaig. New York: Columbia University Press, 2010
  • Battling to the End: Conversations with Benoît Chantre. East Lansing, MI: Michigan State University Press, 2010.
  • Anorexie et désir mimétique. Herne, 2008.

b. Secondary

  • ALBERG, Jeremiah. A Reinterpretation of Rousseau: A Religious System. Foreward by René Girard. Palgrave Macmillan, 2007. Hardcover
  • ALISON, James. Broken Hearts and New Creations: Intimations of a Great Reversal. New York: Continuum, 2010.
  • ALISON, James. Faith Beyond Resentment: Fragments Catholic and Gay. New York: Crossroad, 2001
  • ALISON, James. The Joy of Being Wrong: Original Sin Through Easter Eyes. New York: Crossroad, 1998.
  • ANDRADE, Gabriel. René Girard: Um retrato intellectual. E realizacaoes. 2011.
  • ASTELL, Ann W. Joan of Arc and Sacrificial Authorship. South Bend, IN: University of Notre Dame Press, 2003
  • BAILIE, Gil. Violence Unveiled: Humanity at the Crossroads. New York: Crossroad, 1995. Paper.
  • BANDERA, Cesáreo. The Humble Story of Don Quixote: Reflections on the Birth of the Modern Novel. Catholic University of America Press, 2006.
  • BANDERA, Cesáreo. The Sacred Game. Penn State Press. 2004.
  • BARTLETT, Anthony. Cross Purposes: The Violent Grammar of Christian Atonement. Valley Forge, PA: Trinity Press International, 2001.
  • BELLINGER, Charles K. The Genealogy of Violence: Reflections on Creation, Freedom, and Evil. Oxford University Press, 2001.
  • DALY, Robert J., S. J. Sacrifice Unveiled: The True Meaning of Christian Sacrifice. London: T&T Clark / New York: Continuum, 2009.
  • DUMOCHEL, Paul, ed. Violence and Truth: on the Work of René Girard. Stanford, CA: Stanford University Press, 1988.
  • FINAMORE, Stephen. God, Order, and Chaos: René Girard and the Apocalypse. Eugene, OR: Wipf & Stock, 2009.
  • FLEMING, Chris. René Girard: Violence and Mimesis. Cambridge, Eng.: Polity Press, 2004.
  • FREUD, Sigmund. Totem and Taboo. Create Space. 2011.
  • GOLSAN, Richard J. René Girard and Myth: An Introduction. New York: Routledge, 2001
  • GOODHART, Sandor; Jorgensen, Jorgen; Ryba, Thomas; Williams, James G.; eds. For René Girard: Essays in Friendship and in Truth. East Lansing, MI: Michigan State University Press, 2009.
  • GOODHART, Sandor; Jorgensen, Jorgen; Ryba, Thomas; Williams, James G.; eds. Sacrificing Commentary: Reading the End of Literature. Baltimore: Johns Hopkins University Press, 1996.
  • GRANDE, Per Bjørnar. Mimesis and Desire: An Analysis of the Religious Nature of Mimesis and Desire in the Work of René Girard. LAP Lambert Academic Publishing, 2009. Paperback: 224 pages.
  • GROTE, Jim and McGeeney, John. Clever as Serpents: Business Ethics and Office Politics. Collegeville, MN: The Liturgical Press, 1997. Paperback, 149 pages.
  • HAMERTON-KELLY, Robert G, ed. Politics & Apocalypse. East Lansing, MI: Michigan State University Press, 2007.
  • HAMERTON-KELLY, Robert G, ed. Sacred Violence: Paul's Hermeneutic of the Cross. Minneapolis: Fortress Press, 1992 .
  • HAMERTON-KELLY, Robert G, ed. The Gospel and the Sacred: Poetics of Violence in Mark. Minneapolis: Fortress Press, 1994
  • of the victim."
  • HOBBES, Thomas. Leviathan. Oxford UP. 2009.
  • KIRK-DUGGAN, Cheryl A. Refiner's Fire: A Religious Engagement with Violence. Minneapolis: Fortress Press, 2001
  • KIRWAN, Michael. Discovering Girard. Cambridge, MA: Cowley Publications, 2005.
  • LEFEBURE, Leo D. Revelation, the Religions, and Violence. Maryknoll, NY: Orbis Books, 2000.
  • MCKENNA, Andrew J. Violence and Difference: Girard, Derrida, and Deconstruction. Chicago: University of Illinois Press, 1992.
  • OUGHOURLIAN, Jean-Michel. The Genesis of Desire. E. Lansing, MI: Michigan State University Press, 2010.
  • Chicago: University of Illinois Press, 1992.
  • OUGHOURLIAN, Jean-Michel. The Puppet of Desire: The Psychology of Hysteria, Possession, and Hypnosis. Stanford, CA: Stanford University Press, 1991.
  • SCHWAGGER, Raymund, S.J. Banished from Eden: Original Sin and Evolutionary Theory in the Drama of Salvation. Gracewing, 2006.
  • SWARTLEY, Willard M., editor. Violence Renounced: René Girard, Biblical Studies, and Peacemaking. Response by René Girard and Foreward by Diana M. Culbertson. Telford, PA: Cascadia Publishing House, 2000.
  • WILLIAMS, James G. The Bible, Violence, and the Sacred: Liberation from the Myth of Sanctioned Violence. Foreword by René Girard. Eugene, OR: Wipf & Stock, 2007.

 

Author Information

Gabriel Andrade
Email: gabrielernesto2000@yahoo.com
University of Zulia
Venezuela

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