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Pierpaolo Antonello
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formulated his theory of the sacrificial origins of culture and the critical role
performed by the Christian revelation in unmasking the mythical character
of natural religions and of the sacred, including mythical texts and literary
worksfor instance, Greek tragedy, which stOl covers the vestiges of the
sacrificial origins of human culture. If we adopt the overarching theoretical
perspective formulated by Girard in his later work, we may have to abandon
the conceptual polarity {mensonge/vrit) in the French titie of Deceit, Desir
and the Novel and think rather in terms of a complex historical process of
progressive revelation. Girard's theory is not a Gnostic theory but it is historically grounded.^
As a matter of fact, Girard may be enlisted into a generation of critics
who were convinced of the possibOity of thematizing literature within a
longu dure, inspired by a Vichian understanding of the human imagination.
I am thinking in particular of two of the greatest twentieth-century literary critics: Eric Auerbach (particularly in Mimesis) and Nor thorp Frye (with
reference to both Anatomy of Criticism and The Great Code). In a less systemati
way, we may say that Girard, in Deceit, Desire, and the Novel, sketched a simOa
trajectory: the idea of inscribing the novel within a "progressive" history of
Western imagination, in which what is in question is the deceptive dimension
of "spontaneous" desire, and the unstable boundaries of subjectivity. This
was not his main task, as his structural analysis of the novels became pivotal
in defining the contour of a theory that would then extend way beyond the
scope of literary criticism, but it is part of the fascination and interest this
book StOl wieldsfiftyyears after its publication.
StOl looking for paratextual clues, if we lift the cover of Deceit, Desire, and
the Novel and read the first pages of the English edition, we may also notice
that there is one bit missing with respect to the French originalnamely, the
initial epigraph taken from Max Scheler's Das Ressentiment, which is crucial
for the understanding of Girard's first book: "Man has either a God or an
idol" {L'hommepossde ou un Dieu ou une idole [9]). This polarity is nonethele
thematized in the second chapter of the book, titied "Men Become Gods
in the Eyes of Each Other" {DDN53), which foreshadows and announces
the theoretical kernel of Girard's first opus.
Because of its time frame. Deceit, Desire, and the Novel could be regarded
as a book which explores how "internal mediation" became dominant in
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Western culture and the etiology of what we could caU "secularized transcendence" as it is expressed and thematized by modern novels: from the
external mediation of chivalric epic in Don Quixote, to die underground
interpersonal apocalypticism of Dostoevsky in his various novels. Besides
providing textual examples of deviated transcendence, either tiirough literary or social structures, what is at stake in the implicit trajectory delineated
by Girard is a process of progressive "disenchantment" of the world, a
process of de-idealization, which not only regards the sacred or religion
(particularly Christianity in die Western context) in the first instance, but
aU substitutive forms of immanent religiosity (literature, elitism, snobbism,
glamour, capitalism, romantic love, etc.) that substitute for the overarching
umbreUa of historical religion, as Girard suggests.^
Taken in broader historical terms, the increasing spread of internal
mediation could be seen as the inevitable and, from a political and ethical
standpoint, welcome result of the democratic transformation of the pagan
world which was based on radical social separations, aristocratic elitism,
slavery, tribal identity, etc. Man has always been idolatrous in his history,
and Christianity, in Girardian terms, represents the progressive moving
away from this perspective towards a more realistic, immanent, democratic
understanding of social, cultural, political, and psychological forces, even
at the price of being thrown, in the most patiiological cases, into the abyss
of the internal mediation and deviated transcendence.
Incarnation thus understood is a movement by which the vertical order
of the transcendental God is graduaUy substituted by the social horizontality
of universal Christian brodierhood. If modern individualism is, according
to Girard, a by-product of Christianity, the deviated transcendence may be
also seen as the way tiirough which mankind explores both material and
social reality Thefieldof mankind's existential possibilitiesmany of which
may lead to the "Dostoyevskian Apocalypse"stem from the freedom of
choice which is intrinsic to Christian ethics: "Men who cannot look freedom
in die face are exposed to anguish. They look for a banner on which they
can fix their eyes" [DDN65).
In a way, Girard finds in Stendhal one of the expressions of the modern
individual not affected by metaphysical desire: the egotist.
Stendhal's egotist, unlike the romantic, is not trying to inflate his ego to universal
proportions. Such an attempt is always based on some hidden mediation. The
egotist recognizes his limits and gives up any idea of exceeding them. He says "I"
from modesty and prudence. He is not thrown back on nothing because he has given
up desiring everything. Thus egotism in Stendhal represents an attempt to sketch the
oudines of a modern humanism. {DDN65)
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art, including die novel (139). However, as Dante has made it quite clear in
Canto V of the Inferno, it is not important what we read but how we read.^ In
the end, Girard's penchant toward double-meaning, even in his declaration
of sharply defined alternatives, reveals him to be more Dantesque than he
himself recognized in the historical movement of his own conversion.
University of Cambridge, St. John's College
NOTES
1. For an account of Girard's own conversion at the time of the composition of Deceit,
Desire, andtheNovet, see Girard, Quand ces choses commenceront 190-95.
2. See ote'on 218-19.
3. One way to look at this problem is to consider some of the issues discussed by Girard
with Gianni Vattimo in their recent Christianity, Truth, and Weakening Faith (2010). Here they
contend with one of the most interesting historical tenets brought forward by Girard's
mimetic theory, which maintains that Christianity, through its desacralizing force became
"the religion of the exit from religion," and democracy, civil rights, individual freedoms,
laicism, have all been, if not precisely invented in the absolute sense, "facilitated" in their
development and expression by the Christian cultures. Secularization in its various cultural
aspects is a Christian by-product, as it were. In particular, see my introduction (1-22) and
the first chapter, "Christianity and Modernity" (23-47).
4. For this, see Iser 132.
5. On this, see Heather Webb's contribution to this forum.
WORKS CITED
Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature. Trans. Willard R.
Trask. Princeton: Princeton UP, 1953.
Brugnolo, Stefano. "La visione romanzesca e la visione cristiana: una rilettura illuministica
di Menzogna romntica e verit romancesca." Nuova corrente 137 (2006): 13-41.
Fornari, Giuseppe. La bellezza e il nulla: L'antropologia cristiana di Leonardo da Vinci. Milan-Genoa:
Marietti, 2005.
Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton UP, 1957.
. The Great Code: The Bible and Literature. New York: Harcourt Brace Jovanovich, 1982.
Giglioli, Stefano. "Ren Girard e la teoria letteraria: un caso ancora aperto." Identit e desiderio:
La teoria mimetica e la letteratiira italiana. Eds. Pierpaolo Antonello and Giuseppe Fornari.
Massa: Transeuropa, 2009.
Girard, Ren. Battling to the End: Conversations with Benot Chantre. Trans. Mary Baker. East
170
UP, 1993.
Robert Doran
In the famous conclusion to Dect, Desire, and theNovel, Ren Girard makes
manifest an opposidon that had been suggested but not fully fleshed out
in the body of the work, namely that between "verdcal" and "deviated"
transcendence: thefirstreferring to die properly religious concept of transcendence, the second to what Girard calls "metaphysical desire," the desire
for the Other's being, the desire to be the model of desire. Indeed, "The
Conclusion" develops more explicidy and to a greater extent die religious
implications of Girard's theory of mimedc or mediated desire (based on the
idea that desire is in ter subjective or socially mediated),' and it does so by
exploring the essential ambiguity of religious terminology^ For the reladon
between verdcal and deviated transcendence can also be thought in terms
of the reladon between the literal-religious and figuradve-secular levels of
significadon. Girard exploits the tension between the two levels to buttress
his view that "secularism" is simply a perversion of religious forms, that
the desire to negate or transcend religion results in a parody of the sacred:
"the negadon of God does not eliminate transcendency but diverts it from
the above to the below. The imitadon of Christ becomes the imitadon of
the neighbor" {DDN59, translation modified). Thus it is by a double negationthe negation of religious transcendence in the idolatrous imitation of
the human Other (die neighbor), and the negadon of this negadondiat
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