by nomo » Mon May 01, 2006 6:55 pm
Anyone here familiar with the work of René Girard? I read his books more than 20 years ago and it blew me away. It's fascinating that over time, his hypothesis still holds ground, and science is backing it up. Here's an introduction (translated from the French and a little jarring at times -- it's remarkable that so few good resources exist on his work on the Web. I suggest picking up the actual books. "Things Hidden Since The Foundation of the World" is a good starting point. <!--EZCODE AUTOLINK START--><a href="http://www.amazon.com/gp/product/0804722153/ref=pd_lpo_k2a_1_img/103-7827265-4137434?%5Fencoding=UTF8">www.amazon.com/gp/product...oding=UTF8</a><!--EZCODE AUTOLINK END--> ) <br><!--EZCODE HR START--><hr /><!--EZCODE HR END--><br><br><!--EZCODE AUTOLINK START--><a href="http://www.cottet.org/girard/index.en.htm">www.cottet.org/girard/index.en.htm</a><!--EZCODE AUTOLINK END--><br><br>What do we know about the human desire? The dominant opinion as well in the human sciences as for the common sense, is that we fixe our desire on an object in a completely autonomous way. This approach would imply the fact that each object has a value susceptible to polarize this desire.<br><br>If we are not too demanding, it is indeed the feeling which our daily experience gives to us. The desire that I have for this woman, this ambition to have some success in my profession or this new car which I intend to buy seem to proceed from my free choice. The linear vision of the desire has for it all its simplicity. However, it obliges to a certain number of mental contortions when we try to explain also simply phenomena totally linked to the desire, like the envy or the jealousy.<br><br>After reflexion (but we admit rarely this fact), we envy first the one who possesses the object (this last one having finally a minor importance). And, in certain cases, we would feel more satisfaction in the fact than the Other does not possess the object, rather than to have it ourselves. Publicity, this hymn to the possession of objects, gives us to desire, not a product in its objective qualities but some people, Others, who desire this product or who seem gratified with its possession (1).<br><br>By analyzing the novelistic masterpieces (Cervantes, Stendhal, Proust and Dostoïevski), René Girard reveals a different mechanism for the human desire. This one would not fix itself in an autonomous way according to a linear path between the subject and an object, but by imitation of the desire of an Other, according to a triangular plan : subject - model - object.<br><br>Don Quixotte indicates clearly that he dedicates his life to the imitation of Amadis de Gaule, such as the knight with the Sad Face imagines that he would be. The Eternal Husband can desire his future wife only through the desire, aroused by him, of his first wife's lover, whom he will be able to imitate. And Mr. de Rênal wishes to take Julien Sorel as tutor only because he is convinced that Valenod, the other important personality of Verrières, is ready to do it.<br><br>The Girard's hypothesis rests on the existence of a third element, mediator of the desire, who is the Other. That is only because the man I took as a model is desiring or is in possession of an object (conceived in a broad meaning as any thing with which the other seems gratified and which is lacking to me...) that I begin to desire this one. The object has some value only because it is desired by another. One could think that the introduction of this third "summit" into the equation of the desire is a purely theoretical and arbitrary further complexity on behalf of René Girard. Especially since the presence of this Other involves a questioning of this individualism placed in the heart of the modernity, which shows the human being like a free and autonomous entity and which finds its literary blossoming in the type of romantic hero.<br><br>In MRVR, Girard reveals only the presence of the Other in the heart of the novelistic genius. It is the omnipresence of the Other in the desire which makes the greatness of Stendhal or of Dostoïevski against the romantic lie of a divine or superhuman hero, at any rate autosufficient, who would illustrate the linear path of the desire. The presence of the Other is always a simplification - or rather a clarification - of the situations. The romantic lie which is denounced by René Girard is only the attempt to erase or to dissimulate the model in the plan of the desire...<br><br> The subject is desiring, but he does not know what. In his errance, he is going to cross the road of a human being equipped with something which is lacking to him and which seems to give to this one a plenitude that he does not have. This apparent plenitude, so near and so distant, completely will fascinate him. The famished desire of the subject always seems to ask the same question to the model: " What have you more than me ? " (to appear so happy, to have a so beautiful wife, to be the favorite of the management, etc.).<br><br>To fix his admiring attention on a model, it is already to recognize or to attribute to him a prestige that the subject does not have, what means noticing his own insufficiency to be. It is obviously not a really comfortable position but the man who admires and who, more, envies the Other one, is initially somebody who scorns himself intensely. This is impossible to admit so, if the model is so perfect, it is certainly because he has in his possession something of which subject is at the moment deprived: material object, attitude, status, etc. Variations are infinite for an always identical result: what differentiates him of the Other one proves, with the eyes of the desire for the subject, the success and the prestige that he attributes to him.<br><br><!--EZCODE BOLD START--><strong>The desire that the subject has for the object is nothing else but the desire he has for the prestige that he attributes to the one who possesses the object (or who gets ready to desire the object at the same time as him).</strong><!--EZCODE BOLD END--> Thus is instituted the mediation of the model and the first metamorphosis of the object. For example, a car is more than this steel carcass to move from a place to another one, otherwise any model could be appropriate ; it is the instrument which would allow to be, following the example of his model, a Don Juan, a senior manager, a gang leader, etc. What is aimed by the desire is not of course the ownership of the object "car" but what he believes that this ownership will give to him, as for the Other, in terms of feminine conquests or social identification.<br><br>As René Girard specifies it, the subject will always ignore this anteriority of the model, because it would be at the same moment to reveal his insufficiency, his inferiority, the fact that his desire is not spontaneous but is imitated. Then, it will be easy for him to denounce the presence of the Other, mediator of his desire, as recovering from the only envy of this last one.<br><br>The model is not saved more than the subject. He also try to fix his desire and he waits until one indicates something desirable to him. It is indeed that the subject of our triangle makes. From this point of view, he is well also an Other. We already know that it is not the object that sees now the model, but an object transfigured by the desire of the subject, which gives it a completely unexpected " value ".<br><br>The model has no passive role in this triangle. He is not satisfied to await a manifestation of the subject. On the contrary, he makes everything to create that one. As an object for which nobody would compete for it would have no interest, no value able to fix his own desire, everything urges him to expose towards the others his good fortune - which become advantage in term of being only if it is recognized as such by these same others. To be consolidated, the desire of the model needs to feel the other desires. It thus tends always itself to arouse competition, i.e. to cause the emergence of a rival that it will up then to supplant.<br><br>The in love one praising the qualities of her boyfriend to her friends tries so much to assert, vanity or pride, the superiority of her happiness that to confirm her own desire. The best answer would be that her friends, envious of this happiness, all together begin to desire the aforementioned friend, with the exception of other pretenders. This would make only confirm the lover in her shaky certainty which she holds the good one. The object is not anymore the boyfriend - undoubtedly very banal - of Miss X, but he becomes gradually the almost unique boy quarreled by all, i.e. an illusion arising from rival desires. Outside of this rivalry, i.e. at a place of observation not contaminated by this illusion, all will ask the question: " But what do they find him? ".<br><br>The infernal circularity of the mimetic desire is now in place. No recrudescence of the desire of the model for the object will escape to the subject, which will see there the confirmation of its importance and which will redouble efforts to have it. Each one thus, subject or model, contributed to the emergence of the other as a rival. <br><br>The desire never stops to the only observation of the differences: it wants to become the so fascinating Other, and so to reduce all what distinguishes itself from its model, because everything in this last one says to the subject : do like me.<br><br><!--EZCODE ITALIC START--><em> "The desire according to the Other is always the desire <!--EZCODE BOLD START--><strong>to be</strong><!--EZCODE BOLD END--> the Other. There is only single metaphysical desire but the particular desires which concretize this primordial desire vary ad infinitum. " (MRVR p.101)</em><!--EZCODE ITALIC END--><br><br>It is naturally what does Don Quixotte with Amadis de Gaule: to become a perfect knight, it is enough to imitate the acts of a perfect knight. It is also what will do, for example, all little children in their learning of social behaviours, cleanliness or language. By imitating their parents or teachers, and this with a fearsome precision, they make like the adults, better, they become adults.<br><br>In these two cases, there is not a real interference between the spheres of intentions and actions of the subject and the model; Rene Girard will speak then about external mediation. Quixotte can indeed imitate completely what he thinks of being the behavior of his hero, what separates one of the other remains invariant in spite of the exploits of the knight. The model Amadis does not indicate anything in particular and the failures of Quixotte do not lead to any consequence since he can easily pass to other thing. In the same way the young children imitate with more close their teachers, one even encourages them there, but inside a educationnal frame which maintains a certain distance between subject and model, prohibiting confusion. If many little girls want to become schoolmistress, it is later, and all is in this "later".<br><br><br>The estrangement between the subject and the model which characterizes the external mediation is not a simple question of physical or temporal distance, but is also due to the nature of the differences separating, originally, one and the other.<br><br><!--EZCODE ITALIC START--><em> "Although the geographical estrangement can constitute a factor of it, the distance between the mediator and the subject is initially spiritual. D.Q. and Sancho are always close physically but the social and intellectual distance which separates them remains unsuperable." (MRVR, page 22). </em><!--EZCODE ITALIC END--><br><br>However, unless evolve in the void which is one of the romantic illusions, the desire inevitably will come into contact with other desires. It will do it more easily and quickly if those are near, i.e. are interested in the same objects. Thus, nothing separates Mr. de Rênal and Valenod, which clashes both to dominate the social life of Verrières and which are thus very attentive to what is and what does the other : Julien Sorel is not the possible tutor to the one or the other one. He is whose will allow his employer to obtain an advantage in this prestige rivalry.<br><br>This proximity of desires and the rivalry which it involves is going to characterize what Girard will name at first the internal mediation and which will become afterward the mimetic desire. <br><br>The Master who encourages his student to acquire his knowledge, the Occidental capitalism which looked with benevolence (even with condescension) the efforts of the Nipponese economy to copy its products are in the same situation as our be in love seen previously. The veneration of the subject is initially used to confirm this difference, this superiority.<br><br>The adoration of the subject feeds itself with this pride which makes the model so desirable : the student intends at least equalling the Master, the Nipponese economy to make as well as the Occidental economy. The more the subject imitates the model and the less what separates them becomes perceptible, difference(s) being properly absorbed by the first.<br><br>Let us look at how Jean-Marc Reiser had illustrated, in 1971, the relationship between rich and poor (We live in a formidable age - Editions Albin Michel) :<br><br><!--EZCODE IMAGE START--><img src="http://www.cottet.org/girard/images/0a1.gif"/><!--EZCODE IMAGE END--><br>etc.<br><br>I cannot reproduce the totality of the page here, but it is rather interesting to linger on the representation which Reiser gives of the model, in this case the "rich". As you can notice, at a certain moment, this one is so irritated by the imitative behaviour of the subject (the "poor") that the go on holiday will become completely secondary. If he is incited to travel around the world initially once, then two, then four, it is not for visit it any more but only he wants to have the last word on the "poor", who persists in doing like him.<br><br><!--EZCODE IMAGE START--><img src="http://www.cottet.org/girard/images/reiser1.gif"/><!--EZCODE IMAGE END--><br><br>The glance of the last character, who is the one that "loops" the circle of this rivalry, is now turned towards his imitator. In the following image, this one will be presented in a way nearly identical to the model and looking at, him also, in the direction where his rival is supposed to be. The two fundamental elements of the mimetic hypothesis are indeed there : the differences between model and subject were abolished, the object of the circularity of the behaviors totally faded to leave place to the only rivalry between them.<br><br>To reintroduce difference in the relation model-subject is not sufficient. Any "attempt to escape " could last only a time, because what would make the model would be immediatly imitated by the subject.<br><br>When the student has same knowledge as the Master, there is naturally either no more student or master, but two people having the same knowledge : the initial hierarchy which allowed to place both in the world, one compared to the other in their relation, is abolished. The model feels the danger that this confusion can present for him, this indifferentiation which would become the worst of the situations. Especially since always exists the risk that the student overtakes the Master and that the original is regarded soon as the copy. But the more the mimetic rivals are close and try to be different and the more they end up resembling each other.<br><br>The question of the loss of the differences is central in the Girard's hypothesis. All the aspects of the human cultures are founded on the permanent creation of differences which allow to place each one and all things. The archetypal sentence "The man is the only animal who knows that he will die " is a very good illustration, which marks out instantaneously the mankind. Our need for comprehension and for organization of the world is realized thanks to this permanent creation of differences, in which we see the incomparable wealth/variety of the humanity.<br><br>In fact, we live and think in a system essentially differentialist. A certain positive thought moreover considers that the sense could arise only from a situation of imbalance between two terms and this urges us always to look what separates to understand. In front of the identical one, we immediately try to distinguish. For proof our attitude in front of twins: most of the time, we try to find at least a characteristic in one or the other one, which would allow us to know who is who.<br><br>The mimetic desire leads to abolish these differences, therefore to make confused all the preexistent reference marks. If nothing of what distinguished me from my neighbor exists any more, who am I really ?<br><br>The model has a radical way to hold back the distance with the subject: to prohibit the possession of the object to his desire. To the message do like me which irradiated from model adds a completely opposite one: do not do like me.<br><br>Suddenly, the model is transformed into obstacle and combines two contradictory terms: he is at the same time the one who is adored (since he shows to the subject what is desirable) and the one who is hated (since, as rival, he prohibits the possession of it).<br><br><!--EZCODE ITALIC START--><em> "Le sujet éprouve donc pour son modèle un sentiment déchirant formé par l'union de deux contraires qui sont la vénération la plus soumise et la rancune la plus intense. C'est là le sentiment que nous appelons haine.<br><br> Seul l'être qui nous empêche de satisfaire un désir qu'il nous a lui-même suggéré est vraiment objet de haine. Celui qui hait se hait d'abord lui-même en raison de l'admiration secrète que recèle sa haine. Afin de cacher aux autres, et de se cacher à lui-même, cette admiration éperdue, il ne veut plus voir qu'un obstacle dans son médiateur. Le rôle secondaire de ce médiateur passe donc au premier plan et dissimule le rôle primordial de modèle religieusement imité." (MRVR p.24)</em><!--EZCODE ITALIC END--><br><br>It is in Dostoïevski that René Girard finds the most succeeded expression of this situation, because there is no more object and the model is whoever. When he writes the letter to his tourmentor, the man in the underground passes instantaneously from the most violent hatred to the most servile love, permanently oscillating between the two poles arising from his desire to be the one who humiliated him. René Girard's major theoretical contribution is to have extracted the truth of this circularity from the novelistic : it is because he is a model that the Other is a rival, but it is also because he is a rival that he is a model.<br><br>René Girard refuses to exclude both terms in two different fields of the reality and which would reserve this double contradictory requirement (that Gregory Bateson named the double bind) to the only duly labeled schizophrenes(1). These two states engendred by the mimetic desire coexist and the subject oscillates permanently between them. For the subject, if the model refuses the object to him, it is quite simply that he does not deserve it (thus returning him to his initial inferiority, his unworthiness). Never the subject wants to see a rival in his model (and never this one will admit that he is in rivalry with the subject) but the obstacle that he proposes to him now fixes the efforts of his desire to conquer it. The more the object is forbidden, the more its value and that of the mediator increases and thus more its conquest becomes essential.<br><br><!--EZCODE ITALIC START--><em> "Obstacles and contempt redouble the desire because they confirm the superiority of the mediator". (MRVR p.204)</em><!--EZCODE ITALIC END--><br><br>In the famous chapter about Sadism and Masochism (I will write soon an annex to this approach) in MRVR, René Girard shows that this permanent search for the inaccessible object - and thus of the defeat or the victory of the rival always renewed - characterizes these two types of behaviors. Because we should not forget a thing: when one or the other catches the object of the rivalry, he can only be disappointed. " It was only that?.. ", the illusion passed and the desire must still go towards a new object, more reticent to its possession.<br><br>The nearby they are, the more the rivals are similar. As Girard reminds it, " the mimetic triangle is isosceles ", model and subject occupying in turn the role of the mediator. What we have just described concerning the subject affects also the model. <!--EZCODE BOLD START--><strong>The hatred which rises from this conflict is carrying a violence which waits only its turn to be reciprocal.</strong><!--EZCODE BOLD END--><br> <p></p><i></i>