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" "The road on which Satan starts us is broad and easy; it is the superhighway of mimetic crisis. But then suddenly there appears an unexpected obstacle between us and the object of our desire, and to our consternation, just when we thought we had left Satan far behind us, it is he, or one of his surrogates, who shows up to block the route. This is the first of many transformations of Satan: the seducer of the beginnings is transformed quickly into a forbidding adversary, an opponent more serious than all the prohibitions not yet transgressed. The secret of Satan's troublesome transformation is easy to discover. The second Satan is the conversion of the mimetic model into a rival, and this process, which was described in chapter 1, brings about scandals. Because our models suggest their own desires to us, they inevitably oppose the resulting desire. Once prohibitions are transgressed, another kind of obstacle rises up that is more tenacious still, though it is concealed at first by the very protection the prohibitions offer, as long as they are respected.
René Girard (December 25, 1923 – November 4, 2015) was a French historian, literary critic, and philosopher of social science. His work belongs to the tradition of anthropological philosophy.
Biography information from Wikiquote
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"It is not law, in any conceivable form, that is responsible for the tensions and alienation besetting modern man; rather, it is the increasing lack of law. The perpetual denunciation of the law arises from a typically modern sense of resentment - a feedback of desire that purports to be directed against the law but one that is actually aimed at the model-obstacle whose dominant position the subject stubbornly refuses to acknowledge. The more frenzied the mimetic process becomes, caught up in the confusion of constantly changing forms, the more unwilling men are to recognize that they have made an obstacle of the model and a model of the obstacle. Here we encounter a true "unconscious" and one that can obviously assume many forms."
Les représentations théâtrales, elles aussi, sont enracinées dans la violence collective et ce sont des espèces de rites, mais plus nettoyés encore de leur violence que les sacrifices animaux, et plus riches sur le rapport culturel, puisque ce sont toujours, au moins indirectement, des méditations sur l'origine du religieux et de la culture tout entière, des sources potentielles de savoir.