Abstract

This paper asks whether there are grounds for viewing Girard’s work as a tragic vision, and explores the criteria and contexts that might figure in such an investigation. Mimetic anthropology is built on references to the tragic per- spective, but its tragic aspect is complex and diaphanous in respect of its struc- turing and dynamics. Its framework is difficult to explore without engaging with contemporary Christian theological thought—something that significantly affects its implications. As for the latter, the transformative potential of Girard’s tragic anthropology, directly engendered by its critical approach to its own theses, tends to shatter the stability of its assumptions. Therefore, from the earliest interpreta- tions of ancient tragic drama, through the pitfalls of the notion of sacrifice and the dialogue with the philosophy of existence and dramatic theology, all the way to the so-called apocalyptic phase in Girard’s thought, we can observe shifting relationships between the broadening areas of human failure on the one hand, and the elusive horizon of hope on the other. Within this vision, the last strategy of hope seems to lie in the decision of the individual as a witness to a man-made apocalypse—and/or the apocalypse itself.

Highlights

  • This paper asks whether there are grounds for viewing Girard’s work as a tragic vision, and explores the criteria and contexts that might figure in such an investigation

  • Mimetic anthropology is built on references to the tragic perspective, but its tragic aspect is complex and diaphanous in respect of its structuring and dynamics

  • The last strategy of hope seems to lie in the decision of the individual as a witness to a man‐made apocalypse—and/or the apocalypse itself

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Summary

The Tragic Vision

“The tragic vision,” as a philosophical term, is an exceptionally comprehensive category. 7 This contest, manifested in art or in philosophical thought and referred to as a “tragic symmetry,” 8 a “two‐edged blade,” 9 or a “tragic paradox,” turns out to be the very essence of the structure of what is tragic in respect of its entire history This profound connection between the range of the tragic and historical turning points (be it Greece in the fifth century BCE, facing numerous threats to its progress on the way to democracy, Elizabethan England emerging into empire, post‐Kantian Europe departing from the crumbling strongholds of metaphysics, tsarist Russia on the verge of crisis, Spain facing the end of its empire after 1898, the nations of the West traumatized by the experience of two world wars, or our own “post‐normal” times) allows us to call out the piercing consciousness of the tragic as a product of a world at a crossroads—as typical of a transitional age. Trusting this positivity on a much deeper plane constitutes a crucial element of the relation between the tragic and theological thought: precisely the relation that defines the function and place of what is tragic in the vision spread before our eyes in the Girardian oeuvre

The Tragic and Theological Thought
Tragic anthropology and theological anthropophany 51
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