Christ comes to the world as the example, constantly enjoining: Imitate me. We humans prefer to adore him instead. – Quote by Soren Kierkegaard (1813-1855).

To adore Christ means, in the sense that Kierkegaard uses the verb, to idolize him. When you idolize someone else, it often means that you secretly want to become this other person, that you want to take his ‘royal’ place, sometimes even by ‘murdering’ him. In other words, to idolize someone means that you’re not satisfied with yourself, that you’re not accepting yourself, that you don’t experience love for who you are. This explains why we tend to look for what others designate as desirable, and why we want to obtain a desirable position ourselves – i.e. why we want to become ‘perfect’ and ‘divine’ idols ourselves. For obtaining a desirable position seems to fulfill our need to feel loved. However, in the process of surrendering to an imitation of the desires of others we simply lose ourselves. Guided by what René Girard calls ‘mimetic’ (i.e. ‘imitative’) desire, we often want things for ourselves which alienate us from our ‘true’ nature and from our own, unique vocation. So, near the end of this process we’re not loved for who we are but because of the ‘status’ we seem to have gained. Jesus magnificently points out this tragic paradox: For whoever wants to save their life will lose it… What good is it for someone to gain the whole world, and yet lose or forfeit their very self?” (Luke 9:24a-25).

Sometimes the devil wants you to think that until you’re perfect don’t go talking to God. – Quote by C.C. DeVille.

As you can see in the film below, C.C. DeVille – what’s in an artist’s name? –, guitarist of ‘hair metal, glam rock’ band Poison, clearly understands how his early life relied heavily on the principles I just described. He admits giving in to an unhealthy sense of pride, to a desire for ‘status’. He quite literally says he wanted others to be envious of him. Indeed, envy is the negative side of mimetic desire, the flipside of admiration, and for a person who desires to be desirable it is a big achievement to feel envied. Yet C.C. DeVille felt his life was not fulfilled. He was not happy until he experienced, in his own words, ‘God’s grace’. He discovered the ‘unconditional love’ by which he was finally able to accept himself. The paradox is that, by obeying God’s call through Christ, he became free. “For whoever wants to save their life will lose it but whoever loses their life for me will save it,” Christ claims (in the completed Luke 9:24). That’s exactly what C.C. DeVille discovered, for truly imitating Christ means to accept yourself and others, not to be ashamed of oneself, and to be enabled to grow towards one’s ‘real’ and ‘honest’ vocation. It’s only when we’re accepting ourselves that we are able to approach others, not as means to fulfill our need to feel loved, but as the true ‘goals’ of our lives in the realm of Love, in the realm of a giving Grace that wants to be ‘imitated’ – and to imitate giving means to become ‘givers’ ourselves. That’s why St. Francis (1181-1226) prays: O Lord, grant that I may not so much seek to be loved, as to love…”

Being free means ‘being free for the other,’ because the other has bound me to him. Only in relationship with the other am I free. – Quote by Dietrich Bonhoeffer.

We are relational beings. We don’t develop relationships ‘out of the blue’, from a primal ‘individual freedom’. On the contrary, it’s the quality of our relationships which decides whether we become free or not – are we led by fear, envy and pride or by trust, grace and truthful honesty?

This post might seem a little weird. I realize that. Few of my friends in the world of music understand why I like ‘hair metal’ so much. This particular brand of rock music has never been a favorite among established pop criticism. I discovered it as a kid, and I was attracted first by the colorful extravaganza of the bands, the big choruses of the songs and the sheer joy displayed in live shows. ‘Hair metal’ felt like summer to me. Later on I discovered that behind this joyful image there often lurked an empty world of drug abuse, superficial relationships without real intimacy and just plain decadence. Yet, at the same time, some of the songs had a melancholic feel which betrayed a longing for more sustainable experiences in life.

Guitarist C.C. DeVille articulates this longing of ‘the soul’ in the following interview. I combined it with quotes by famous thinkers, mostly Christian. One of my pupils, who commences studies in philosophy next year, convinced me to try working with quotes. So, here you have it. I hope I’m able to show in this way that C.C. DeVille really understands what Christianity is all about. Because, let’s face it, especially in the academic world we all too often look down on the so-called ‘superficial’ world of popular culture. Well, at the margins of that world, at what seems to be the pinnacle of superficiality, we have a band like Poison. I dare you, dear reader, to look beyond everything you think to know about bands like these, and to move beyond certain ‘mimetic’ processes which convinced you to dismiss the members of ‘glam metal’ bands. True, Poison might not have written the best songs ever, but I do believe their music is honest – ‘what you hear is what you get’. And if you’re still looking for unexpected complexity and sophistication in this music genre, try a band like Winger – great musicianship combined with the compositional talents of lead singer Kip Winger (as is evidenced by his solo efforts).

Now, watch the interview with C.C. – what you see is what you get –, and click here

– CLICK TO WATCH:

Klik hier voor een Nederlandstalige weergave van de gebruikte

CITATEN VAN (VOORAL CHRISTELIJKE) DENKERS (PDF).

My summer holiday started with a blast. Some of my friends are real opera connoisseurs and they invited me and my wife to experience Otello, a true operatic masterpiece of the Romantic era, composed by the great Italian composer Giuseppe Verdi (1813-1901). The libretto was provided by poet and musician Arrigo Boito (1842-1918), the play itself of course being one of William Shakespeare’s tragedies (in English written as Othello, Italian Otello).

René Girard wrote a very interesting book on Shakespeare’s oeuvre, A Theater of Envy. Chapter 31 of this book deals with Othello, entitled Shall we desire to raze the sanctuary? Desire and Death in Othello and other plays. The main characters of Othello are indeed driven by jealousy, by envy – a ‘force’ biblically and traditionally identified with ‘Satan’ or ‘the Devil’. Girard describes envy as the negative side of ‘mimetic’ or ‘imitative’ desire. When a desire is mimetic, it means this desire is based on the imitation of someone else’s desire. We often desire what others desire or possess, not because we intrinsically want to obtain a certain object or goal, but because we more or less unwittingly imitate each other’s desires. An imitated ‘other’ becomes a ‘model’ – someone who is admired – and an ‘obstacle’ at the same time – someone who is envied because of what he owns or is supposed to own; someone who ‘stands in the way’ between the mimetically created subject and object of desire.

Othello is an uncertain and tragic hero. As a dark-skinned Moorish general in the Venetian army, he’s not at ease in the aristocratic circles of Venice. Yet he finds himself married to Desdemona, daughter of a Venetian senator. Throughout the play Othello more and more becomes the puppet of his own uncertainties, as well as of others who ‘pull the strings’ of his worst fears. He first seeks refuge with Cassio, whom he highly admires and therefore will also start to distrust as a potential rival in his love for Desdemona. Othello’s relationship with Cassio (his ‘model-obstacle’), originating from his uncertainties, is at the heart of Othello’s eventual tragic downfall. René Girard in A Theater of Envy (in the edition of St. Augustine’s Press, South Bend, Indiana, 2004 – originally this title was edited by Oxford University Press, 1991) writes the following on the subject (p.290):

“At the thought of entering for the first time the exalted world of Venetian nobility, Othello is struck with panic and he… resorts to a go-between, his own lieutenant, Cassio. […] Cassio is everything that Othello is not: white, young, handsome, elegant, and above all a true Venetian aristocrat, a real man of the world, always at ease among the likes of Desdemona. Othello appreciates Cassio so much that he selects him rather than Iago as his lieutenant.”

Iago becomes the demonic machinator of the play, driven by envy himself. Jealous of Othello’s choice for Cassio, Iago sets up a trap by which he convinces Othello to lower Cassio’s rank. He then gains both Othello’s and Cassio’s trust: he advises Cassio to ask Desdemona to plead for him with her husband, while at the same time he suggests to Othello that Cassio is after his wife. So, every time Desdemona puts in a good word for Cassio, Othello’s suspicion as well as his desire to possess Desdemona ‘completely’ is reinforced (as he ‘imitates’ the supposed desire of Cassio). In order to fulfill his desire Othello eventually murders his wife – so she can no longer belong to Cassio or someone else. Girard is right to emphasize the close relationship between Eros (desire) and Thanatos (death) – p.294-295:

“Death… often has a sexual meaning in Shakespeare… Like everything else in Shakespeare, the kinship of death and desire can be read in either a comic or a tragic vein. Whether or not it ‘really occurs,’ and whether or not it is turned into a pun, the violent conclusion alludes to the overwhelming presence of death at the climax of the mimetic process. As desire becomes increasingly obsessed with the obstacles that it keeps generating, it moves inexorably toward self-and-other annihilation, just as erotic courtship moves toward its sexual fulfillment.”

In Verdi’s rendition of the play, the dramatic pinnacle lies in the second to last act of the opera, Act III. I chose fragments of this act from a 1995 performance, with Placido Domingo as Otello and Renée Fleming as Desdemona, at the famous Metropolitan Opera House (the Met) in New York. My friends and I were lucky enough to hear Renée Fleming as Desdemona once more at the Opéra de la Bastille in Paris, last Friday, July 1. The setting was different, but she was just as great…

CLICK TO WATCH the first part of Act III:

What strikes me the most in Act III, from a dramatic point of view, is Otello’s refusal to listen to his wife. He considers listening to her as taking advice from the devil. At this point in the libretto, Arrigo Boito refers to the Medieval Catholic formula for exorcisms, “Vade Retro, Satana” (recorded in a 1415 manuscript found in the Benedictine Metten Abbey of Bavaria). Otello sings “Indietro!” (“Aback!”), an important word that is not translated in the fragments shown. The aforementioned formula as well as this word are similar to Jesus saying to Peter “Get behind me, Satan” in Mark 8:33 or Matthew 16:23. There, Jesus refuses to listen to Peter because Peter tries to seduce him to compete with ‘the rulers of this world’. In other words, Peter takes the role of ‘Satan’, meaning that he tries to trick Jesus into ‘mimetic rivalry’. Peter tries to trick Jesus into enviously comparing himself to others ‘to protect himself’. With this in mind the tragic irony in Act III of Verdi’s Otello becomes obvious. Otello’s paranoia has become so powerful that he is no longer capable of hearing the truth. The truth is Desdemona is innocent, but she becomes the victim, the ‘scapegoat’ of Otello’s anxieties and frustrations. Otello believes he’s denouncing ‘Satan’, but in fact he actually takes advice from Iago’s hints and is consumed by envy.

Click to continue the important duet between Otello and Desdemona and keep enjoying two of the greatest singers of all time

– CLICK TO WATCH:

In the book Evolution and Conversion – Dialogues on the Origins of Culture (Continuum, London, New York, 2007), René Girard talks about popular culture and discusses the power of mass media. His approach is very nuanced, as he distinguishes between positive and negative aspects of these phenomena. He even dares to compare television series Seinfeld to the works of William Shakespeare (1564-1616). Girard develops his thoughts in a conversation with Pierpaolo Antonello and João Cezar de Castro Rocha. The seventh chapter, Modernity, Postmodernity and Beyond, reads the following (p.249-250):

Guy Debord wrote that ‘the spectacle is the material reconstruction of the religious illusion’ brought down to earth. Could we consider the expansion of the mass-media system, and the ideological use of it, as a ‘kathechetic’ instrument as well?

Of course, because it is based on a false form of transcendence, and therefore it has a containing power, but it is an unstable one. The conformism and the ethical agnosticism induced by media such as television could also produce forms of mimetic polarization at the mass level, making people more prone to be swayed by mimetic dynamics, inducing the much-feared populism in Western democracies.

Do you agree, however, that movies, TV and advertising draw heavily on mimetic principle, therefore increasing our awareness on this score?

Yes and no, because the majority of Hollywood or TV productions are very much based on the false romantic notion of the autonomy of the individual and the authenticity of his/her own desire. Of course there are exceptions, like the popular sit-com Seinfeld, which uses mimetic mechanisms constantly and depicts its characters as puppets of mimetic desire. I do not like the fact that Seinfeld constantly makes fun of high culture, which is nothing but mimetic snobbery, but it is a very clever and powerful show. It is also the only show which can afford to make fun of political correctness and can talk about important current phenomena such as the anorexia and bulimia epidemic, which clearly have strong mimetic components. From a moral point of view, it is a hellish description of our contemporary world, but at the same time, it shows a tremendous amount of talent and there are powerful insights regarding our mimetic situations.

Seinfeld is a show that gets closer to the mimetic mechanism than most, and indeed is also hugely successful. How do you explain that?

In order to be successful an artist must come as close as he can to some important social truth without inciting painful self-criticism in the spectators. This is what this show did. People do not have to understand fully in order to appreciate. They must not understand. They identify themselves with what these characters do because they do it too. They recognize something that is very common and very true, but they cannot define it. Probably the contemporaries of Shakespeare appreciated his portrayal of human relations in the same way we enjoy Seinfeld, without really understanding his perspicaciousness regarding mimetic interaction. I must say that there is more social reality in Seinfeld than in most academic sociology.”

Maybe a small example can lift a tip of the veil. I chose a short excerpt from Seinfeld’s episode 88 (season 6, episode 2, The Big Salad). Jerry Seinfeld is dating a nice lady. However, when he finds out his annoying neighbor Newman is her former lover, his face darkens… One doesn’t have to watch the whole episode to know what will happen next. Indeed, Jerry eventually breaks up with his date, imitating what Newman did and ‘ending it’. The reason Jerry’s desire for his girlfriend diminishes precisely lies in the often imitative or, as Girard would call it, ‘mimetic’ nature of desire. Jerry just doesn’t desire his date directly all the way, but he is – like all of us – sometimes heavily influenced by certain models who point out what he should or should not desire. In this case, Newman turns out to be a model who negatively influences Jerry’s desire…

This scene is fun, because it’s all too recognizable and it mirrors some aspects of our tragic comic behavior – good, refined humor as it should be!

Click to watch:

SCROLL DOWN FOR RECENT POSTS AND VIDEOS

MIMETIC THEORY (RENÉ GIRARD) – FIVE-PART VIDEO SERIES (11 VIDEOS)

The following five-part video series provides a preliminary understanding of human culture from the perspective of mimetic theory, which was first developed by René Girard (1923-2015).

I made the first parts to give an overview of some basic cultural facts. The later parts of the video series deal with mimetic theory’s explanation of those facts, ending with the role of the Judeo-Christian heritage in making that type of explanation possible. The last part of the series (PART V) clarifies how the Judeo-Christian traditions result in either a radical atheism or a radically new understanding of God.

CLICK HERE TO READ SOME INTRODUCTORY REMARKS FOR EACH VIDEO AND TO SEE AN OVERVIEW OF THEIR CONTENT (PDF)

CLICK HERE TO LEARN MORE ABOUT THE MUSIC USED IN THE SERIES (PDF)

OVER HET STATUUT VAN WETENSCHAPPELIJK ONDERZOEK NAAR RELIGIEUZE SYSTEMEN (PDF)

SCHEMA SACRALISERINGSPROCES + VOORBEELDEN (PDF)

NEDERLANDSTALIGE VERWERKINGSTAKEN BIJ DE VIDEOSERIE (PDF)

JEZUS VAN NAZARETH IS GEEN KLASSIEK MYTHOLOGISCHE HELD, EN NET DAAROM IS HIJ ‘CHRISTUS’ (PDF)

KLIK HIER OM ‘EEN KRUIS OVER RELIGIE?’ TE LEZEN (MET EEN INLEIDING OP DE FILOSOFIE EN DE INTERRELIGIEUZE DIALOOG)

KLIK HIER OM ‘GODSDIENSTONDERWIJS 2.0’ TE LEZEN

An older, three-part video series on mimetic theory is also available below.

PART I – THE SPELL OF THE SACRED

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PART II – THE DANCE OF THE SACRED (3 VIDEOS)

CHAPTER I-II-III

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CHAPTER IV

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CHAPTER V

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PART III – THE MYTHICAL REFLECTION OF THE AMBIGUOUS SACRED (3 VIDEOS)

CHAPTER I-II

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CHAPTER III-IV

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CHAPTER V-VI

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PART IV – THE ORIGIN AND EVOLUTION OF CULTURAL FACTS EXPLAINED (2 VIDEOS)

CHAPTER I-II

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CHAPTER III-IV

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PART V – THE GOSPEL REVELATION OF THE MYTHICAL LIE (2 VIDEOS)

CHAPTER I

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CHAPTER II

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WATCH ALSO: GIRARD ON THE ORIGIN OF RELIGION (CLICK HERE)

CLICK HERE FOR FAQs (FROM RAVEN FOUNDATION)

KLIK HIER VOOR VERTALING VAN FAQs OVER DE MIMETISCHE THEORIE

I compiled the following, older documentary film On the Origin of Cultures, in three parts, introducing some major topics of mimetic theory and René Girard’s thinking. Transcription of the videos (in English & Dutch) is available below, beneath PART III.

PART I of the film explores the fundamental role of mimesis (imitation) in human development on several levels (biological, psychological, sociological, cultural). René Girard’s originality lies in his  introduction of a connection between this old philosophical concept and human desire. He speaks of a certain mimetic desire and ascribes to it a vital role in our social interaction. It explains our often competitive and envious tendencies. More specifically, Girard considers mimetic desire as the source for a type of conflict that is foundational to the way human culture originates and develops. In his view the primal cultural institutions are religious. Following a sociologist like Émile Durkheim, Girard first considers religion as a means to organize our social fabric, and to manage violence within communities.

The more specific question the first part of this documentary tries to answer is the following: where do sacrifices, as rituals belonging to the first signs of human culture, originally come from? How can they be explained? Click to watch:

PART II starts off with a summary and then further insists on the fundamental role of the so-called scapegoat mechanism at the origin of religious and cultural phenomena.

PART III explores the world of mythology and human storytelling in the light of Girard’s theory on certain types of culture founding conflicts and scapegoat mechanisms. Girard comes to surprising conclusions regarding storytelling in Judeo-Christian Scripture. 

CLICK HERE FOR FULL VIDEO TRANSCRIPTION (PDF)

KLIK HIER VOOR EEN VERTALING (PDF)

KLIK HIER VOOR EEN OVERZICHT (PDF)

CURSUSMATERIAAL AFGELEID VAN VROUWEN, JEZUS EN ROCK-‘N-ROLL

COURSE MATERIAL BASED ON VROUWEN, JEZUS EN ROCK ‘N’ ROLL