Sandor Goodhart – författare

This collection of essays focuses on sacrifice in the context of Jewish and Christian scripture and is inspired by the thought and writings of René Girard. The contributors engage in a dialogue with Girard in their search for answers to key questions about the relation between religion and violence. The book is divided into two parts. The first opens with a conversation in which René Girard and Sandor Goodhart explore the relation between imitation and violence throughout human history, especially in religious culture. It is followed by essays on the subject of sacrifice contributed by some of the most distinguished scholars in the field, including Bruce Chilton, Robert Daly, Louis Feldman, Michael Fishbane, Erich Gruen, and Alan Segal. The second part contains essays on specific scriptural texts (Abraham's sacrifice of Isaac in Genesis 22 and the book of Job in the Jewish tradition, the Gospel and Epistles in the Christian tradition). The authors explore new ways of applying Girardian analysis to episodes of sacrifice and scapegoating, demonstrating that fertile ground remains to further our understanding of violence in the Hebrew and Christian scriptures.Contributors: Sandor Goodhart, Ann W. Astell, René Girard, Thomas Ryba, Michael Fishbane, Bruce Chilton, Robert Daly, S.J., Alan F. Segal, Louis H. Feldman, Erich S. Gruen, Stuart D. Robertson, Matthew Pattillo, Stephen Stern, Chris Allen Carter, William Morrow, William Martin Aiken, Gérard Rossé, Christopher S. Morrissey, Poong-In Lee, Anthony Bartlett

This collection of essays focuses on sacrifice in the context of Jewish and Christian scripture and is inspired by the thought and writings of René Girard. The contributors engage in a dialogue with Girard in their search for answers to key questions about the relation between religion and violence. The book is divided into two parts. The first opens with a conversation in which René Girard and Sandor Goodhart explore the relation between imitation and violence throughout human history, especially in religious culture. It is followed by essays on the subject of sacrifice contributed by some of the most distinguished scholars in the field, including Bruce Chilton, Robert Daly, Louis Feldman, Michael Fishbane, Erich Gruen, and Alan Segal. The second part contains essays on specific scriptural texts (Abraham's sacrifice of Isaac in Genesis 22 and the book of Job in the Jewish tradition, the Gospel and Epistles in the Christian tradition). The authors explore new ways of applying Girardian analysis to episodes of sacrifice and scapegoating, demonstrating that fertile ground remains to further our understanding of violence in the Hebrew and Christian scriptures.Contributors: Sandor Goodhart, Ann W. Astell, René Girard, Thomas Ryba, Michael Fishbane, Bruce Chilton, Robert Daly, S.J., Alan F. Segal, Louis H. Feldman, Erich S. Gruen, Stuart D. Robertson, Matthew Pattillo, Stephen Stern, Chris Allen Carter, William Morrow, William Martin Aiken, Gérard Rossé, Christopher S. Morrissey, Poong-In Lee, Anthony Bartlett

Stephen Sondheim is arguably the most important writer for the American musical stage today, the equivalent in his field of Miller, Albee, O'Neill, and Williams. Yet he has rarely been treated seriously within the academy. Reading Stephen Sondheim: A Collection of Critical Essays is an attempt to remedy that situation. Bringing together scholars and critics from a wide variety of literary and theoretical perspectives, this book undertakes to examine all of Sondheim's major productions and themes.

Stephen Sondheim is arguably the most important writer for the American musical stage today, the equivalent in his field of Miller, Albee, O'Neill, and Williams. Yet he has rarely been treated seriously within the academy. Reading Stephen Sondheim: A Collection of Critical Essays is an attempt to remedy that situation. Bringing together scholars and critics from a wide variety of literary and theoretical perspectives, this book undertakes to examine all of Sondheim's major productions and themes.

In his explorations of the relations between the sacred and violence, René Girard has hit upon the origin of culture—the way culture began, the way it continues to organize itself. The way communities of human beings structure themselves in a manner that is different from that of other species on the planet.Like Albert Einstein, Sigmund Freud, Émile Durkheim, Martin Buber, or others who have changed the way we think in the humanities or in the human sciences, Girard has put forth a set of ideas that have altered our perceptions of the world in which we function. We will never be able to think the same way again about mimetic desire, about the scapegoat mechanism, and about the role of Jewish and Christian scripture in explaining sacrifice, violence, and the crises from which our culture has been born.The contributions fall into roughly four areas of interpretive work: religion and religious study; literary study; the philosophy of social science; and psychological studies.The essays presented here are offered as "essays" in the older French sense of attempts (essayer) or trials of ideas, as indeed Girard has tried out ideas with us. With a conscious echo of Montaigne, then, this hommage volume is titled Essays in Friendship and in Truth.

Stephen Sondheim is arguably the most important writer for the American musical stage today, the equivalent in his field of Miller, Albee, O''Neill, and Williams. Yet he has rarely been treated seriously within the academy. Reading Stephen Sondheim: A Collection of Critical Essays is an attempt to remedy that situation. Bringing together scholars and critics from a wide variety of literary and theoretical perspectives, this book undertakes to examine all of Sondheim''s major productions and themes.

Stephen Sondheim is arguably the most important writer for the American musical stage today, the equivalent in his field of Miller, Albee, O''Neill, and Williams. Yet he has rarely been treated seriously within the academy. Reading Stephen Sondheim: A Collection of Critical Essays is an attempt to remedy that situation. Bringing together scholars and critics from a wide variety of literary and theoretical perspectives, this book undertakes to examine all of Sondheim''s major productions and themes.

As artificial intelligence assumes increasing prominence in our lives, a host of questions arise, particularly if one holds a view of humans as inherently social or mimetic, such as René Girard. Does the potential for self-awareness in artificial intelligence come with mimetic desire in the way Girard claims it does for human beings?Thomas Ryba and Sandor Goodhart bring together a team of renowned scholars to theorize artificial intelligence from a Girardian perspective for the first time. Chapters present cutting edge reflections on Girard’s mimetic theory in connection with science, humans, fiction, film, philosophy and God, shedding light on artificial intelligence and the consequences of the implementation of humanoid robots into daily life. In Part I, each argument is followed by a response, spanning topics from the philosophic foundations of mimetic theory and cognitive science through to scapegoating, mimesis, and the human future. Drawing on close interpretative readings of films, including A.I. Artificial Intelligence, Ex Machina and HER, as well as literary productions, philosophic essays and theological concepts, it offers a novel approach to utilize the seminal ideas of Girard. Setting out new challenges and insights, this interdisciplinary volume is an essential starting point for students and scholars of Girard, mimetic theory, artificial intelligence, robotics, film, philosophy of religion and ethics.

As artificial intelligence assumes increasing prominence in our lives, a host of questions arise, particularly if one holds a view of humans as inherently social or mimetic, such as Ren Girard. Does the potential for self-awareness in artificial intelligence come with mimetic desire in the way Girard claims it does for human beings?Thomas Ryba and Sandor Goodhart bring together a team of renowned scholars to theorize artificial intelligence from a Girardian perspective for the first time. Chapters present cutting edge reflections on Girard's mimetic theory in connection with science, humans, fiction, film, philosophy and God, shedding light on artificial intelligence and the consequences of the implementation of humanoid robots into daily life. In Part I, each argument is followed by a response, spanning topics from the philosophic foundations of mimetic theory and cognitive science through to scapegoating, mimesis, and the human future. Drawing on close interpretative readings of films, including A.I. Artificial Intelligence, Ex Machina and HER, as well as literary productions, philosophic essays and theological concepts, it offers a novel approach to utilize the seminal ideas of Girard. Setting out new challenges and insights, this interdisciplinary volume is an essential starting point for students and scholars of Girard, mimetic theory, artificial intelligence, robotics, film, philosophy of religion and ethics.

As artificial intelligence assumes increasing prominence in our lives, a host of questions arise, particularly if one holds a view of humans as inherently social or mimetic, such as Ren Girard. Does the potential for self-awareness in artificial intelligence come with mimetic desire in the way Girard claims it does for human beings?Thomas Ryba and Sandor Goodhart bring together a team of renowned scholars to theorize artificial intelligence from a Girardian perspective for the first time. Chapters present cutting edge reflections on Girard's mimetic theory in connection with science, humans, fiction, film, philosophy and God, shedding light on artificial intelligence and the consequences of the implementation of humanoid robots into daily life. In Part I, each argument is followed by a response, spanning topics from the philosophic foundations of mimetic theory and cognitive science through to scapegoating, mimesis, and the human future. Drawing on close interpretative readings of films, including A.I. Artificial Intelligence, Ex Machina and HER, as well as literary productions, philosophic essays and theological concepts, it offers a novel approach to utilize the seminal ideas of Girard. Setting out new challenges and insights, this interdisciplinary volume is an essential starting point for students and scholars of Girard, mimetic theory, artificial intelligence, robotics, film, philosophy of religion and ethics.

“I died at Auschwitz,” French writer Charlotte Delbo asserts, “and nobody knows it.” Möbian Nights: Reading Literature and Darkness develops a new understanding of literary reading: that in the wake of disasters like the Holocaust, death remains a premise of our experience rather than a future. Challenging customary “aesthetic” assumptions that we write in order not to die, Sandor Goodhart suggests (with Kafka) we write to die. Drawing upon analyses developed by Girard, Foucault, Blanchot, and Levinas (along with examples from Homer to Beckett), Möbian Nights proposes that all literature works “autobiographically”, which is to say, in the wake of disaster; with the credo “I died; therefore, I am”; and for which the language of topology (for example, the “Möbius strip”) offers a vocabulary for naming the “deep structure” of such literary, critical, and scriptural sacrificial and anti-sacrificial dynamics.

“I died at Auschwitz,” French writer Charlotte Delbo asserts, “and nobody knows it.” Möbian Nights: Reading Literature and Darkness develops a new understanding of literary reading: that in the wake of disasters like the Holocaust, death remains a premise of our experience rather than a future. Challenging customary “aesthetic” assumptions that we write in order not to die, Sandor Goodhart suggests (with Kafka) we write to die. Drawing upon analyses developed by Girard, Foucault, Blanchot, and Levinas (along with examples from Homer to Beckett), Möbian Nights proposes that all literature works “autobiographically”, which is to say, in the wake of disaster; with the credo “I died; therefore, I am”; and for which the language of topology (for example, the “Möbius strip”) offers a vocabulary for naming the “deep structure” of such literary, critical, and scriptural sacrificial and anti-sacrificial dynamics.

“I died at Auschwitz,” French writer Charlotte Delbo asserts, “and nobody knows it.” Möbian Nights: Reading Literature and Darkness develops a new understanding of literary reading: that in the wake of disasters like the Holocaust, death remains a premise of our experience rather than a future. Challenging customary “aesthetic” assumptions that we write in order not to die, Sandor Goodhart suggests (with Kafka) we write to die. Drawing upon analyses developed by Girard, Foucault, Blanchot, and Levinas (along with examples from Homer to Beckett), Möbian Nights proposes that all literature works “autobiographically”, which is to say, in the wake of disaster; with the credo “I died; therefore, I am”; and for which the language of topology (for example, the “Möbius strip”) offers a vocabulary for naming the “deep structure” of such literary, critical, and scriptural sacrificial and anti-sacrificial dynamics.

“I died at Auschwitz,” French writer Charlotte Delbo asserts, “and nobody knows it.” Möbian Nights: Reading Literature and Darkness develops a new understanding of literary reading: that in the wake of disasters like the Holocaust, death remains a premise of our experience rather than a future. Challenging customary “aesthetic” assumptions that we write in order not to die, Sandor Goodhart suggests (with Kafka) we write to die. Drawing upon analyses developed by Girard, Foucault, Blanchot, and Levinas (along with examples from Homer to Beckett), Möbian Nights proposes that all literature works “autobiographically”, which is to say, in the wake of disaster; with the credo “I died; therefore, I am”; and for which the language of topology (for example, the “Möbius strip”) offers a vocabulary for naming the “deep structure” of such literary, critical, and scriptural sacrificial and anti-sacrificial dynamics.

Scholars have used Levinas as a lens through which to view many authors and texts, fields of endeavor, and works of art. Yet no book-length work or dedicated volume has brought this thoughtful lens to bear in a sustained discussion of the works of Shakespeare. It should not surprise anyone that Levinas identified his own thinking as Shakespearean. ""The play’s the thing"" for both, or put differently,the observation of intersubjectivity is. What may surprise and indeed delightall learned readers is to consider what we might yet gain from considering eachin light of the other.Comprising leadingscholars in philosophy and literature, Of Levinas and Shakespeare: ""To See Another Thus"" is the firstbook-length work to treat both great thinkers. Lear, Hamlet, and Macbeth dominate the discussion; however, essays also address Cymbeline,The Merchant of Venice, and even poetry, such as Venus and Adonis. Volume editors planned and contributors deliver a thorough treatment from multiple perspectives, yet none intends this volume to be the last word on the subject; rather, they would have it be a provocation to further discussion, anenticement for richer enjoyment, and an invitation for deeper contemplation of Levinas and Shakespeare.

To read literature is to read the way literature reads. René Girard’s immense body of work supports this thesis bountifully. Whether engaging the European novel, ancient Greek tragedy, Shakespeare’s plays, or Jewish and Christian scripture, Girard teaches us to read prophetically, not by offering a method he has developed, but by presenting the methodologies they have developed, the interpretative readings already available within (and constitutive of) such bodies of classical writing. In The Prophetic Law, literary scholar, theorist, and critic Sandor Goodhart divides his essays on René Girard since 1983 into four groupings. In three, he addresses Girardian concerns with Biblical scripture (Genesis and Exodus), literature (the European novel and Shakespeare), and philosophy and religious studies issues (especially ethical and Jewish subject matters). In a fourth section, he reproduces some of the polemical exchanges in which he has participated with others—including René Girard himself—as part of what could justly be deemed Jewish-Christian dialogue. The twelve texts that make up the heart of this captivating volume constitute the bulk of the author’s writings to date on Girard outside of his three previous books on Girardian topics. Taken together, they offer a comprehensive engagement with Girard’s sharpest and most original literary, anthropological, and scriptural insights.