In lieu of an abstract, here is a brief excerpt of the content:Collective Violence, Sacrifice, and Conflict Resolution in the Works of Paul Claudel Christopher G. Flood University ofSurrey, England Claudel's career as a writer spanned almost seventy years, from the 1880s to the 1950s. The publication of his collected works now runs to twenty-nine large volumes, excluding his correspondence and diaries, so a brief overview of any particular dimension of his writing must necessarily be reductive. On the other hand, (...) Claudel's work lends itself particularly well to discussion in terms of the relationship between violence, sacrifice and religion. In a valuable study published more than twenty years ago under the title, Claudel et l'usurpateur, Jacques Petit drew attention to the recurrence in Claudel's plays, and in many of his non- fictional writings, of a narrative structure hinging on acts of usurpation and counter-usurpation. There is a pattern of conflictual rivalry, domination and coercion, whereby acts of aggression are ultimately legitimized, or in some sense excused, in the light of a positive outcome, providential necessity and/or reconciliation between usurper and victim. Claudel's world is indeed "a world of violence," as Petit puts it (79, ch. title).1 It is also a world ofreligion: after his return to the Catholic Church in 1890, all of Claudel's major dramatic works intermesh the process of usurpation with themes deriving from his religious beliefs, and the same is true of many of his non-fictional writings. My aim is not to reinvent the wheel by going back over all of the terrain mapped out by Petit. Nor do I intend to rework Petit's empirical model wholesale in the light of René Girard's anthropological model of mimetic desire and sacrificial violence, although there are obvious areas of convergence between them. However, I shall draw implicitly on both, in order to Translations throughout this paper are my own. 160Christopher G. Flood argue that the notion of sacrifice, which is central to the resolution of rivalries in Claudel's major plays, is transformed into an idiosyncratic conception of international conflict resolution in various non-fictional writings which emerge from his forty years of experience in his parallel career as a profes sional diplomat.2 1 shall start with a schematic discussion of certain features of the plays. The first point relates to Claudel's assumptions concerning the mechanisms involved in the outbreak of individual or collective violence. It needs to be emphasized that in his plays the path towards violence is always opened by a withdrawal or weakening of temporal and/or spiritual authority. This allows the crystallization, and the direct expression, of latent rivalries which eventually lead to an explosion of aggression. The causes of the violence invariably center on the fact that one individual or group is in possession of an object which is coveted by another individual or group. The question of whether Claudel himself appears to recognize a mimetic element in this pattern of behavior would be too complex, and too fraught with imponderables, to discuss here, but there are some indications that he does so. Whatever the case, in the absence of authority, rivalry and jealousy engender verbal, and usually physical conflict, culminating in usurpation of the desired object. Thus, for example, in Tête d'or, the elderly Emperor of the unnamed kingdom has neither the authority nor the resolution to defend his kingdom against external invasion, or against the man who saves the kingdom only to usurp the throne and murder the Emperor himself.3 Similarly, in the second version of La Ville, neither Besme, the positivistic scientist and plutocrat who has created the godless City, nor his brother Lambert, the former politician, has the will to maintain or defend the society against the tensions emerging within it. Thus, the City dissolves first into immobility, then revolution. Or again, in the family drama of La Jeune Fille Violaine (second version), the obsessional rage andjealousy ofMara towards her elder sister, Violaine, explodes into coercion, slander, and horrific violence when their father absents himself from the farm for an indefinite period, leaving Violaine to marry Jacques Hury: the fact that Hury loves Violaine, but does not love Mara, makes the latter all the... (shrink)