Editor’s note: Raymund Schwager published the original German version of this text in 1985 . He had already presented an English translation one year earlier at a symposium on Girard’s thinking in Provo, Utah. Fortunately, this translation has been preserved in the Innsbruck “Raymund Schwager-Archive” and can, therefore, now be published for the first time. However, the translator is not known, so due credit cannot be given here. In preparation, this translation had to be revised, orthographic and other (...) mistakes had to be corrected, and footnotes, which Schwager had put in the German but not in the English .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Suffering, Victims, and Poetic Inspiration Raymund Schwager University ofInnsbruck Poetic inspiration has something to do with the divine. The Greek tragedies are classic examples of that. The poets regarded themselves as inspired by the divine Muses, and in their works the gods are quite naturally present in the lives of human beings. Sometimes the gods treat them in a friendly way, sometimes they spur on conflicts or even (...) inspire human beings to take revenge upon one another. At the end of some tragedies the gods appear as a deus ex machina who brings everything to resolution, or at least pretends to do so. Nevertheless, it is not these various gods, but rather human beings themselves, suffering human beings more precisely, who are at the center of this dramatic event inspired by the divine Muses. Human beings suffer because they come into conflict with each other and fall victim to the vengeful and violent acts of others. In the Greek tragedies human beings do not act in a calm and sensible way. Rather, they are in bondage to their passions, and through these passions the gods speak to them. While performing a sacrifice of purification and thanksgiving, Heracles flies into a rage inspired by several of the goddesses and slaughters his own children. In a Dionysian frenzy Agaue and her companions tear apart her own son. Orestes, believing himself to be obeying a command of Apollo, kills his mother, who had committed adultery and murdered her own husband. And above all, the great, genocidal war of Troy did not so much originate in the longing of Paris for Helen, as in a dispute between the gods. In every respect human beings seem to be more the victims of the gods than themselves wicked persons who commit evil deeds—and they are above all the ones who suffer the most. Helen, the "cause" of the massive slaughter of the Trojan war, is exclusively depicted by Euripides in the role of one who suffers greatly, indeed even beyond the bounds ofhuman endurance. Even Medea, who goes so far as to kill her own children, is not 64Raymund Schwager depicted by the same poet as a moral monster, but as a woman overwhelmed by boundless grief. The gods thus appear in a somewhat murky light: they are indispensable to the poets' purpose yet at the same time severely criticized. For Euripides they are often much worse than human beings. In his Heracles, he goes so far in his irony as to depict the goddess of vengeance herself criticizing Hera, who makes Heracles suffer in order to quench her thirst for revenge which was caused by the unfaithfulness of her husband Zeus. Euripides considers all these stories of gods to be humanly-contrived fables. Nevertheless, he also believes that there can be no drama without the gods. How could the mysterious depths of human passions be understood without the gods? If the poet had no one to indict except other human beings, his works would quickly become nothing but tepid moral tracts. The gods are indispensable and yet they must be criticized: the poetic inspiration in the Greek tragedies thrives on ambiguity. Suffering humanity is confronted with an incomprehensible fate which only the poet's ambiguous parables and images are able to depict. The great suffering figures in the tragedies of Euripides find their echo in another tradition's suffering figure, whose fate is also depicted in poetic words. A suffering figure who also both listens to and argues with his God: Job. A misfortune has befallen Job, which he simply cannot understand. And while even his alleged friends torment him, he suffers even more from his God. Job feels persecuted by God, tormented and driven to despair. Job would like to argue with God and even take him to court. But he cannot do so. He experiences God as an invisible enemy who is present everywhere. Nevertheless, he turns to this same God in his deepest distress and is confident of finding a savior in him. The God of Job is contradictory: this is a God on whom Job can rely but with whom he must also struggle. However, it is just this contradiction... (shrink)

In a letter to Raymund Schwager from October 1991, René Girard arrived at a very critical verdict concerning his 1978 book Things Hidden since the Foundation of the World—the very book about which he had written almost one and a half decades before, that it contained the “essence of what I have to say” and “clarified and dissipated former misunderstandings.”1 The reason for this change of mind was Raymund Schwager himself, who had sent him the manuscript of a (...) paper on “Mimesis and Freedom” he had presented seven years earlier, in 1984, at a symposium on Girard’s thinking in Provo, Utah.2 For Girard, who had actually attended the Provo symposium, this text as such was, naturally, not new. And it was not new for him .. (shrink)

Raymund Schwager SJ suggested a dramatic way of looking at the Christ event, as recorded in the New Testament, in order to clarify the meaning of it and provide a coherent picture. Bernard Lonergan SJ developed a theological methodology for our day. In this article, the author tries to determine how Schwager's approach relates to Lonergan's methodology. He wants to investigate the question: what functional specialty is Schwager engaged in in his main work? The answer shall be that this (...) is foundations. The author of the article proceeds by (1) introducing the most important elements of Schwager's dramatic understanding of the Christ event and (2) of Lonergan's methodology, and then by linking them with one another; (3) he will try to show how Schwager's subdivision of the Christ event into five acts brings out the contours of Jesus' struggle with his opponents as an instance of dialectic in Lonergan's sense; (4) that the Easter experience will be construed as a new, foundational, act that objectifies conversion to human authenticity; and that (5) by discerning all this in the Christ event dramatic theology defines soteriology as the horizon within which Christian doctrines and systematics have to stand and elucidates the way soteriology should be construed; that way dramatic theology determines itself as a foundational enterprise. For the author of the article, this constitutes an exemplary case of the genesis of special theological categories. /// Segundo o artigo, Raymund Schwager SJ propôs um modo dramático de encarar o acontecimento crístico, tal como o mesmo nos é relatado nos textos do Novo Testamento, em ordem a clarificar o seu sentido e a oferecer-nos uma imagem coerente do mesmo. Por seu lado, Bernard Lonergan SJ desenvolveu uma metodologia teológica adequada às exigências do nosso tempo. Assim, o autor do artigo propõe-se determinar de que modo a abordagem de Schwager está relacionada com a metodologia de Lonergan. O seu objectivo é investigar a seguinte questão: qual é a especialidade funcional com que Schwager se compromete na sua principal obra? A resposta será que se trata das fundações. Com isso, o artigo desenvolve-se da seguinte maneira: (1) introdução dos elementos mais importantes na compreensão dramática de Schwager acerca do acontecimento crístico; (2) introdução dos elementos mais importantes da metodologia lonerganiana, para depois os relacionar um ao outro; (3) mostrar de que modo a subdivisão de Schwager do acontecimento crístico em cinco actos é capaz de trazer ao de cima os contornos da luta de Jesus com os seus opositores como uma instância dialéctica no sentido de Lonergan; (4) mostrar de que modo a experiência pascal pode ser construída como um novo, e fundacional, acto que objectiva a conversão à autenticidade humana; (5) mostrar até que ponto mediante o discernimento de tudo isto no acontecimento crístico, a teologia dramática define a soteriologia como o horizonte dentro do qual as doutrinas cristãs e a sistemática teológica têm de se afirmar e elucida o modo como a sotereologia tem de ser construída. Deste modo, a teologia dramática determina-se a si mesma como um empreendimento fundacional. Para o autor do artigo, trata-se aqui de um caso exemplar no que respeita à génese de categorias teológicas especiais. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE MARVELOUS EXCHANGE: RAYMUND SCHWAGER'S INTERPRETATION OF THE ffiSTORY OF SOTERIOLOGY JOHNP. GALVIN The Oath-Olia University of America Washington, D.O. IN A WIDE-RANGING series of studies of disparate material, the French ethnologist and literary critic Rene Girard has proposed 'a remarkably comprehensive anthropological theory. Girard identifies imitation, which inevita.bly issues in rivalry and violence, as the decisive force in human conduct. In primitive societies,,Jacking centralized civil authority and (...) confronted with recurrent threats to survival, a fragile social order is preserved solely by discharging violence upon an arbitrarily chosen victim. According to Girard's analyses, periodic ritual reenactment of this primal event is the source of all great social institutions; the "scapegoat mechanism " thus lies at the root of human culture.1 While Girard has devoted increasing attention to examining the Judeo-Christian tradition from the perspective of his anthropology,2 more thorough application of his thought to Christian theological themes has been undertaken by Raymund Schwager, a Swiss Jesuit professor of dogmatics at the University of Innsbruck. In a book published in 1978, Schwager argued that Girard's theory offers a useful framework for addressing various biblical issues (the pervasiveness 1 Cf. especially Violence and the Sacred (Baltimore: Johns Hopkins, 1977) ; Des choses cachees depuis la fondation du monde (Paris: Grasset & Fasquelle, 1978); The Scapegoat (Baltimore: John Hopkins, 1986). For discussion of the bearing of Girard's thought on biblical issues cf. Robert North, "Violence and the Bible: The Girard Connection," OBQ 47 (1985), 1-27. 2 Cf. esp. Des choses cachees depuis la fondation du monde, pp. 163-304. 675 676 JOHN P. GALVIN of violence in the Old Testament; the diversity of Old Testament depictions of God; the prophetic critique of sacrifice; and the salvific significance of Jesus' public life and death) which have pvoven intractable from other perspectives.3 Since the appearance of that work, he has extended his testing of the theological value of Girard's thought, chiefly through publication of a series of ten articles in the Zeitschrift fur katholische Theologie on major figures and themes from the history of soteriology. These essays, always conceived as an integral whole, have now been gathered in a single volume; as a unit, they form a significant account of the history of Christian thinking on a central theological topic.4 Sohwa;ger devotes his first six studies to the patristic period. His historical survey begins with an examination of the contrasting soteriologies of Marcion and Irenaeus, under the title " The God of the Old Testament and the God of the Crucified " (pp. 7-31). Marcion's questioning of the inner unity of the Old Testament 1 and the apostolic writings led him to reject the Old Testament as the revelation of a creator God of rigorous justice, far inferior to the God of love manifest in Jesus Christ. Corruption of Christ's teachings by his disciples led to the calling of Paul, who alone preached the gospel in pure form. Marcion 1 therefore assembled a canon of Pauline writings (minus alleged regressive intevpolations) rand reconstructed f:vom Lu~e what he judged to he the sole authentic written gospel, one communicated directly to Paul hy Christ. In opposition to such Gnostic thought, Irenaeus rejected any dualism in the understanding of creation and :vedemption and a Brauahen wir einen Siindenbook?: Gewalt und ErlOsung in den biblisohen Sohriften (Munich: Kosel, 1978); an English translation has recently been published: Must There Be Scapegoats?: Violenoe and Redemption in the Bible (San Francisco: Harper & Row, 1987). For presentation and discussion of this stage of Schwager's work cf. John P. Galvin, "Jesus as Scapegoat?: Violence and the Sacred in the Theology of Raymund Schwager," Thomist 46 (1982), 173-194. 4 Der wunderbare Tausoh: Zur Gesohichte und Deutung der ErlOsungslehre (Munich: Kosel, 1986). Pp. 327. DM 34.00. RAYMUND SCHWAGEll AND SOTERlOLOGY 677 consequently defended the unity of the two testaments. Their distinct economies of salvation result from a wise divine pedagogy, ev;er attentive to different stages in the gradual maturation of the human raee. The Old Testament is a preparation for the recapitulation of all things in Christ; it should be understood typologically, iby reference to its... (shrink)

Three years before René Girard published La violence et le sacré, a Jesuit doctoral candidate at the University of Fribourg began a short essay entitled “Unterwegs zu einer toleranten Kirche” in April 1969 with this claim: “Hexenjadgen gab es auf die eine oder andere Weise zu allen Zeiten”. After having asserted that it is a universal feature of human existence to elevate customs, laws, thought patterns, and other interests to absolute norms, he argued, “Im Namen dieser Normen stießen sie dann (...) einzelne oder Minderheiten aus ihrer Gemeinschaft aus und trieben sie in die Vereinsamung und oft sogar in den physischen Tod” (In... (shrink)

The publication of the following four articles is the result of a Colloquium on Violence and Religion session at the American Academy of Religion annual meeting in Baltimore, Maryland, on November, 24, 2013.It is unbelievable, but on February 27, 2014, Raymund Schwager, SJ, the Innsbruck dogmatics professor and first president of the COV&R, will have been dead already for ten years. Sometime after his sudden death in 2004, his office had to be cleared out, and when this sad work (...) was begun, it soon became clear that there was a treasure to be retrieved: letters, typescripts, drafts for a book, and several articles, along with other academic material. Józef Niewiadomski, who was Schwager’s successor as .. (shrink)

Karin Peter and Nikolaus Wandinger, James G. Williams, and Mathias Moosbrugger give in their essays in this volume of Contagion some basic information about the correspondence between these two “beautiful minds”: René Girard and Raymund Schwager. I would now like to go “step-by-step” along the way of some selected letters, and this only insofar as they discussed the question of sacrifice.1 Going this way the reader can get an idea how these two men were dealing with each other. These (...) excerpts show on the one hand the dynamic of their correspondence, on the other hand the different positions of the partners. Girard is not a theologian, so he shows uncertainty with regard to theological questions. Schwager is firmly .. (shrink)

My friendship with René Girard and Raymund Schwager has been of utmost significance for my life and work; therefore it is an honor to share some of my reflections on their correspondence. I should point out that I know René Girard much better than I knew Raymund Schwager. I first met Girard in 1987, and I have been with him many times in the classroom, in seminars, in his home, and on the telephone. However, I do feel that (...) in 1991 I became a friend of Raymund Schwager quickly in a deep spiritual way. This friendship continued and deepened until his death in 2004, even though I saw him and conversed with him far fewer times than with Girard. I have treasured my friendship with both of them and learned much from .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imitation, Violence, and ExchangeGirard and MaussPer Bjørnar Grande (bio)RECIPROCAL VIOLENCE AND THE DESIRE FOR WHAT THE OTHER DESIRESIn this article, I would like to draw attention to the potentially violent outcome of exchange interactions between individuals and groups. Both Girard and Mauss examine violence in a wider social and political process.1 According to Mauss, the smallest difference, such as a lack of reciprocity, may evoke a desire for retribution. (...) Understanding reactions when there is a lack of symmetry, real or illusory, can give us an important insight into the generative mechanisms behind violence. This is why traditional societies tried, often very successfully, to protect individuals through prohibitions and taboos. These prohibitions and taboos were directed against any kind of activity that could possibly result in violent rivalries among the population. The killing of adulterers, thieves, and foreigners can be seen as a way of ridding society of people perceived as having undesirable traits and ridding it of the potential imitation of their bad desires. In this way, a society's violence may function in a protective [End Page 221] and anti-mimetic way. The violence against transgressors is a kind of mimetic anti-mimesis, a way of telling people to follow the rules of society so that they will become mimetically immune to the forces that threaten society.Violent victimizing appears to fulfill a generative function by preventing transgressions, moral cleansing, and restoration of peace. At the same time, however, it bears (unconsciously for the participants) a similarity to what one wishes to expel, namely, the feared violence and negative influence of the person or persons who are victimized. Despite attempts to expel violent transgressions, the attempts themselves are quite similar to the violence they are trying to exorcise. Both Freud and Girard argue that those who conduct a rite of sacrifice are projecting onto the sacrificial victim qualities that reflect some of their own innermost concerns.2 Sacrificial violence, seen from a modern, nonsacrificial standpoint, is a kind of suicide. By killing the other, one also kills something in oneself.In demolishing the victim they are symbolically annihilating aspects of themselves. What is destroyed is destructiveness itself: the feelings of violence and hostility that lie behind attempts to carry out violent activities. Such feelings are antithetical to the ties of friendship that bond a community together, and feelings of violence towards one's peers and associates must be banished if a closely knit community—such as a tribal brotherhood, a spiritual fellowship, or a modern nation—is to survive.3Modern societies are full of these projections of one's own desires onto the other, which expose the modern variant of what is sacrifice, and which are often less physically but instead psychologically violent, yet still victimizing in their attitude of projecting. Terms such as "imitation," "identification," and "comparison" do not have to turn out to be violent—even when a great deal of competition is involved. In this respect, I disagree with some Girardians who claim that imitative desire must be violent and who look back to an insight going back to Heraclitus that violence is the source of all.4 The all-decisive factor is the gradual shift from competition to rivalry, from being allies to becoming enemies. The transition from being competitive friends to rivals comes as a result of imitation. Seen in this way, imitative desire is the generative force behind violence, the snake that turns friends and lovers into rivals.This Freudian act of projection resembles an act of doubling, an intense mimesis of the other that creates doubles. From a Girardian perspective, it is the clash of desire that leads to doubling, and later to violence.5 The imitation of each other's desires will sooner or later cause some kind of violence.6 This doubling does not only have to involve two people; it can be groups, even countries. [End Page 222] But the effect is always negative. Raymund Schwager explains it in the following terms:Whoever is desirous has to expect that the others will too. Whoever succumbs to rivalry arouses the same passion in others. Whoever resorts to violence is imitated in his or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TWILIGHT OF THE VAMPIRES: HISTORY AND THE MYTH OF THE UNDEAD Matthew Kratter University ofCalifornia Berkeley "Whoever fights monsters should see to it that in the process he does not become a monster." (Nietzsche, Beyond Good andEvil, IV, 146) One ofthe most satisfying parts ofan extended engagement with the mimetic theory is the bird's-eye view of history that it affords one—that magnificently coherent panorama which stretches from proto-hominids through (...) the Passion to post-culture and the Apocalypse. The sheer scope of Girard's historical vision is also, admittedly, one ofthe more controversial aspects of his theory. As early as Violence and the Sacred (French, 1972; English trans., 1977), in a conscious revolt against the anti-Hegelian and anti-systematic temper of the times, Girard implied a historical telos for human culture that consists ofthe gradual replacement of sacrificial by non-sacrificial paradigms and praxes. With the publication of Things Hidden Since the Foundation ofthe World (1978; 1987) and The Scapegoat (1982; 1986), however, Girard appeared to step beyond the pale of polite (read, secularist) academic discourse by explicitly identifying the Christian Paraclete as the divine dynamo behind the historical process: "The Spirit is working in history to reveal what Jesus has already revealed, the mechanism ofthe scapegoat, the genesis of all mythology, the nonexistence of all gods of violence" (Scapegoat 207). More recently, in an essay on Satan (literally, "the accuser"), the contrasting role of the Paraclete (literally, "the lawyer for the defense") as a defender ofvictims is again emphasized: Matthew Kratter31 It is possible to read the history, first of the Christianized West, then ofthe Westernized planet, our modern history, as... a process of vindication and rehabilitation of more and more persecuted victims. New hidden victims of society are continuously being brought to light; the consensus against them always dissolves after a while. First it was slaves, then the lower classes, then people ofdifferent ethnic and religious backgrounds. Today the victimization of ethnic groups, of women, ofhandicapped people, ofthe very young and the very old, is coming to light. (GirardReader 208) Mostrecently, Girard's view ofhistory has become, ifanything, more unified, as (following Raymund Schwager) he has begun to emphasize the continuity between the sacrificial and the non-sacrificial (without, of course, trying to elide their differences). At a recent AAR/SBL conference in San Francisco (22 November 1997), Girard discussed the Eucharist as a recapitulation ofthe religious history of mankind, in which all previous forms of sacrifice are present (from cannibalism and "other-sacrifice" to the other end of the spectrum and "self-sacrifice"). Or phrased somewhat differently, the redemptive effects ofthe Passion radiate backwards and forwards in time— what Giuseppe Fornari implies when he refers to Christianity's "capacity to redeem the whole history ofman, summing up and surpassing all its sacrificial forms" (187). It may well prove that "Sacrifice" (with a capital "S") is the single most important and comprehensive word that we possess to describe our history. The central contention ofthis essay is that the phenomenon ofthe vampire offers itself as a privileged site for exploring this work of the Paraclete in history. The very processes of "bringing to light" and "exhuming victims," described by Girard above, are certainly metaphors appropriate to the twilit world ofthe vampire, in which the undead are always being dug up or exposed to die light. IfI maintain that, this late in the twentieth century, we are living in the "twilight ofthe vampires," the allusion to Wagner's Götterdämmerung and Nietzsche's Götzen-dämmerung is not accidental. The ambiguity ofthe German verb dämmern (which can mean "to grow dark" or "to grow light") captures all the paradoxes that surround the mythologizing, demythologizing, and remythologizing of the traditional figure ofthe vampire. I will explore these paradoxes in five successive moments (in the most archaic and traditional form taken by the vampire, then in a medieval persecution text, a late-Victorian novel, a German Expressionist film, and finally a series of 32Twilight ofthe Vampires contemporary popular novels) in order to demonstrate the various metamorphoses undergone by the vampire throughout a history which may be viewed as overseen by the Paraclete—and by a... (shrink)

“René Girard’s thoughts on the connection between religion and violence are just now becoming known in Germany,” wrote the philosopher Eckhard Nordhofen at the beginning of 1995 in the influential German weekly Die Zeit.1 Was Nordhofen correct with this assessment back then, or was he rather mistaken? Had not a first phase of reception of Girard’s works in the German-speaking world already begun in the late 1970s, or at the latest by the mid 1980s? One must note, though, that Girard (...) was never in fashion during the 1970s or 1980s and that these first attempts to incorporate his works into academic discussion came from individual scholars such as the Swiss Jesuit Raymund Schwager; Konrad Thomas, a sociologist based .. (shrink)

Excerpt from Die Philosophie der Gegenwart in Selbstdarstellungen Der Titel der Sammlung musste naturlich eine Verallgemeinerung im Sinne dieses erweiterten Programmes erfahren. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such (...) as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

Kalisch et al. propose a positive appraisal style as the key mechanism that underlies resilience. The present authors suggest that flexibility in emotion processing is more conducive to resilience than a general positivity bias. People may achieve emotional flexibility through counter-regulation – a dynamic processing bias toward positive stimuli in negative contexts and negative stimuli in positive contexts.