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Eric Voegelin’s and Simone Weil’s return to Ancient Greece

Thomas Sojer read

Summary: Two enigmatic figures of 20th-century political theory, Eric Voegelin and Simone Weil, stand out with idiosyncratic receptions of ancient Greek texts. Both thinkers diagnosed that, as political agents in late modernity, we have unlearned to read world-making ancient texts and their narratives in their cosmic dimension and thus lost what has rooted European culture and history. Against this backdrop, Voegelin and Weil share ‘antidotal’ practises of combining historically and generically distinct material. These practices aim at fathoming a primordial experience at work in European narratives. With this comparative analysis of Voegelin’s and Weil’s symbolic readings (exemplified in this paper by passages from the Iliad, the History of the Peloponnesian War, and the Symposium), Thomas Sojer presents some considerations how their combinatory imagination of ancient material could supply late modern political agents with a pathos, a meaningful self-world relationship that was thought to have gone missing.

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Questioning Greece with Heidegger and Simone Weil

Maria Villela-Petit read

Abstract: “In this book a long-time student of phenomenology and of Greek art and philosophy stages a “loving quarrel” between two daring thinkers who loved Greece but had diametrically opposed interpretations of its legacy. Maria Villela-Petit brings out unsuspected strengths in Simone Weil’s readings of Homer, Plato, and Greek Tragedy and unsuspected weaknesses in Heidegger’s historical construction and the tradition of German philhellenism which shaped it.”

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Two Perspectives on Sainthood in 1951: Roberto Rossellini’s Europe ’51 and Graham Greene’s The End of the Affair, Bright Lights Film Journal

Andrei Gorzo read

“Religion was a source of truth for Rossellini at the time, perhaps the sole source of truth,” writes Tag Gallagher in his indispensable critical biography of the Italian filmmaker. Rossellini’s 1950 film Stromboli (his first collaboration with Ingrid Bergman) had been recognized by young French critic Eric Rohmer as a “great Catholic film”; years later, Rohmer would add that Stromboli was also his personal road to Damascus, turning him away from existentialism.5 And 1950 had also been the year of Rossellini’s The Flowers of St. Francis. He would describe Europe ’51 to Bergman as another St. Francis story: “I am going to make a story about Saint Francis and [this time] she’s going to be you.”

Rossellini also described his heroine as “a spiritual sister to Simone Weil.” Reviewing in 1951 (the year of The End of the Affair) an English translation of Weil’s Waiting on God (her first book to be published in English), Graham Greene would describe her as “a young Jewish teacher of philosophy who died in exile from her native France in 1943 at the age of thirty-four. Since that time knowledge of her has spread by word of mouth, like the knowledge of some underground leader in wartime […] a woman who wished ardently to share the labours of the poor, working with broken health in the Renault works, and who in safe England confined herself to the rations of those she had left in France.” In Cristina Mazzoni’s summary of her life (from Mazzoni’s Saint Hysteria: Neurosis, Mysticism, and Gender in European Culture), Weil was a “philosopher and religious thinker, farm and factory worker, mystic, political theorist and social activist, [who] became in the course of her life increasingly attached to the Catholic faith (she was born in a nonpracticing Jewish family), although she always refused to receive the sacraments. […] Hospitalized in England after a life of privations (most of which she imposed on herself), Simone Weil refused to eat and died shortly thereafter of tuberculosis and malnutrition, [the coroner’s report accusing her] of intentionally starving herself to death.” Like Weil, Rossellini’s heroine (Ingrid Bergman) wants at some point to share the lot of the industrial proletariat, the director condensing in a day the experience of Weil’s factory year. And this is only the most obvious of Rossellini’s borrowings: as Martin Scorsese has put it, Rossellini used “the short and intense life of Simone Weil as a kind of model” for “exploring the question of modern sainthood.”