Force
Horror Transfigured: Force Drama and World’s Beauty According to Simone Weil
This text, dedicated to the thought of Simone Weil, aims to show how misfortune and the experience of horror are the extreme consequence of an immoderate exercise of force, understood as one mode of the natural necessity. The purpose of Simone Weil’s reflections on human distress is to show that misfortune, by sharpening our faculty of attention, opens the way of its own excess.
The Problem of Force: Simone Weil’s Supernatural Justice
The Point, web only, (August 7, 2020).
“Contesting Immigration Detention: St. Augustine & Simone Weil on use of Force”
St. John’s University, CRS Global Campus Committee
What is la force in Simone Weil’s Iliad?
Weil’s essay on Homer’s Iliad contains a philosophical analysis of la force that divides it into two phenomena with one metaphysical ground. Her analysis is a corrective to misunderstandings of force as something that can be possessed. The first half of my elaboration of Weil’s analysis is devoted to the phenomena she identifies in relation to la force, which I call might. In the second half, I elaborate the varieties of misunderstanding of la force. First, might is an illusion sustained by the shared belief of those in submission to might. Second, forces, i.e. the material forces on which weaponry depends, cannot be possessed. Third, what lies behind material forces is necessity, a third meaning of la force, which functions as a superordinate or ultimate force to which everyone and everything is subject. Understanding the last of these is the corrective that Weil means to present.
Philosophical Investigations, vol. 43, nos. 1-2, pp. 8-18.
An Ethic of Refusal: Simone Weil and the Choice of the Lesser ‘Lesser Evil’
In “On the Abolition of All Political Parties,” Simone Weil poses the hypothetical predicament of a person who is intent on solving highly complex mathematical problems but is flogged every time the answer he arrives at is an even number. The person will oscillate between his genuine desire for the truth and the painful cries of his body. “[I]nevitably,” Weil writes, “he will make many mistakes—even if he happens to be very intelligent, very brave and deeply attached to the truth.” She then asks: “What should he do?” Weil’s answer may surprise many readers, even though she claims it is “simple.” If possible, “he must run away” from those who wield the whip. It would have been best, she avers, had he avoided these associations in the first place. Elsewhere in her writings, Weil openly endorses the argument for the lesser evil, justifying active, potentially violent, resistance instead of a pacifist ethic of refusal. This essay analyses the tension between Weil’s ethic of “running away” and her acceptance of the lesser evil.
Philosophical Investigations, vol. 43, nos. 1-2, pp. 165-166.
“The Colonial Frame: Judith Butler and Simone Weil on Force and Grief”
in Sophie Bourgault & Julie Daigle, eds., Simone Weil, Beyond Ideology?, New York: Palgrave Macmillan pp. 125-142
The Play’s the Thing: On Simone Weil’s Venice Saved
Excerpt: With Venice Saved, yet another of Weil’s unfinished works is resurrected, and happily so. Early on, Albert Camus recognized in Weil a great mind that wrestled, as did his, with fundamental problems of the human condition. And so he arranged to publish 11 of the first Weil books to be released by Gallimard. There was also Gustave Thibon, who culled portions of her journals and organized them topically, and with a Catholic bent, in Gravity and Grace (La Pesanteur et la grâce). Others followed suit in piecing together her writings on topics ranging from colonialism to mysticism and from political philosophy to physics.
Enter Silvia Panizza and Philip Wilson, who are the first to translate into English Weil’s three-act tragic play, including eight pages of revealing extracts from the author’s notebooks that sketch out her ideas about the direction of the play, which was almost complete. Panizza and Wilson also add explanatory commentaries and endnotes to fill in a number of the blanks left open by Weil. In most cases, these notes are quite insightful and helpful. Sometimes, however, the editors’ scholastic asides distract from the main focus of the play (e.g., on the question of whether Weil was a “feminist” or whether her views match up with Sudhir Hazareesingh’s “five characteristics of French thought”). Even so, their translation and admirably researched presentation of Venice Saved fill a gap in the Weil literature and contribute much to the mosaic — at once philosophical, political, and mystical — of her legacy.
Los Angeles Review of Books, August 28, 2019.
Sacrifice Between West and East: René Girard, Simone Weil and Mahatma Gandhi on Violence and Non-Violence
Wolfgang Palaver In this chapter, Wolfgang Palaver looks at developments in Rene Girard’s later work, in particular, at Girard’s assessment that he had earlier unfairly “scapegoated” sacrifice in an effort to rid humanity of violence. In recognition of the need to address — not erase — the violence that is with us, Girard developed his thinking in at least two ways. The first is his growing interest in how an “ontology of peace,” which Girard held undergirds all faith traditions, is expressed in non-Christian faiths. Second is his insight that Jesus’s death on the cross tells us not only about the evils of sacrifice-as-murder but also about the productive possibilities of sacrifice-of-self, giving for the sake of others. To explore what such donative sacrifice consists in, Palaver investigates the theories of oppression, resistance, and sacrifice in the works of Simone Weil and Mahatma Gandhi.
in in Marcia Pally, ed., Mimesis and Sacrifice Applying Girard’s Mimetic Theory Across the Disciplines, Bloomsbury (2019), pp. 37-50
E. Jane Doering : Simone Weil and the Empire of Force
Open University
