Keywords
Choices are Made in Heaven (or How my Work on Weil Began)
The Folly of God and God’s Fools – Eulogy for Jacques Cabaud (1923-2022)
Philosophy, out of Bounds: The Method and Mysticism of Simone Weil
ABSTRACT: The purpose of this study is exposition on the themes of method and mysticism in the work of Simone Weil. Nearly a decade before the onset of her first mystical experience, Weil developed a method to be rigorously applied in daily philosophical reflection. She outlines this method in her dissertation on Descartes (1929-1930). I examine the question of how Weil applied method to philosophical reflection on her mystical experiences (onset 1938-1939). I analyze Weil’s mystical experiences as a type of transformative experience in L. A. Paul’s strict sense of the term. On Paul’s view, an experience is transformative if it is both epistemically and personally transformative. An experience is epistemically transformative if the only way to know what it is like to have it is to have it yourself. An experience is personally transformative if it changes your point of view, including your core preferences (Paul, 2014).
I present a thought experiment and textual evidence to motivate the claim that Weil’s mystical experiences meet Paul’s conditions for transformative experience. I then propose two epistemological facts that can be revealed by philosophical reflection on mystical experience. First, it is possible to read meaning erroneously in the appearances of things. Second, it is possible to come to hold to the certainty of a conviction for reasons that elude the intellect. My findings suggest that Weil’s late views on philosophy accommodate these two epistemological constraints, thereby demonstrating a possible connection between Weil’s mystical experiences and her mature views on the nature, scope, and proper method of philosophy. However, my preliminary findings also suggest that Weil’s early work on method may have anticipated these epistemological obstacles prior to the onset of her first mystical experience. Thus, further exposition of Weil’s method is needed to support or elucidate the claim (Rozelle-Stone and Davis, 2021) that Weil’s epistemology underwent significant changes because of her mystical experiences.
Carmen Maria Marcous, a Dissertation submitted to the Department of Philosophy in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Florida State University, College of Arts and Sciences (2022).
Book Review: Simone Weil for the Twenty-First Century by Eric O. Springsted
In his book, Simone Weil in the Twenty-First Century, Eric Springsted–pioneering Weil–specialist in the USA as well as co-founder and long-time president of the American Weil society–-reveals his thorough knowledge and deep understanding of this French philosopher and mystic. In dialogue with thinkers such as Ludwig Wittgenstein, Michael Foster, Gabriel Marcel, Henri de Luba, and Jacques Maritain, he covers much ground in his book’s fourteen chapters, focusing in the first part on Weil’ philosophical and theological thought before turning to her social and political thinking.
The themes range from the place of mystery and the supernatural in Weil’s philosophy to her understanding of obligations, the need for roots, the role of culture, and the relationship between religion and politics. Though there is no central argument holding these different chapters together–-indeed, eleven of the fourteen chapters were published in earlier versions in various journals– the book does justice to Weil’s diverse interests . . . .
Theology Today, vol. 79, no. 3, p. 352 (2022)
Mysticism and the Making of Simone Weil
Inside Issue 7: New and Forthcoming
Two Perspectives on Sainthood in 1951: Roberto Rossellini’s Europe ’51 and Graham Greene’s The End of the Affair, Bright Lights Film Journal
“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.”
When Rights go Wrong
Education and the ethics of attention: The work of Simone Weil
This paper argues that the influential French thinker, Simone Weil, has something distinctive and important to offer educational and ethical inquiry. Weil’s ethical theory is considered against the backdrop of her life and work, and in relation to her broader ontological, epistemological and political position. Pivotal concepts in Weil’s philosophy – gravity, decreation, and grace – are discussed, and the educational implications of her ideas are explored. The significance of Weil’s thought for educationists lies in the unique emphasis she places on the development of attention, a notion elaborated here via the key themes of truth, beauty, and love.
British Journal of Educational Studies (Aug. 22, 2022)
- Professor Peter Roberts, University of Cambridge, School of Educational Studies & Leadership. His many works include “Simone Weil: Education, Spirituality and Political Commitment,” in Kirylo JD (ed.), A Critical Pedagogy of Resistance: 34 Pedagogues We Need to Know (Rotterdam: Sense Publishers, 2013), pp. 129-132.
