Recommended

My Father André Weil

Sylvie Weil read

Excerpt:

Almost twenty years have passed since my father’s death on August 6th, 1998, yet he still sometimes calls me: “Sylvie, get me out of here, I’m bored.” (The French word he uses is not so polite.)

I am sure that, following Jewish tradition, André was assigned a study companion for all eternity. I had once asked him who this companion would be. “Euler,” he answered, and smiled. So when he calls me to tell me he is bored, I ask: “What about Euler? Is he bored, too?”

Nothing horrified my father more than being bored or wasting time. Every moment needed to be usefully or pleasantly employed. I still have my father’s letters to me when I was a teenager. He recommended extraordinary programs: evenings were given to reading Euripides and Sophocles, Thursdays at the Louvre or the Comédie Française, Sunday afternoons at the Salle Pleyel to hear Beethoven…. The idealism of these letters makes me smile, but reactivates the terrible guilt I felt because, at fifteen, I just wanted to have a good time.

Communication, vol. 65, no. 1, Jan. 2018, pp. 54-57

Transcendent Rebellion: The Influence of Simone Weil on Albert Camus’ Esthetics

Philip D. Bunn read

ABSTRACT: The relationship between the thought of Albert Camus and Simone Weil has been partially explored by scholars since their deaths. However, current scholarship does not fully explain the influence Weil’s life and work had on Camus’ esthetics, a full treatment of which is necessary to truly understand the significance of Camus’ adoption of the idea of the rebel as artist. Camus’ thought progresses significantly from his early esthetics of the will in his Essay on Music, affirming art as fundamentally an egoistic act, to a later esthetics of transcendence, affirming the selflessness of artistic rebellion.

This paper argues that Camus’ development both mirrors Weil’s own philosophical development and corresponds to Camus’ exposure to and assimilation of Weil’s thought on decreation, beauty, and the transcendent. By establishing that Camus’ development in his esthetic and political theories corresponds to his exposure to and praise of Weil, I argue that Weil’s influence on Camus explains his later turn away from Nietzsche and to the affirmation of human nature, beauty in the world, and selfless rebellion and creation.

Perspectives on Political Science (Nov. 2021)

Philip Bunn is a Ph.D. candidate in Political Science at the University of Wisconsin-Madison. His research brings both ancient and modern political thought to bear on contemporary issues, with a focus on normative questions relating to technology.

The Actor & Scholar in Conversation: Simona Giurgea and E. Jane Doering on Simone Weil

Lewes Public Library event read

Simone Weil’s “The Iliad or the Poem of Force” is a profound exploration of the power of force and the hubris of mankind in attempting to control it to our advantage. Force is inherently destructive, and we risk it overwhelming us when we unleash it upon ourselves. This two-part essay, published in the Cahiers du Sud in 1940 – 41, is every bit as relevant today in all human interactions, from the interpersonal to the geopolitical.

Join us for a discussion of this piece by Professor Emeritus of the University of Notre Dame and renowned Weil scholar Dr. E. Jane Doering and Simona Girugea, Senior Lecturer in of the University Theatre at Colgate University, who adapted this writing into a compelling one-woman dramatization (performed at the library on Friday, October 15). Hosted by Ron Collins, Senior Editor of ATTENTION. The discussion will probe this compelling essay in depth. The conversation will be followed by a reception sponsored ATTENTION.

E. Jane Doering is professor emerita of the College of Arts and Letters at Notre Dame University. She received her Ph.D. from Northwestern University in 19th and 20th-century French literature and culture. She also holds a Masters of Education from Goucher College and an M.A. in French Literature from the University of Notre Dame, along with a Diplôme d’études from La Sorbonne, Paris. She received the Notre Dame Kaneb Teaching Award for excellence in teaching. Her books include When Fiction and Philosophy Meet: A Conversation with Flannery O’Connor and Simone Weil (2019), Simone Weil and the Specter of Self-perpetuating Force (2010), and The Christian Platonism of Simone Weil (2014). She has authored over three dozen articles in English, French, and Italian on the multi-dimensional thought of Simone Weil, and delivered numerous talks in the USA, Canada, France, Italy, and Israel. Her professional responsibilities include being a longstanding member in an advisory capacity of the American Weil Society and of the international Association pour l’étude de la pensée de Simone Weil. She is also on the board of advisors of ATTENTION.

Lewes Public Library, October 16, 2021

NOTE: this session is available to attend in-person or through Zoom. You MUST REGISTER and indicate which you prefer.

‘Waiting on God’: A Radio Talk on Simone Weil

Iris Murdoch read

Excerpt: ” . . . . For Simone Weil the main fact of human life, and the fact which we must not flinch from if we are to find out any truth about it,8 is the fact of affliction. Le Malheur. For her, the centre of Christianity is the passion and the central moment of the passion is the cry of dereliction. The greatness of Christianity, Simone Weil says, lies in its seeking not a supernatural remedy for suffering but a supernatural use for the suffering. Let us see how she conceives this use. Her thought, although we have it in this scattered aphoristic form, is curiously systematic.

Two things strike one immediately about her ‘system’. That it is very austerely dualistic, and that it enunciates with a strange sort of confidence a view of the physical and of the spiritual universe which one might call ‘mechanical.’ The dualism is between La Pesanteur and La Grâce – gravity, this is gravitational force, and grace. All natural phenomena, including psychological phenomena, are subject to ‘gravity’, by which she means that they are subject to ‘natural law’ in the scientific sense. This realm of natural necessity is purposeless; things have causes but not ends. The only sort of finality which we can detect in it is the purposeless finality of the total ordering of natural things. . . . ”

Iris Murdoch Review, (2017), pp. 9-16, preface by Justin Broackes, (BBC broadcast, Oct.18, 1951, 7.40 p.m. on the Third Programme)

Related

— Paul S. Fiddes, Iris Murdoch and the Others: A Writer in Dialogue with Theology, T&T Clark (December 2, 2021) (Chapter 6: “The Void and the Passion: A Dialogue with Simone Weil” & “Coda: With and Beyond Simone Weil: Between Murdoch and Theology”), pp. 155-204.

— Justin Broackes “Iris Murdoch and Simone Weil,” Royal Institute of Philosophy (2018), YouTube.

— Silvia Panizza, “The Importance of Attention in Morality: An Exploration of Iris Murdoch’s Philosophy,” Ph.D. dissertation (2015)

Nursing in Wartime: Edith Stein and Simone Weil on Empathic Attention

Ann W. Astell read

Abstract: Edith Stein and Simone Weil both trained as Red Cross nurses for wartime service. For both philosophers, the activity of a nurse demands empathic attention to the afflicted. Stein envisions herself as an attendant nurse in her memoirs; Weil similarly casts herself in a nurse’s role in her proposal for an elite, sacrificial nurses’ corps. This essay examines the practice of wartime nursing as a school for, and an expression of, their complementary philosophies of human beings seen in their physical, epistemological, and spiritual interrelatedness.

Journal of Continental Philosophy (Feb. 23, 2022)

Ann W. Astell is a professor of Theology at the University of Notre Dame.

Venice Saved

Simone Weil, ed. & trans by Silvia Panizza & Philip Wilson read

Towards the end of her life, the French philosopher and mystic Simone Weil (1909-43) was working on a tragedy, Venice Saved. Appearing here in English for the first time, this play explores the realisation of Weil’s own thoughts on tragedy. A figure of affliction, a central theme in Weil’s religious metaphysics, the central character offers a unique insight into Weil’s broader philosophical interest in truth and justice, and provides a fresh perspective on the wider conception of tragedy itself.

The play depicts the plot by a group of Spanish mercenaries to sack Venice in 1618 and how it fails when one conspirator, Jaffier, betrays them to the Venetian authorities, because he feels compassion for the city’s beauty.

The edition includes notes on the play by the translators as well as introductory material on: the life of Weil; the genesis and purport of the play; Weil and the tragic; the issues raised by translating Venice Saved. With additional suggestions for further reading, the volume opens up an area of interest and research: the literary Weil.

New York: Bloomsbury Academic, 2019

Reviewed

Ronald Collins, “The Play’s the Thing: On Simone Weil’s Venice Saved,” Los Angeles Review of Books, Aug. 28, 2019

Book Review: Simone Weil for the Twenty-First Century

Stephen J. Plant read

Excerpt: “Eric O. Springsted’s latest book on Simone Weil’s life and thought (it matters to him very much that her thinking is a lived philosophy) tackles the same subject matter again and again, doggedly pursuing the same questions from chapter to chapter. Yet far from being repetitious, this is done with the wisdom of a walker traversing a familiar mountain and finding fresh knowledge and delight in each ascent. There is a practical reason for the repetition: 11 of the book’s 14 chapters are adapted from previously published chapters in edited collections or from journal articles (whose original places of publication are given on pages xv-xvi). Naturally, some of the subject matter, citations used, and even points made recur. But any frustration a reader might feel is mitigated in three clever ways. First, Springsted structures his book into two parts that make a virtue of the similarity between the themes addressed in individual chapters by grouping them under two tightly conceived themes: philosophical and theological thought (Part I) and social and political thought (Part II). Second, for his monograph Springsted lightly edits the start and end of each chapter, erecting clear ‘sign-posts’ that make it seem as though a narrative argument is being sustained and developed from one chapter to the next. Though this may be a trompe-l’oeil, it is so skilfully realized one finds oneself reaching for the painted door handle. Finally, and most importantly, Springsted’s ‘take’ on Weil is so consistent and distinctive that a clear argument emerges in the book that is genuinely greater than the sum of its individual chapters.  . .  .”

“. . . . In his Preface, Springsted tells us openly that his aim is not scholarly exegesis, but to ‘offer Weil as something like a polestar to help orient our thinking in a time when the spiritual, moral, and intellectual world has become, in Charles Taylor’s word, “flattened”’ (p.vii). The book is a product of a lifetime of close and thoughtful engagement with Weil’s writings in which, to some extent, Weil’s thought and Springsted’s have become intertwined, such that it becomes hard to tease one out from the other. He is a guide with something to share not only with those new to Weil’s thought, but those who have explored her highways and byways on many occasions.”

Philosophical Investigations, 44, no 4 (October 2021) pp. 448-451.

Stephen J. Plant is Dean and Runcie Fellow at Trinity Hall and lectures on Christian theology and on ethics in the Faculty of Divinity at the University of Cambridge.