PHIL 6050.001/RELS 6671.

001
GEORGES BATAILLE
Wed., 3:30-6:05
MACY 204A
Kent L. Brintnall, [email protected]
Office Hours: Wed., 2:30-3:15, and by appointment, Macy 202A
Bataille is one of the most important writers of our century.
Michel Foucault

COURSE DESCRIPTION
This course will focus on the work of French cultural critic and novelist, Georges Bataille (18971962). As a dissident surrealist and Marxist, a committed anti-Fascist, a critic of Hegel and
Sartre, and a one-time Catholic seminarian who became an atheistic champion of Nietzsche,
Bataille engaged almost every major intellectual and political movement of the twentieth
century. He placed enormous value on religion, eroticism and art as functionally equivalent
sites for disrupting the alienation of human beings from each other, their own bodies and
material reality generally. He offered a unique diagnosis of the catastrophic violence that
characterized his ageand, tragically, continues to characterize our own. He profoundly
influenced Michel Foucault, Jacques Derrida, Roland Barthes, Julia Kristeva, Gilles Deleuze and
Jacques Lacan. To become familiar with Bataille, then, is to gain insight into the major
theoretical projects and political problems of the twentieth and twenty-first centuries.
Note: The novels we will read in this course contain strong sexual content. The novels and
some of the theoretical texts include descriptions and images of graphic violence. If you find
such content objectionable, you should not be in this class.
REQUIRED TEXTS
Bataille, Georges. The Accursed Share: An Essay on General Economy. Vol. I. Trans. Robert
Hurley. New York: Zone Books, 1991.
Bataille, Georges. Blue of Noon. Trans. Harry Matthews. New York: Marion Boyars, 1957.
Bataille, Georges. Erotism: Death and Sensuality. Trans. Mary Dalwood. San Francisco: City
Lights, 1986.
Bataille, Georges. Inner Experience. Trans. Leslie Anne Boldt. Albany: SUNY Press, 1988.
Bataille, Georges. Story of the Eye. Trans. Joachim Neugroschel. San Francisco: City Lights
Books, 1987.
Bataille, Georges. Theory of Religion. Trans. Robert Hurley. New York: Zone Books, 1992.
Bataille, Georges. Visions of Excess: Selected Writings, 1927-1939. Ed. and Trans. Allan
Stoekl. Minneapolis: University of Minnesota Press, 1985.
Additional readings will be made available on electronic reserve.
Please bring all relevant readings to class.

RECOMMENDED TEXTS
Bataille, Georges. The Tears of Eros. Trans. Peter Connor. San Francisco: City Lights, 1989.
Kendall, Stuart. Georges Bataille. London: Reaktion Books, 2007.
Noys, Benjamin. Georges Bataille: A Critical Introduction. Sterling, VA: Pluto Press, 2000.
Richardson, Michael. Georges Bataille. New York: Routledge, 1994.
Surya, Michel. Georges Bataille: An Intellectual Biography. Trans. Krysztof Fijalkowski and
Michael Richardson. New York: Verso, 2002.

GENERAL RESPONSIBILITY
To succeed in this course, you must be proactive. This includes both doing the work outlined in
the syllabus and taking initiative if problems arise. If you do not understand the material or my
expectations, if life is impinging on you in some way, or if my teaching style is not working for
you, please let me know. I will do what I can to help, but I am completely unable to remedy the
situation if I do not know there is a problem.
I want every student to succeed in this class. In selecting readings, crafting assignments,
setting a schedule, I have tried to create a framework that will help you do your best work. In
presenting material, articulating expectations, and responding to assignments, I strive to be
clear. I will not, however, hunt you down, or pester you, to make sure you are doing the
required work.

SPECIFIC EXPECTATIONS
You are expected to (1) attend, and be on time for, all class meetings; (2) read carefully all
assigned readings prior to the class session for which they are assigned; (3) participate actively
and productively in class discussions; (4) be familiar with the syllabus; (5) take responsibility for
fulfilling all course requirements; and (6) check your NinerMail account regularly for
communications from the instructor.
You are NOT expected to agree with the views espoused by the instructor, the course materials
or other students; you are expected to manage any disagreement respectively and
productively.

CLASS PREPARATION
Because this course focuses on close, critical analysis of difficult texts, you will need to devote
sufficient time to preparing for class both to contribute to class discussion and to do well on
assignments. You must read carefully prior to class taking note of the ideas and questions you
want to bring to our collective conversation. At a minimum, you must be able to articulate the
authors main points, summarize the evidence marshaled to support those points, characterize
the chief rhetorical strategies employed and identify any notable short-comings in the analysis.
You should also make sure that you have mastered any unfamiliar vocabulary and have
investigated the relevant historical, cultural and intellectual background.
You should come to class having identified a few passages that struck you as particularly
interesting, troubling, puzzling or generative. You should be prepared to discuss your reasons
for selecting these passages and to guide your classmates through a consideration of the
passage in relation both to the readings as a whole and the themes and questions of the
course. All members of the seminarstudents and instructor alikeare responsible for
understanding, explaining, analyzing and teaching the material under discussion.
We will not have time to discuss fully all of the assigned reading during class time. Our
collective consideration should give you practice at engaging these texts, enhancing your ability
to explore them more carefully and thoughtfully on your own. Our class meetings are an
opportunity to deepen your understanding of, ask questions of, and develop ideas about the
readings, as well as enhance your strategies and skills for analyzing them. Your written work
provides further opportunities to demonstrate, develop and deepen this engagement.

ATTENDANCE
As a graduate student, school should be your first priority. This means you should attend and
be on time for all class meetings. Because life does not always accommodate our priorities, you
will be given one excused absence for the semester. Every absence after that, for whatever
reason, will result in a full letter deduction from your final grade for the course. Any two
instances of arriving late or leaving early will count as an absence. If you are absent from
class, you are responsible for getting any announcements, lecture notes, handouts or
assignments.
The exception to this policy is absences necessitated by religious observance. You may miss
two classes for religious observance, but you must provide me with written notice (which
includes e-mail correspondence) of the class(es) you will miss for this reason no later than
Friday, January 20.

DIVERSITY STATEMENT
Consistent with the Universitys commitment to inclusivity, I pledge to do my best to run the
class in a manner that is respectful of difference, including but not limited to, physical and
mental ability, age, socio-economic status, body size, religious identity, gender, gender identity,
race, ethnicity, sexual orientation, nationality and veteran status. You are expected to be
respectful of these differences in your conduct in class and on campus.
As future members of the academy, you should write in a way that recognizes diversity. In
other words, you should strive, at the very least, to use gender-inclusive language and also to
be mindful of metaphors that may have problematic racial, ethnic, class, sexual or (dis)ability
connotations.
ACCOMMODATION OF DISABILITIES
If you have a disability that qualifies you for accommodations, please provide a letter from
Disability Services at the beginning of the semester. For more information regarding
accommodations, please contact the Office of Disability Services (www.ds.uncc.edu).

E-MAIL COMMUNICATION
I will communicate with you as a class and as individuals using your NinerMail (University email) account. You are responsible for checking this account regularly and responding promptly
to any e-mail requests.

CLASS DECORUM
(1) Be on time for class. If you must arrive late or leave early, please do so as unobtrusively as
possible. (2) Cell phones must be turned off prior to class. If your cell phone rings, or I observe
you text-messaging during class, I will ask you to leave class and it will be counted as an
absence. (3) Computers may be used during class only to take notes or read electronic-reserve
readings. If I observe you using your computer for any other purpose, it will result in a fullletter deduction in your grade for the course and will jeopardize use of computers during class
by all students in the course.

SCHEDULE
1.11

Introduction to Batailles life and work, and the course

For reference, please consult the following:
Inner Experience, xxv-xxviii
Autobiographical Note, in The Bataille Reader, ed. Fred Botting and Scott Wilson, 11317 (Malden, MA: Blackwell, 1997) (electronic reserve)
Editors Introduction: Unlimited Assemblage, in Unfinished System of Nonknowledge,
ed. Stuart Kendall, xi-xliv (Minneapolis: University of Minnesota Press, 2001)
(electronic reserve)
Kent L. Brintnall, Ecce Homo: The Male-Body-in-Pain as Redemptive Figure (Chicago:
University of Chicago Press, 2011), 9-19 (electronic reserve)

1.18

Accursed Share, volume I, 9-41

The Notion of Expenditure, in Visions of Excess

1.25

Accursed Share, volume I, 45-110

Attraction and Repulsion I and II in College of Sociology, ed. Denis Hollier, trans. Betsy
Wing, 103-36 (Minneapolis: University of Minnesota Press, 1988) (electronic
reserve)
The College of Sociology, in Visions of Excess

2.1

Theory of Religion
Sacrificial Mutilation and the Severed Ear of Vincent Van Gogh, in Visions of Excess
War and the Philosophy of the Sacred, in Absence of Myth, ed. and trans. Michael
Richardson, 113-22 (New York: Verso, 1994) (electronic reserve)

2.8

Accursed Share, volume I, 115-90

The Psychological Structure of Fascism, in Visions of Excess
The Structure and Function of the Army, in College of Sociology, ed. Denis Hollier,
trans. Betsy Wing, 137-44 (Minneapolis: University of Minnesota Press, 1988)
(electronic reserve)
***Essay due by 9AM, February 9.

2.15

Blue of Noon

2.22

Erotism, 7-146
Preface, Eroticism and the Reflection of the Universe in the Mind, The Problem of
Incest, The Object of Desire, and Epilogue, in The Accursed Share, volume II,
trans. Robert Hurley, 13-37, 137-47, 187-91 (New York: Zone Books, 1993)
(electronic reserve)

2.29

The Passage from Animal to Man and the Birth of Art, A Meeting in Lascaux, and
Lecture, January 18, 1955, in Cradle of Humanity, ed. Stuart Kendall,
trans. Michelle Kendall and Stuart Kendall, 57-104 (New York: Zone Books, 2005)
(electronic reserve)
From the Stone Age to Jacques Prvert and Happiness, Eroticism and Literature, in
Absence of Myth, ed. and trans. Michael Richardson, 137-54, 186-208 (New York:
Verso, 1994) (electronic reserve)
***Essay due by 9AM, March 1.

3.7

SPRING BREAK (No class)

3.14

Inner Experience, xxxi-61

Madame Edwarda in My Mother/Madame Edwarda/The Dead Man, trans. Austryn
Wainhouse, 148-59 (New York: Marion Boyars, 1995) (electronic reserve)
Erotism, 265-71
***Book Review due by 9AM, March 15

3.21

Inner Experience, 65-165

3.28

Guilty, trans. Bruce Boone (San Francisco: Lapis Press, 1988), 11-48 (electronic reserve)
Method of Meditation, in Unfinished System of Nonknowledge, ed. Stuart Kendall,
trans. Michelle Kendall and Stuart Kendall, 77-99 (Minneapolis: University of
Minnesota Press, 2001) (electronic reserve)
Practice of Joy before Death, in Visions of Excess
Joy in the Face of Death, in College of Sociology, ed. Denis Hollier, trans. Betsy Wing,
322-32 (Minneapolis: University of Minnesota Press, 1988) (electronic reserve)

4.4

On Nietzsche, trans. Bruce Boone (New York: Paragon House, 1992), 13-48 (electronic
reserve)
The Accursed Share, volume III, trans. Robert Hurley, 195-257 (New York: Zone Books,
1993) (electronic reserve)
The Sovereign, in Unfinished System of Nonknowledge, ed. Stuart Kendall, trans.
Michelle Kendall and Stuart Kendall, 185-95 (Minneapolis: University of
Minnesota Press, 2001) (electronic reserve)
***Essay due by 9AM, April 5.

4.11

The Old Mole and the Prefix Sur in the Words Surhomme [Superman] and
Surrealist, Base Materialism and Gnosticism, The Lugubrious Game,
The Big Toe, and Formless, in Visions of Excess

4.18

Erotism, 164-93
The Use Value of D.A.F. de Sade, in Visions of Excess
Literature and Evil, trans. Alastair Hamilton, (New York: Marion Boyars, 1985), ix-x, 10529 (electronic reserve)
Initial Postulate, in The Absence of Myth, ed. and trans. Michael Richardson,
91-95 (New York: Verso, 1994) (electronic reserve)
Tears of Eros, trans. Peter Connor (San Francisco: City Lights, 1989), 162-65, 173, 185,
199-207 (electronic reserve)

4.25

Story of the Eye

***Final Paper due by 9AM, Tuesday, May 8.
FINAL MEETING: Wednesday, May 9, 2-4:30PM, Location TBA
Please read and be prepared to discuss Michel Foucault, A Preface to Transgression, in
Bataille: A Critical Reader, ed. Fred Botting and Scott Wilson, trans. Donald F. Bourchard
and Sherry Simon, 24-40 (Malden, MA: Blackwell, 1998) (electronic reserve).

ASSIGNMENTS
You must submit all assignments by e-mail ([email protected]). If I am unable to open your
attachment, I will notify you by replying to the address from which you have submitted the
assignment. If you do not submit a readable version within 24 hours, I will grade the
assignment at my discretion. All assignments must be double-spaced, in a 12-point font, with
one-inch margins and no extra spaces between paragraphs. No late papers will be accepted.
Essays (30%; 10% each)
You must write three (3), 3-4 page essays. They are due by 9AM on February 9, March 1, and
April 5, respectively. These essays should focus on one or two specific passages from the
reading to develop a particular theme, question or idea that you find interesting, troubling,
puzzling or generative in Batailles work. This assignment is designed to help you begin
sketching the analysis you will pursue in your final paper. You should use these essays as an
opportunity to develop your own voice in relation to Batailles. You are strongly encouraged to
return to the same idea, or small set of related ideas, across the essays, developing and
expanding it/them as you engage a broader range of Batailles work. Taken as a whole, your
essays should balance exposition, interpretation, analysis, argument, and critique.
Book Review (10%)
You must write a 3-4 page review of one of the books listed below. This review is due by 9AM,
March 15. You should consult a major journal in your field (e.g., the Journal of the American
Academy of Religion) for questions about format, content and style. This assignment is
designed to help you begin evaluating relevant secondary literature on Bataille as you prepare
to write your final paper.
Biles, Jeremy. Ecce Monstrum: Georges Bataille and the Sacrifice of Form. New York:
Fordham University Press, 2007.
Brintnall, Kent L. Ecce Homo: The Male-Body-in-Pain as Redemptive Figure. Chicago:
University of Chicago Press, 2011.
Hollywood, Amy. Sensible Ecstasy: Mysticism, Sexual Difference, and the Demands of
History. Chicago: University of Chicago Press, 2002.
Irwin, Alexander. Saints of the Impossible: Bataille, Weil, and the Politics of the Sacred.
Minneapolis: University of Minnesota Press, 2002.
Mitchell, Andrew J. and Jason Kemp Winfree, eds. The Obsessions of Georges Bataille:
Community and Communication. Albany: State University of New York Press,
2009.
Richman, Michle H. Sacred Revolutions: Durkheim and the Collge de Sociologie.
Minneapolis: University of Minnesota Press, 2002.
Stoekl, Allan. Batailles Peak: Energy, Religion, and Postsustainability. Minneapolis:
University of Minnesota Press, 2007.
Winnubst, Shannon, ed. Reading Bataille Now. Bloomington: Indiana University Press,
2007.

Final Paper (60%)

You must write a 20-25 page paper at the end of the semester. This paper is due by 9AM,
Tuesday, May 8. Although this paper may return to ideas explored in your essays, it must be
more than a summation of prior work. Ideally, you should produce a publishable piece of
original scholarship that engages Batailles work in a sophisticated, meaningful, substantial way.
With this goal in mind, you will likely need to engage textsprimary and secondarybeyond
those considered in class.
As you prepare assignments, please be mindful that other class members will need access to
the same library material. Please be in conversation with your colleagues about what
materials you have and what materials you need. Please also be responsible and generous in
your use of these materials.
GRADING
In grading your assignments, I will use the following criteria:
(1)

Is the work satisfactory as an expository exercise? Does it summarize accurately the

material under consideration? Does it give attention to the most relevant and
important ideas? Does it characterize fairly and engage sympathetically ideas with
which it disagrees? Does it consider a sufficient range of sources?

(2)

Is the work satisfactory as an analytical exercise? Does it have a clear thesis or central
claim(s)? Is it expressed and organized in a persuasive manner? Does it evince
intellectual engagement beyond summation and exposition? Does it engage questions,
themes and ideas relevant to the course? Does it extend consideration of course
materials beyond class discussion?

(3)

Is the work satisfactory as a writing exercise? Is it free of grammatical, spelling and

stylistic errors? Does it provide accurate and adequate citations? Does it demonstrate
some attention to rhetorical stylization?

Ideally, as a graduate student, your work should open up some new dimension ofi.e., teach
me something aboutthe material. At a minimum, it must summarize the materials
accurately, clearly and completely and present an analysis (evaluation, critique, application,
extension) that engages the courses themes and questions.
As a graduate student, your writing should be absolutely free of spelling, grammar, stylistic and
citation mistakes. Your reader cannot engage your ideas if she or he is distracted by problems
in your writing. If I find myself spending too much time copy-editing your work, I will deduct a
letter grade, return it without comment and give you 24 hours to submit a revised version. If I
find spelling errors that could have been caught by spell-check, I will give the paper a U and
return it without comment.

You must follow Turabians Manual of Style, 7th ed., for questions of grammar, style and
citation form. Two additional style rules that will apply to assignments for this course:
(1)
Do not use you in formal writing.
Incorrect:
This passage in Bataille makes you feel confused and
disoriented.
Correct:
This passage in Bataille makes the reader feel confused and
disoriented.
(2)
Do not use contractions in formal writing.
Your writing should privilege depth over breadth. It is better to address a small point, and do it
well, than to try something grand, and do it superficially. There is no expectation, in this class
or the world, that you be exhaustive. Instead, you should frame a question well, engage texts
attentively, represent others ideas accurately, explain your own thinking clearly, and write in
an engaging, rhetorically sensitive manner.
You should consider issues beyond proofreading and clarity of expression. You should also
think about rhetoric, form and style. You should be attentive to how you organize an essay,
how you begin and end a paper, how you express yourself (from word choice to examples to
metaphors), how use quotations, and how you vary the length and complexity of sentences and
paragraphs. While I do not expect you to imitate Batailles style(s) in any specific way, you
should take cues from his attention to form and begin experimenting with different writing
strategies in your own work.
Remember, you will not be in the room when I am reading your work: what you put on the
page must be a clear, complete and precise statement of your ideas.
Finally, you should familiarize yourself with and conform your conduct to the Universitys
Code of Student Academic Integrity. Plagiarism on any assignment will result in a failing
grade for the course.

GRADE DESCRIPTIONS
Grades are not a judgment on you as a person or an evaluation of your overall capacity to
perform academic work. They are a way of communicating how one particular assignment
reflects analytical skills and writing ability with respect to a specific set of materials and
questions. The range of grades used in graduate courses at UNC Charlotte is A (commendable),
B (satisfactory), C (marginal), and U (unsatisfactory). Under exceptional circumstances, a grade
of I (incomplete) can be assigned at my discretion.
A

Exceptional work. Evinces exhaustive preparation and thoughtful engagement in every

aspect of the assignment. Careful, accurate, complete, sympathetic interpretation of
material and presentation of ideas. General observations supported by specific,
concrete detail. Contains a strong, clear thesis. Contributes something interesting,
unique or creative beyond class discussion. Clear, well-organized writing free of
grammatical, spelling and stylistic errors. At the graduate level, an A indicates you
have demonstrated the analytical and writing skills needed to succeed in the academy
by comprehending difficult concepts, generating engaging questions and expressing
yourself clearly and cleanly.

Strong work. Attentive to the most significant details of the material under
consideration. Conversant with the courses themes and questions. Expresses an
obvious main point. Presents a reasonable interpretation supported by sufficient
evidence. Clear, well-organized writing free of serious grammatical, spelling and stylistic
errors. At the graduate level, a B indicates you must develop and refine your skills to
succeed in the academy. Most A-level undergraduate work is B-level graduate work.

Inadequate work. Contains inaccurate or inadequate explanations of material under

consideration. Shows inadequate comprehension of or engagement with the courses
themes and questions. Unclear or unsupported thesis. Analysis too general and lacks
adequate support. Writing unclear, unstructured or with numerous grammatical,
spelling and stylistic errors. Failure to improve analytic precision or clarity of expression
over previous assignments. At the graduate level, a C indicates that you have not
demonstrated the skills essential to success in the academy. It is the equivalent of a D
or F in undergraduate study.

Unacceptable work. Analysis too general, without support. Significant details presented
inaccurately or overlooked; ideas that conflict with the papers main point not
considered. Discussion fails to engage course materials, questions or themes.
Significant problems with the clarity or organization of the writing. Significant issues
with grammar, spelling or style. Failure to address serious problems identified in prior
assignments. A U indicates that success in the academy is out of the question with
existing skills.

One final grade of C automatically generates a written warning from the Dean of the Graduate
School and may preclude further graduate work; a second C is sufficient grounds for permanent
dismissal from the program.
The receipt of a U in any single graduate course while at UNC Charlotte results in immediate
academic suspension, which effectively ends your graduate career at this institution.
If you come to class, participate in discussion, work hard on your assignments and improve
over the course of the semester, I will take that into consideration when translating your
individual assignment grades into a course grade.