Návrat do rubriky Occamova břitvaPOSTMODERNISTOU SNADNO A RYCHLE

(PAVEL VACHTL)

NÁHODNÝ POSTMODERNISTICKÝ ESEJ


Na jaře t.r. jsme v Břitvě zveřejnili několik materiálů, týkajících se napjatého vztahu postmodernismu a filosofie vědy. Šlo zejména o dva eseje doc. Jelínka (první, druhý). Lehkost "postmoderních" post-konstrukcí nenechává chladnými řadu lidí ani v anglosaském světě - dobrým úvodem do problematiky je např. stránka Edwarda R. Friedlandera, M.D., "Why I am Not a Postmodernist", intenzivním cvičením v postmoderním "řemesle" je How to Speak and Write Postmodern, kde Vám vysvětlí, jaké post-výrazy je třeba používat, abyste byli "in" a na stránce How to Deconstruct Almost Anything se naučíte, jak se s ničím, ale opravdu s ničím v tom starém, zpuchřelém modernistickém světě (tedy v jeho paradigmatu, že) nemazlit. Ale to ještě není všechno! Abyste se přesvědčili, že opravdu Anything Goes (nefunguje, zkusím najít jiný link), zvolte tento link: zde se skrývá prográmek DADA-ENGINE, který napíše, tedy náhodně vygeneruje celý "postmodernistický" esej (a s každým kliknutím či reloadem nový !!) ZA VÁS. Podobně jako Tristan Tzara v roce 1916 Vám garantuji, že každý esej bude věrným obrazem Vaší postmoderní post-duše a preoriginality a že se v něm poznáte ;-)). (Děkuji Ivanovi Adamovičovi za upozornění na tento link, pozn. P.V..) Doufám, že se také Vám podaří dosáhnout např. této "postmoderní mety";-):

"Transgressing the Transgressors: Toward a Transformative Hermeneutics of Total Bullshit"

Zde si můžete stáhnout ZAZIPOVANÝ SOUBOR 22 těchto prvotřídních post-esejů (174 kb). A abyste "nekupovali zajíce v pytli", uvádím jeden perfektní esejík jakožto ochutnávku:

(porovnejme tyto texty se SKUTEČNÝMI postmodernistickými eseji např. v revue "Postmodern Culture" na http://www.iath.virginia.edu/pmc/ či http://www.iath.virginia.edu/pmc/current.issue/, výsledek myslím není nezajímavý ;-) - Očekávám velmi pravděpodobná obvinění mé osoby z hluboké neznalosti postmoderní filozofie :-)  P.V.)

Subtextual theory in the works of Madonna

O. David Bassett
Department of Sociolinguistics, University of Massachusetts

1. Madonna and cultural rationalism

"Society is fundamentally a legal fiction," says Sartre; however, according to Hanfkopf[1] , it is not so much society that is fundamentally a legal fiction, but rather the failure, and eventually the genre, of society. Therefore, Baudrillard uses the term 'subtextual theory' to denote the paradigm, and therefore the dialectic, of deconstructivist art.

If Bataillean `powerful communication' holds, the works of Madonna are modernistic. Adorno's model of subtextual theory suggests that class, surprisingly, has objective value.

In a sense, Drucker[2] states that we have to choose between subtextual theory and the dialectic paradigm of discourse.

2. Consensuses of nothingness

The characteristic theme of Wilson's[3] analysis of the dialectic paradigm of discourse is the role of the observer as reader. The primary theme of Tilton's[4] essay on cultural rationalism is a materialist paradox. The subject is interpolated into a neocultural dematerialism that includes language as a reality. In a sense, many desituationisms concerning the dialectic paradigm of discourse exist.

"Sexual identity is problematic," says Foucault. Thus, the subject is contextualised into a cultural rationalism that includes sexuality as a totality. Ardois-Bonnot[5] holds that the works of Burroughs are postmodern.

If one examines subtextual theory, one is faced with a choice: either accept postsemantic narrative or conclude that discourse comes from communication. Marx uses the term 'the dialectic paradigm of discourse' to denote not, in fact, construction, but subconstruction. It could be said that any number of discourses concerning cultural rationalism may be revealed.

Mensonge promotes the use of textual nationalism to deconstruct hierarchy.

Therefore, if subtextual theory holds, we have to choose between cultural rationalism and the dialectic paradigm of discourse. But the premise of premodernist discourse suggests that the task of the artist is social comment. The main theme of the works of Burroughs is the futility, and subsequent praxis, of postcultural language.

However, Sontag uses the term 'cultural rationalism' to denote the bridge between society and reality. A number of theories concerning the role of the writer as participant exist. In a sense, von Ludwig[6] states that we have to choose between the dialectic paradigm of discourse and subtextual theory.

Therefore, the subject is interpolated into a Lyotardean narrative that includes art as a reality. Adorno suggests the use of the dialectic paradigm of discourse to modify sexual identity. The characteristic theme of McElwaine's[7] essay on subtextual theory is a mythopoetical reality.

3. Cultural rationalism and cultural semioticist theory

In the works of Burroughs, a predominant concept is the distinction between masculine and feminine. In The Adding Machine, Burroughs denies the dialectic paradigm of discourse; in Queer, however, Burroughs analyses patriarchial situationism. The characteristic theme of Brophy's[8] critique of cultural semioticist theory is not discourse as such, but prediscourse. Thus, subtextual theory implies that academe is capable of significance, given that Sartre's essay on capitalist socialism is invalid.

"Class is fundamentally elitist," says Saussure. Several theories concerning subtextual theory exist. However, Debord promotes the use of the dialectic paradigm of discourse to read sexual identity.

Bassett[9] holds that we have to choose between substructuralist deappropriation and cultural semioticist theory. But Derrida uses the term 'the dialectic paradigm of discourse' to denote the rubicon of capitalist society.

The subject is interpolated into a cultural semioticist theory that includes consciousness as a whole. An abundance of theories concerning subtextual theory exist. However, the main theme of d'Erlette's[10] analysis of cultural semioticist theory is the common ground between class and truth. Bataille uses the term 'postdeconstructive sublimation' to denote not, in fact, deconstruction, but postdeconstruction. In a sense, the primary theme of the works of Burroughs is a self-falsifying paradox.

Baudrillard promotes the use of cultural semioticist theory to deconstruct and transgress the boundaries of society. In The Soft Machine, Burroughs reiterates subtextual theory; in Nova Express, Burroughs examines the dialectic paradigm of discourse.

4. Contexts of defining characteristic

"Sexual identity is part of the economy of narrativity," says Lacan. It could be said that the premise of neodialectic cultural theory suggests that culture may be used to exploit the underprivileged, but only if language is distinct from reality; if that is not the case, narrative is a product of the collective unconscious. If cultural semioticist theory holds, we have to choose between subtextual theory and materialist Marxism. Therefore, any number of theories concerning subtextual theory exist. The primary theme of Sargeant's[11] model of the dialectic paradigm of discourse is the role of the poet as reader. In Beverly Hills 90210, Spelling affirms subtextual theory; in Models, Inc., however, Spelling denies subtextual theory.

If one examines cultural semioticist theory, one is faced with a choice: either reject the pretextual paradigm of discourse or conclude that art is a legal fiction. The subject is contextualised into a capitalist narrative that includes sexuality as a totality. Foucault suggests the use of the dialectic paradigm of discourse to challenge outdated, elitist perceptions of class.

The characteristic theme of Prinn's[12] critique of neoconceptualist dialectic theory is the difference between society and sexual identity. It could be said that Sartre uses the term 'subtextual theory' to denote the fatal flaw, and thus the failure, of subsemantic consciousness.

Parry[13] holds that we have to choose between cultural semioticist theory and the dialectic paradigm of discourse. Thus, Marx's essay on subtextual theory states that society has significance, but only if truth is equal to culture; if that is not the case, Mensonge's model of cultural discourse is one of "Sontagian camp", and therefore intrinsically impossible. However, the main theme of the works of Madonna is the role of the artist as observer.

Lyotard uses the term 'the dialectic paradigm of discourse' to denote the role of the participant as reader. The primary theme of the works of Madonna is the role of the writer as poet.

In a sense, an abundance of narratives concerning the common ground between language and sexual identity exist. The subject is interpolated into a cultural semioticist theory that includes reality as a reality. If the dialectic paradigm of discourse holds, we have to choose between constructivist theory and subtextual theory.

The feminine/masculine distinction prevalent in "Sex" emerges again in "In bed with Madonna". But Baudrillard promotes the use of the pretextual paradigm of expression to analyse class.

5. The dialectic paradigm of discourse and subcapitalist feminism

"Narrativity is part of the dialectic of reality," says Debord; however, according to Hatchjaw[14] , it is not so much narrativity that is part of the dialectic of reality, but rather the collapse, and some would say the nothingness, of narrativity. Scuglia[15] holds that we have to choose between subcapitalist feminism and the dialectic paradigm of discourse.

Therefore, the patriarchialist paradigm of narrative implies that the collective is capable of deconstruction. The characteristic theme of Buxton's[16] critique of subcapitalist feminism is not dematerialism, but neodematerialism.

Thus, the subject is contextualised into a subtextual theory that includes art as a whole. Many sublimations concerning the absurdity, and subsequent economy, of capitalist society may be found. If the dialectic paradigm of discourse holds, we have to choose between subcapitalist feminism and Saussurean semiotics. Adorno uses the term 'posttextual theory' to denote a cultural reality. In Erotica, Madonna analyses subtextual theory; in Material Girl, Madonna deconstructs the dialectic paradigm of discourse.

6. Consensuses of stasis

In the works of Madonna, a predominant concept is the concept of postsemiotic truth. Thus, Bataille suggests the use of subcapitalist feminism to attack the entrenched hegemony of class divisions. The subject is interpolated into a dialectic narrative that includes consciousness as a paradox.

"Class is fundamentally meaningless," says Derrida. It could be said that the premise of subcapitalist feminism suggests that the goal of the participant is significant form. Ashwander[17] states that we have to choose between subtextual theory and the dialectic paradigm of discourse. However, Habermas uses the term 'subtextual theory' to denote the role of the reader as artist.

If one examines Sontagian camp, one is faced with a choice: either accept subtextual theory or conclude that culture serves to reinforce capitalism. Several desituationisms concerning the dialectic paradigm of discourse exist. In a sense, if subcapitalist feminism holds, the works of Rushdie are empowering. Therefore, Sartre promotes the use of subtextual theory to attack the hegemony of hierarchy over sexual identity.

"Sexuality is dead," says Lacan. The primary theme of the works of Rushdie is the praxis, and eventually the futility, of structuralist society. Pickett[18] holds that we have to choose between subtextual theory and the dialectic paradigm of discourse.

However, the premise of posttextual capitalism states that narrativity is capable of significance, given that Foucault's analysis of subcapitalist feminism is valid.

Marx uses the term 'semantic neocapitalist theory' to denote the bridge between sexual identity and class. The subject is contextualised into a subcapitalist feminism that includes culture as a totality. But Mensonge promotes the use of subtextual theory to transgress the boundaries of sexual identity. The creation/destruction distinction depicted in Reservoir Dogs is also evident in Clerks, although in a more self-referential sense.

Baudrillard uses the term 'the dialectic paradigm of discourse' to denote a mythopoetical whole.

Therefore, any number of discourses concerning subtextual theory may be found. The cultural paradigm of context implies that reality must come from the masses. Thus, Abian[19] suggests that we have to choose between subcapitalist feminism and the dialectic paradigm of discourse.

The subject is interpolated into a precapitalist deconstructivist theory that includes consciousness as a reality. It could be said that the characteristic theme of Cameron's[20] critique of subtextual theory is not deconstructivism, as the dialectic paradigm of discourse suggests, but subdeconstructivism. Bataille suggests the use of subcapitalist feminism to challenge the entrenched hegemony of capitalist ideology. In a sense, Debord's model of postcultural narrative holds that the raison d'etre of the artist is significant form.

7. The dialectic paradigm of discourse and conceptual modernist theory

"Language is elitist," says Saussure; however, according to Finnis[21] , it is not so much language that is elitist, but rather the rubicon of language. A number of deconstructions concerning the bridge between society and sexual identity may be revealed. Mellen[22] implies that we have to choose between conceptual modernist theory and subtextual theory.

The main theme of the works of Tarantino is the meaninglessness, and thus the defining characteristic, of textual class. But Adorno uses the term 'subsemantic theory' to denote the role of the observer as participant. In From Dusk Till Dawn, Tarantino reiterates the dialectic paradigm of discourse; in Reservoir Dogs, however, Tarantino examines Derridean reading. Therefore, if conceptual modernist theory holds, we have to choose between conceptual modernist theory and subtextual theory.

The subject is interpolated into a subtextual theory that includes reality as a paradox.

Sartre uses the term 'the dialectic paradigm of discourse' to denote a self-fulfilling whole.

However, the main theme of Humphrey's[23] essay on cultural materialist theory is not sublimation per se, but presublimation. Conceptual modernist theory states that the media is capable of intent. In a sense, Sontag promotes the use of Habermasian discourse to deconstruct archaic perceptions of art.

8. Discourses of genre

In the works of Tarantino, a predominant concept is the distinction between ground and figure. The subject is contextualised into a dialectic paradigm of discourse that includes truth as a whole.

Thus, Marx uses the term 'subtextual theory' to denote the role of the writer as poet. An abundance of narratives concerning conceptual modernist theory exist.

The absurdity, and some would say the failure, of capitalist discourse which is a central theme of Pulp Fiction emerges again in Natural Born Killers. It could be said that Hubbard[24] suggests that we have to choose between subtextual theory and the dialectic paradigm of discourse. The subject is interpolated into a conceptual modernist theory that includes sexuality as a totality. The premise of subtextual theory states that culture is used in the service of the hegemony of sexism over narrativity, but only if textual theory is invalid; if that is not the case, we can assume that consciousness serves to marginalize minorities. Debord uses the term 'the dialectic paradigm of discourse' to denote the dialectic, and subsequent paradigm, of postsemioticist society. Therefore, Lacan promotes the use of conceptual modernist theory to challenge the entrenched hegemony of the status quo.

9. Tarantino and subtextual theory

If one examines the dialectic paradigm of discourse, one is faced with a choice: either accept the cultural paradigm of expression or conclude that art has objective value. Many narratives concerning the difference between sexual identity and class exist. The primary theme of the works of Tarantino is a neoconstructive reality. If dialectic subdialectic theory holds, the works of Tarantino are reminiscent of Spelling.

In the works of Tarantino, a predominant concept is the distinction between within and without. In a sense, von Junz[25] holds that we have to choose between the dialectic paradigm of discourse and conceptual modernist theory. The subject is contextualised into a subtextual theory that includes language as a paradox.

"Sexual identity is problematic," says Foucault; however, according to Geoffrey[26] , it is not so much sexual identity that is problematic, but rather the economy, and eventually the nothingness, of sexual identity. Therefore, Saussure uses the term 'capitalist capitalism' to denote not, in fact, theory, but neotheory. The main theme of la Tournier's[27] critique of conceptual modernist theory is the fatal flaw of prestructural reality.

Several materialisms concerning the dialectic paradigm of discourse may be discovered. The subject is interpolated into a subtextual theory that includes truth as a totality.

But Werther[28] states that we have to choose between the subdialectic paradigm of reality and conceptual modernist theory. Adorno's analysis of subtextual theory suggests that the State is intrinsically unattainable. However, in Ulysses, Joyce affirms cultural deconstruction; in Ulysses, Joyce denies the dialectic paradigm of discourse.

Lyotard suggests the use of subtextual theory to modify society. Bataille uses the term 'conceptual modernist theory' to denote not narrative, as Baudrillard would have it, but postnarrative.

It could be said that the characteristic theme of the works of Joyce is the role of the writer as reader. The premise of premodernist postdeconstructive theory implies that the purpose of the artist is social comment, but only if sexuality is interchangeable with art. Any number of situationisms concerning conceptual modernist theory exist.

10. The dialectic paradigm of discourse and subtextual Marxism

"Narrativity is part of the stasis of consciousness," says Habermas. Thus, the subject is contextualised into a subtextual theory that includes sexuality as a reality. Du Garbandier[29] implies that we have to choose between Adornian aesthetics and subtextual theory.

The main theme of Wilson's[30] critique of the dialectic paradigm of discourse is the bridge between culture and sexual identity. But Derrida promotes the use of subtextual Marxism to attack hierarchy.

The example of the submaterialist paradigm of context intrinsic to Dubliners emerges again in Ulysses. However, Marx uses the term 'subtextual theory' to denote the collapse, and some would say the absurdity, of dialectic class.

The characteristic theme of the works of Joyce is the role of the writer as observer. Lacan's model of the dialectic paradigm of discourse holds that the establishment is capable of deconstruction.

In a sense, a number of theories concerning a mythopoetical whole exist. The subject is interpolated into a presemiotic discourse that includes reality as a paradox.

11. Joyce and capitalist libertarianism

If one examines subtextual Marxism, one is faced with a choice: either reject the dialectic paradigm of discourse or conclude that consensus comes from communication. Therefore, if subtextual theory holds, we have to choose between subtextual Marxism and subtextual theory. Sontag uses the term 'the dialectic paradigm of discourse' to denote not narrative, but postnarrative.

"Society is responsible for capitalism," says Lyotard; however, according to Ardois-Bonnot[31] , it is not so much society that is responsible for capitalism, but rather the praxis, and hence the paradigm, of society. In a sense, in Finnegan's Wake, Joyce reiterates Debordian image; in Ulysses, however, Joyce reiterates subtextual Marxism. Mensonge suggests the use of subtextual theory to deconstruct class divisions. Several deappropriations concerning the dialectic paradigm of discourse exist.

In a sense, Bataille uses the term 'cultural theory' to denote not, in fact, discourse, but subdiscourse. Subtextual theory holds that language may be used to reinforce colonialist perceptions of sexual identity. It could be said that Foucault promotes the use of textual theory to read and challenge class. Thus, the subject is interpolated into a dialectic paradigm of discourse that includes truth as a whole. An abundance of situationisms concerning a self-justifying totality may be found.

However, if subtextual Marxism holds, we have to choose between the predialectic paradigm of narrative and subtextual theory. The primary theme of Drucker's[32] essay on the dialectic paradigm of discourse is the difference between reality and society. But the rubicon, and subsequent meaninglessness, of subtextual Marxism prevalent in Finnegan's Wake is also evident in Finnegan's Wake. Tilton[33] states that the works of Joyce are not postmodern. In a sense, Baudrillard uses the term 'neoconstructivist semiotic theory' to denote the failure of postcultural society.

Structuralist nihilism suggests that society has intrinsic meaning.

12. Subtextual theory and Saussurean semiotics

"Class is part of the paradigm of art," says Sontag. Therefore, if the dialectic paradigm of discourse holds, we have to choose between Saussurean semiotics and the dialectic paradigm of discourse.

Therefore, Derrida promotes the use of dialectic narrative to analyse and deconstruct sexual identity. In La Dolce Vita, Fellini affirms subtextual theory; in The City of Women, Fellini analyses the textual paradigm of context.

However, many dematerialisms concerning Saussurean semiotics exist. The subject is interpolated into a dialectic paradigm of discourse that includes consciousness as a reality. Habermas's analysis of capitalist subpatriarchial theory holds that the raison d'etre of the participant is deconstruction. It could be said that Faustroll[34] implies that we have to choose between subtextual theory and Saussurean semiotics.


1. Hanfkopf, N. ed. (1975) Reassessing Expressionism: The dialectic paradigm of discourse in the works of Gibson. Harvard University Press

2. Drucker, C. E. K. ed. (1988) The Absurdity of Discourse: The dialectic paradigm of discourse and subtextual theory. Panic Button Books

3. Wilson, S. (1970) Subtextual theory in the works of Burroughs. University of Illinois Press

4. Tilton, W. Z. ed. (1983) The dialectic paradigm of discourse and subtextual theory. O'Reilly & Associates

5. Ardois-Bonnot, P. G. (1979) Dialectic Discourses: Subtextual theory and the dialectic paradigm of discourse. Loompanics

6. von Ludwig, M. T. U. ed. (1977) The dialectic paradigm of discourse, nihilism and structural deconceptualism. And/Or Press

7. McElwaine, V. (1971) The dialectic paradigm of discourse and subtextual theory. University of Massachusetts Press

8. Brophy, J. L. B. ed. (1982) Dialectics of Meaninglessness: Subtextual theory and the dialectic paradigm of discourse. Oxford University Press

9. Bassett, I. D. (1988) The dialectic paradigm of discourse in the works of Wood. University of Massachusetts Press

10. d'Erlette, F. N. Q. ed. (1976) Realities of Stasis: Subtextual theory and the dialectic paradigm of discourse. Panic Button Books

11. Sargeant, O. H. (1984) The Consensus of Genre: The dialectic paradigm of discourse in the works of Spelling. Cambridge University Press

12. Prinn, Y. A. C. ed. (1975) Subtextual theory in the works of Madonna. Schlangekraft

13. Parry, R. (1987) The Paradigm of Class: The dialectic paradigm of discourse and subtextual theory. Yale University Press

14. Hatchjaw, W. S. (1979) The dialectic paradigm of discourse, nihilism and cultural discourse. O'Reilly & Associates

15. Scuglia, K. E. Z. ed. (1980) Reinventing Surrealism: Subtextual theory and the dialectic paradigm of discourse. And/Or Press

16. Buxton, P. (1976) Forgetting Derrida: The dialectic paradigm of discourse in the works of Glass. Harvard University Press

17. Ashwander, T. M. (1982) The dialectic paradigm of discourse in the works of Rushdie. University of California Press

18. Pickett, U. (1981) Subtextual theory in the works of Tarantino. Loompanics

19. Abian, G. J. V. ed. (1973) Textual nationalism, the dialectic paradigm of discourse and nihilism. University of Massachusetts Press

20. Cameron, I. (1987) The Fatal flaw of Narrative: The dialectic paradigm of discourse and subtextual theory. O'Reilly & Associates

21. Finnis, L. ed. (1978) The dialectic paradigm of discourse and subtextual theory. Panic Button Books

22. Mellen, B. D. F. (1975) The dialectic paradigm of discourse in the works of Koons. Schlangekraft

23. Humphrey, Q. H. ed. (1984) Subtextual theory and the dialectic paradigm of discourse. And/Or Press

24. Hubbard, C. ed. (1979) The Forgotten Sky: The dialectic paradigm of discourse, postpatriarchial rationalism and nihilism. Cambridge University Press

25. von Junz, N. A. O. (1972) Conceptualist Deappropriations: The dialectic paradigm of discourse and subtextual theory. University of California Press

26. Geoffrey, Y. R. ed. (1980) Subtextual theory in the works of Otomo. O'Reilly & Associates

27. la Tournier, S. ed. (1976) The dialectic paradigm of discourse in the works of Joyce. Oxford University Press

28. Werther, W. E. (1987) The Iron Sea: Subtextual theory and the dialectic paradigm of discourse. And/Or Press

29. du Garbandier, T. P. K. (1971) Subtextual theory and the dialectic paradigm of discourse. University of North Carolina Press

30. Wilson, Z. (1984) The dialectic paradigm of discourse and subtextual theory. Panic Button Books

31. Ardois-Bonnot, M. L. ed. (1973) Deconstructing Sartre: Nihilism, neopatriarchial semanticism and the dialectic paradigm of discourse. Schlangekraft

32. Drucker, C. (1978) Realities of Futility: The dialectic paradigm of discourse in the works of Lynch. Loompanics

33. Tilton, U. V. ed. (1985) The Expression of Defining characteristic: Subtextual theory in the works of Fellini. University of Georgia Press

34. Faustroll, G. D. B. (1986) Subtextual theory and the dialectic paradigm of discourse. O'Reilly & Associates


About DADA-ENGINE program

SOKALOVA AFÉRA A JEJÍ OHLASY


Teoretický fyzik Alan Sokal si udělal před časem (v polovině r. 1996) z postmodernistických humanitních kruhů legraci svým parodickým pseudo-filosofickým článkem "Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity, který jim s vážnou tváří podsunul do časopisu "Social text" a pak se jim v časopise Lingua Franca vysmál (viz např. esej doc. Jelínka). Řadu jeho článků o celé historii najdeme na http://www.physics.nyu.edu/faculty/sokal/index.html, odpověď redaktorů "Social Textu" je na http://www.nyu.edu/pubs/socialtext/sokal.html.

DALŠÍ LINKY:

CSTT, Keele University: STOT Resources - The Sokal Affair

The Sokal Affair

Why I am Not a Postmodernist

Postmodernism and the Left   (mirror zde)

What the Sokal Hoax Ought to Teach Us

Lingua Franca  (mirror zde)

Mystery Science Theater -- Lingua Franca (July/August 1996)

Mystery Science Theater -- Lingua Franca (July/August 1996)(2)

The Sokal Affair - A Physicist vs Postmodern Cultural Analysts

Science and Social Text

Sokal's Experiment

Physicists Take Philosophers to Task in Paris

On Being Hoaxed

Anatomy of a Hoax  (mirror1, mirror2)

Transgressing the Boundaries: An Afterword  (mirror)

Sources

Alan Sokal Talk at New York University Forum, 10/30/96

PostMortem: Post vs. Postmodern (The Sokal Affair)

Swallow Hard: What Social Text Should Have Done

The Sokal Affair

Sokal's Experiment

The Sokal Affair - Articles

Alan Sokal Articles on the "Social Text" Affair

Niemann's SOKAL page

 

PEJSEK A KOČIČKA JOSEFA ČAPKA - PRVNÍ POSTMODERNISTÉ DÁVNO PŘED LYOTARDEM, FOUCAULTEM aj. :-)

Ne, opravdu jsem se nezbláznil :-). Každý, kdo zná postmoderní mixy v literatuře, hudbě, architektuře, filosofii vědy apod. a zároveň si pamatuje z dětství pohádku Josefa Čapka o tom "Jak pejsek s kočičkou pekli dort", by měl asi zavětřit; jak to bylo s tím "100krát dobrým dortem"?

Já v tomto vidím základní znak postmoderní estetiky nebo metody vůbec - smíchat eklekticky všechno, na co člověk narazí, bez ladu a skladu, anything goes:

Pejsek a kočička chtěli udělat nejlepší dort na světě - a proto do něj dali vše, co jim chutnalo, co bylo dobré - knedlíky, čokoládu, okurky, šlehačku, buřty, chcíplou myš, škvarky, med, sýr, jablka, rozinky, vepřovou kýtu atd. atd., prostě všechno, na co narazili a co měl kdo rád a snili o tom, jak budou mít k jídlu "100x dobrý dort". Upekli to, dali to na zápraží, aby dort vychladl a snili o velkém požitku, až to budou jíst. Ten "požitek" však mezitím zakusil VELKÝ ZLÝ PES, který jim dort záludně sežral a pak málem natáhl z této nebývalé krmě bačkory.

Postmoderní zvěstovatelé nám také slibují mimořádné zážitky - že prý jejich metoda je prosta omylů předchozích názorových směrů, protože nijak neaspiruje na pravdu a je v ní možno hlásat úplně svobodně cokoliv, cokoliv je možno smíchat dohromady. Já jen doufám, že tuto "100x dobrou krmi" místo nás pozře nějaký "velký zlý pes" a zle bude z postmoderního "dortu" jemu a nikoliv nám. Nikomu ovšem nebráním s "postmoderními dorty" experimentovat dle libosti, na vlastní riziko, ovšem... :-).

P.V.

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