Review Rafael Narbona in cultural of The World utopian and skeptical, visionary and fool, free spirit and irreverent Denis Diderot (Langres, 1713 - Paris, 1748) appealed to reason to fight the political and religious fanaticism, but his passion did not stop growing illuminating humor and perplexity root thwarting the possibility of dogmatism. Unlike Rousseau, his theories about man and nature never intended to transcend the limits of knowledge interim mere sketch who prefer to point to the final work where there is no room for doubt. Rameau's nephew is a libertine novel haunted by the enlightened moralism. Like Plato, Diderot chose the literary form of dialogue with just two partners, in fact, two pronouns that assume the identity of a philosopher and a madman. It is a game that could be interpreted as a dialogue between the rational self and the impersonal instinct. The rational self grown Stoic ethics, which accepts the misfortune as a necessity. The clairvoyant instinct is uninhibited, fiercely claiming their right to enjoy, regardless of the other. The other does not exist when the desire to intervene. Only the object where fantasies are consumed.
With a straightforward style and cheeky ("My thoughts are like prostitutes"), Diderot made small inroads into the major issues of his time: science, education, democratic governance, artistic genius and political. The arguments are predictable, those in loco constitute an attack against reason and decency, showing an obscene antimoralist proximity to the Marquis de Sade. As enlightened philosopher, Diderot seems a little inspiration Socrates. It is much more convincing when he praises the lie, selfishness, or the basic pleasures - "the important thing is to go peacefully, freely, pleasantly, thoroughly every night to the toilet" -. You have to "kiss my ass to the nobility" to live without fear. Power always shown gentle with sycophants. Nothing more useless than virtue. We must not squander the opportunity to fornicate, get drunk or eat until the cows. Emesis is an art which ensures the possibility of not giving up any dish.
The fool despises intelligence. Only recognizes the authority of the belly and genitals, always hungry for pleasure. Hypocrisy is a great quality, but you have to hide to ensure its benefits. The mocker is a fool, the hypocrite, a scholar, who has a place in the world with the intimidating force of "a majestic cock between two balls", that is outstanding as a tower supported by the simplicity of idiots. The crazy only supports a limit, which separates him from Sade. Sexual pleasure should not be reckless. A furious lover can be as lethal as unwanted abstinence.
Angélica Liddell (Figueres, 1966) extends the reflections of crazy, attributing the view that society denies. In line with Foucault, madness is not only a clinical pathology, painfully real-but a symbolic figure who challenged their actions illogical, absurd and unpredictable, the social order. Both in his magnificent study of the text of Rousseau in his dead dog in dyeing , Liddell identifies the power and reason with the anus, the opening that shows the decay of the world. Words only falsify reality. Are a powerful tyrant who invented the grammar to cover its arbitrariness. Only the destruction of grammar and meaning may subvert a society that excludes and marginalizes. Liddell offers no utopia. Disagreement is expressed as anger: "I am a bitter and a fucking fucking misfit. I'm a fucking dog author makes a fuck in her life. " Under this nihilism, heard the cry of the dispossessed, who are no longer content to inherit the Earth, but who yearn to burn it for comfort to pain as old as the world.
0 comments:
Post a Comment