Šiuolaikinio anglų filosofo, Cambridge‘o universiteto profesoriaus E. Gellnerio knygoje analizuojama trejopa pasaulio situacija, kurioje vyrauja trys pasaulėžiūros: religinis fundamentalizmas, pripažįstantis vieną tiesą, reliatyvizmas (ryškiausias jo pavyzdys – postmodernistinis judėjimas) ir klasikinis racionalizmas, pritariantis vienos tiesios idėjai, tačiau nepripažįstantis, kad ta tiesa gali būti kieno nors monopolis.
This is pretty great. As a 1992 work this book is perhaps even more important now than when it was written. It is notable for its lucid articulation of Islam, in particular the forces of Low and High Islam which result in the strong position Islam fundamentalism finds itself today. There is then an excoriation of postmodernism - one that doesn’t hold back. Personally I have no sympathy with postmodernism so I have no issue with this, but some readers may feel the issue is not treated fairly. In the final stages Gellner admits that the third alternative to these two, one of secular rationalism, is also not ideal, and he instead plumps for rationalism that has religious overtones, making an analogy with constitutional monarchy vs. absolute monarchies. How this would look is unclear but this remains a very useful, short, scholarly, but readable treatise on arguably the three most important forces in society today. 📚📚📚
I am no authority to comment on the claims Gellner makes about Islamic fundamentalism. But I can say several things about Postmodernism. The author makes clear his lack of interpretation by reducing the movement to a mere display of linguistic fluency (or fuss). It is a reductionist critique, where only the work of authors who were not very relevant is considered, all at the convenience of the author, who makes it clear that he does not understand hermeneutics.
No soy ninguna autoridad para opinar sobre las afirmaciones que el autor realiza sobre el Islam. Sin embargo, sí que puedo decir varias cosas sobre el posmodernismo. El autor deja clara su carencia interpretativa al reducir el movimiento a una mera muestra de fluidez (o alboroto) lingüística. Esta es, sin duda, una crítica reduccionista donde solo se considera la obra de autores que no tuvieron demasiada relevancia, todo a conveniencia del autor, que deja claro en más de una ocasión que no entiende la hermenéutica.