Stony Brook University - SUNY Digital Repository
Stony Brook University - SUNY Digital Repository
Stony Brook University - SUNY Digital Repository
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A peculiar deficiency of the emphasis on dialectic so<br />
central to a sociological argument is that the<br />
insistence is frequently not itself dialectical;<br />
indeed, it is as likely as any other to become<br />
theological, though the privileged deity is now<br />
neither the god of our forefathers nor the god of the<br />
laboratory nor the god of consciousness, but instead<br />
the god of history. This deity is a particularly<br />
truculent being who necessitates change for the sake<br />
of change, a turbulent renunciation of the very idea<br />
of tradition – as in the case, for instance, of Mao’s<br />
Cultural Revolution – all in the interest of<br />
ideological purity with little consideration of the<br />
effects of radical change on the human beings who<br />
must endure it for theory’s sake. […] We have<br />
plentiful enough evidence of the potential for<br />
inhumanity in contemporary socialist political<br />
experiments to suggest that Marxist and other<br />
presumably dialectical arguments nurture the same<br />
oppressive capacity as any intellectual commitment<br />
when they divorce themselves from the dialogue and<br />
reconstitute a hierarchy of voices in their own<br />
favor. (272, emphasis mine)<br />
What Knoblauch is describing is a severe yet straightforward<br />
reversal of perspective. The “Word” of the Judeo-Christian-<br />
Islamic tradition and the very dichotomous, “we-right-good vs.<br />
other-wrong-bad” perspective that it both necessitates and<br />
nurtures has been traded for the “Word” of a secular Post-<br />
Modernity. One “god” has become traded for another, but this<br />
new “god” promises his (or her) disciples the very same boons if<br />
they should worship him: order, stability, authority, and<br />
control. This “trade” is simply a counter-polarization, as it<br />
were, like when you look upon a photograph’s negative: the<br />
lights become dark and the darks become light but the thing in<br />
the photograph, whatever it may be, remains the same. Again,<br />
the same old thing all over … again. For Knoblauch, it would<br />
seem that without that “dialogue,” your perspective of “reality”<br />
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