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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 />

106

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