Kajti kultura, ki občuduje večperspektivnost, dvom in ironijo, je obenem, nujno, kultura neodločnosti. Najbolj tipična značilnost ironije je njena zmožnost, da ustavi čas, da prevprašuje, kar je bilo že odločeno, ali pa postavi že končane dogodke v novo luč. Toda nikoli ne bo dajala predlogov, kaj bi bilo treba storiti: akcijo lahko zadržuje [ovira], ne more pa je spodbuditi. A živeti pomeni izbirati in sprejemanja odločitev ni mogoče izkoreniniti iz človeške eksistence oziroma zgodovine. Zato se je paradigma neodločnosti prisiljena poslužiti - vzdolž sintagmatske osi zgodbe [zapleta] - svojega nasprotja: arbitrarnih odločitev. Če je racionalnost v celoti prevzeta z naglaševanjem in uživanjem v 'kompleksnosti' teksta, bo neizogibno poenostavitev tega sistema narekovala iracionalnost.Franco Moretti: The Way of the World: The Bildungsroman in European Culture. London; New York: Verso, 2000: str. 51.
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For a culture that pays tribute to multiple viewpoints, doubt, and irony, is also, by necessity, a culture of indecision. Irony's most typical feature is its ability to stop time, to question what has already been decided, or to reexamine already finished events in a different light. But it will never suggest what should be done: it can restrain action, but not encourage it. Yet to live is to choose, and decision cannot be eradicated from human existence or from history. That is why the paradigm of indecision is forced to resort - along the syntagmatic axis of plot - to its opposite: to arbitrary decisions. If rationality is wholly absorbed in accentuating and enjoying the 'complexity' of a text, the inevitable simplification of that system will necessarily be dictated by irrationality.
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