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Umberto Eco: Otevřené díůp

But this argument is not enough to
dispel our suspicion that what really irritates MacDonald is the idea
of popularization. In fact, for him, the dialectic between the avant-
garde and Midcult is fairly rigid and unidirectional (the passage
from High to Mid involves progressive entropy), nor does he ever
question the values of "high" art. In other words, he never seems
to doubt that the activities of the avant-garde had profound histor-
ical motives, and he does not allow for the possibility that some of
these motives may have emerged out of the uneasy relationship be-
tween the avant-garde and Midcult. For MacDonald "avant-garde" is
synonymous with "high" art, the only domain of value; any at-
tempt to mediate its results must be bad, for the very simple reason
that the average man, the citizen of modern industrial civilization
who requires such mediation, is beyond help. As a result, in Mac-
Donald's view, the formative methods of the avant-garde become
dubious the moment they are understood by a majority, a fact
which makes one suspect that MacDonald judges the value of a
work not just in terms of its nondiffusion but also in terms of its
nondiffusibility. In that case, his critique of Midcult may be nothing
more than a dangerous initiation into the game of "in" and "out,"
whereby the moment something that was initially meant for the
happy few is appreciated and desired by many, it loses its value as
well as its validity." But this would mean that criticism is replaced
by snobbery and that sociology and the awareness of the demands
of the masses have an extraordinary, if negative, ascendancy over
the taste and the judgment of the critic: he will never love what the
average man loves, but he will always hate what he loves. In either
case it is the average public that dictates the law, and the aristocratic
critic becomes the victim of his own game.

Já mám dojem, že Fila by si měl toho Umberta přečíst ještě jednou