In the kynicism of Diogenes of Sinope, the laughter about philosophy itself became philosophical. … In the pantomimes and wordplays of the philosophe… - Peter Sloterdijk

Ideology critique raises a claim that it shares with hermeneutics, namely, the claim to understand an “author” better than he understands himself. What at first sounds arrogant about this claim can be methodologically justified. Others often really do perceive things about me that escape my attention—and conversely. They possess the advantage of distance, which I can profit from only retrospectively through dialogic mirroring. This, of course, would presuppose a functioning dialogue, which is precisely what does not take place in the process of ideology critique. An ideology critique that does not clearly accept its identity as satire can, however, easily be transformed from an instrument in the search for truth into one of dogmatism. All too often, it interferes with the capacity for dialogue instead of opening up new paths for it.

In the twilight of late enlightenment, the insight gains shape that our "praxis," which we always held to be the most legitimate child of reason, in fact, represents the central myth of modernity.

If the movements of reflection in classical philosophy could be depicted in the structure of Homer's Odysseus, in which a wandering hero returns home via a thousand false paths across the whole world, in order there to be recognized by his woman, that is, by his "soul," then the reflections of modern thinking in no way still find their way back "home." They either move on the spot in essenceless flurries, drained of experience, or they drift on, like the eternal Jew or the Flying Dutchman, without hope of arriving, through the perpetually alien. … For the modern subject, a "vagabond in existence," there is no longer any return home.