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" "The inescapable conclusion is that subjectivity, relativity and irrationalism are advocated [by Richard Rorty] not in order to let in all opinions, but precisely so as to exclude the opinions of people who believe in old authorities and objective truths. This is the short cut to [Antonio] Gramsci's new cultural hegemony: not to vindicate the new culture against the old, but to show that there are no grounds for either, so that nothing remains save political commitment.<p>Thus, almost all those who espouse the relativistic 'methods' introduced into the humanities by Foucault, Derrida and Rorty are vehement adherents to a code of political correctness that condemns deviation in absolute and intransigent terms. The relativistic theory exists in order to support an absolutist doctrine. We should not be surprised therefore at the extreme disarray that entered the camp of deconstruction, when it was discovered that one of the leading ecclesiastics, Paul de Man, once had Nazi sympathies. It is manifestly absurd to suggest that a similar disarray would have attended the discovery that Paul de Man had once been a communist -- even if he taken part in some of the great communist crimes. In such a case he would haved enjoyed the same compassionate endorsement as was afforded to [György] Lukács, [Maurice] Merleau-Ponty and Sartre.
Roger Scruton (27 February 1944 – 12 January 2020) was a British philosopher, who worked as an academic, editor, publisher, barrister, journalist, broadcaster, countryside campaigner, novelist, and composer.
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It goes without saying that apartheid is offensive. It was adopted, however, as the lesser of two evils. The Afrikaners believe that black majority rule has, in almost every case, led to the collapse of the constitutional government which they brought to South Africa, and upon which their freedoms and privileges – and perhaps even their lives – depend. And it did not seem so very bad to deny to blacks a vote which they would, when in power, promptly deny to themselves.
Without the background of a remembered faith modernism loses its conviction: it becomes routinised. For a long time now it has been assumed that there can be no authentic creation in the sphere of high art which is not is some way a 'challenge' to the ordinary public. Art must give offence, stepping out of the future fully armed against the bourgeois taste for kitsch and cliché. But the result of this is that offence becomes a cliché.