Um país que evoluiu da oca e senzala ao abismo, barbárie e caos, sem ter experimentado a civilização
Friday, December 21, 2012
A Cultura da Falsidade e a Falsa Cultura
A selva teve lapsos de alta cultura, com um Machado de Assis, um Manoel Bandeira ou Guimarães Rosa, porém todos eles episódios acidentais. O normal no Brasil é a falsa cultura, daquelas produzidas por professores de filosofia da USP, por artistas a soldo do governo - aliás essa semana mesmo dois idiotas petistas, um travestido de professor de filosofia e outro de atriz vomitaram um amontoado de bobagens e tolices, para dar uma desculpa esfarrapada a Lula, por seus inúmeros crimes. Essa falta de caráter, de parâmetros, de educação e bom senso sempre caracterizou o debate público da selva e não apenas reflete nosso subdesenvolvimento cultural, como o reproduz. Infelizmente Roger Scruton identifica os mesmos problemas na civilização onde o cancer da falsa cultura cresce alarmantemente: A high culture is the self-consciousness of a society. It contains the works of art, literature, scholarship and philosophy that establish a shared frame of reference among educated people. High culture is a precarious achievement, and endures only if it is underpinned by a sense of tradition, and by a broad endorsement of the surrounding social norms. When those things evaporate, as inevitably happens, high culture is superseded by a culture of fakes.
Faking depends on a measure of complicity between the perpetrator and the victim, who together conspire to believe what they don’t believe and to feel what they are incapable of feeling. There are fake beliefs, fake opinions, fake kinds of expertise. There is also fake emotion, which comes about when people debase the forms and the language in which true feeling can take root, so that they are no longer fully aware of the difference between the true and the false. Kitsch is one very important example of this. The kitsch work of art is not a response to the real world, but a fabrication designed to replace it. Yet both producer and consumer conspire to persuade each other that what they feel in and through the kitsch work of art is something deep, important and real.
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