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The gesture of exposure characterizes the style of argumentation of ideology critique, from the critique of religion in the eighteenth century to the critique of fascism in the twentieth. Everywhere, one discovers extrarational mechanisms of opinion: interests, passions, fixations, illusions. That helps a bit to mitigate the scandalous contradiction between the postulated unity of truth and the factual plurality of opinions—since it cannot be eliminated. Under these assumptions, a true theory would be one that not only grounds its own theses best, but also knows how to defuse all significant and persistent counterpositions through ideology critique. (en) |
