Popper opakovaně tvrdí, že aby teorie mohla rozvinout svůj plný potenciál, musí kritické fázi testování předcházet krátká dogmatická fáze. Někdy zachází Popper ještě dál a uznává dokonce nezbytnost dogmatismu pro rozvinutí kritického myšlení. To jsou znepokojivá tvrzení, která podrývají Popperův metodologický princip falsifi kace. Kritický racionalismus je založen na nesmiřitelném postoji k dogmatismu z logických důvodů (justifi kace je logicky neplatná), z evolučních důvodů (dogmatismus nepřispívá k růstu vědění) i z ideologických důvodů (dogmatismus je typický pro totalitární režimy). Popper není schopen defi novat žádné objektivní měřítko, jak by se měl dogmatismus správně dávkovat, a tak otvírá prostor pro jeho nekontrolovatelné šíření. Kritičnost tak přestává být nekompromisním normativním principem a konstitutivním rysem racionality. and At various occasions Popper states that in order for a theory to show its strength “certain amount” of dogmatism must precede the critical testing phase. He even argues that dogmatism is a necessary precondition of criticism. Th ese are alarming statements, undermining Popper’s methodological imperative of falsifi - cation. Critical rationalism is based on a strict opposition to dogmatism for logical reasons (justifi cation is impossible), for evolutionary reasons (justifi cation blocks the growth of knowledge), and for ideological reasons (dogmatism encourages totalitarianism). Popper cannot provide any objective criterion defi ning the proper dosage of dogmatism and thus opens doors to its uncontrolled expansion. Criticism thus ceases to be the non-negotiable normative principle and the inviolable standard of rationality.
Starting with the traditional dichotomy of two views of the relation between criticism and art - "criticism as art" and "criticism based on detachment" - this study seeks to show both standpoints to be part of a single complex of issues and tensions associated with the functional differentiation within literary communication at the turn of 18th and 19th century. This approach is based on Niklas Luhmann’s system theory, applied (with something of a twist) by Siegfried Schmidt to literature. After introducing the problem of functional differentiation within the literary system in Bohemia, the study presents many different historical conceptions of the relation of art and criticism observable in discussions at the turn of 18th and 19th century in Bohemia. I then focus on the notion of "genius" in these discussions, which played an important role in the development of the concept of "criticism as art". In the following three parts, the study investigates the differentiation of critical praxis: the genesis of "artistic criticism" characterized by hermeneutics and its form-reflecting approach, and the ongoing usage of artistic genres in criticism. The last part focuses on a specific critical genre of the period, the satirical vision, and its transformation as a consequence of the differentiation of the literary system., Václav Smyčka., and Obsahuje bibliografické odkazy