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Bakalářská Diplomová Práce Masarykova univerzita Filozofická fakulta Ústav religionistiky Bakalářská diplomová práce 2014 Dan Řezníček Masarykova univerzita Filozofická fakulta Ústav religionistiky Bakalářská diplomová práce Strach ze simulaker jako motivace obrazoborectví? Případ beeldenstormu Dan Řezníček Vedoucí práce: PhDr. Iva Doleţalová Brno 2014 2 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedené literatury. V Brně dne 8.8. 2014 ……………………………………….. podpis autora práce 3 Chtěl bych poděkovat PhDr. Ivě Doležalové za přijetí návrhu této práce a její následné vedení. Dále patří mé díky Danielu Ďurechovi a Martinu Pohlovi za jejich neutuchající verbální podporu. 4 Obsah ÚVOD ........................................................................................................................................ 6 TEORETICKÁ ČÁST ................................................................................................................ 7 Baudrillardova teorie: Simulakra a simulace ......................................................................... 7 Výzkumná otázka, hypotézy ................................................................................................. 10 Obrazoborectví ..................................................................................................................... 11 Beeldenstorm ........................................................................................................................ 13 ANALÝZA TEOLOGICKÝCH TEXTŮ ................................................................................ 16 Andreas Karlstadt ................................................................................................................. 16 O odstranění obrazů ............................................................................................................. 17 Baudrillard potká Karlstadta ................................................................................................. 23 Jan Kalvín ............................................................................................................................. 23 Instituce učení křesťanského náboženství ............................................................................. 24 Potkal někdy Baudrillard Kalvína? ....................................................................................... 27 Belgické vyznání víry ............................................................................................................ 29 KRITIKA ................................................................................................................................. 31 Ahistoričnost a zákon ........................................................................................................... 31 Dvě dichotomie ..................................................................................................................... 33 Falešnost versus simulace ..................................................................................................... 35 Dědictví protestantismu a osvícenství .................................................................................. 36 ZÁVĚR ..................................................................................................................................... 37 SEZNAM LITERATURY ....................................................................................................... 38 ANOTACE ............................................................................................................................... 41 5 ÚVOD Cílem této práce je zjistit, zda Jean Baudrillard ve svém díle Simulakra a simulace1 poskytl přijatelné vysvětlení obrazoborectví. Při prezentování své teorie o simulakrech, simulaci a hyperrealitě totiţ mimovolně naráţí na tento kontroverzní náboţenský jev a tvrdí, ţe zná jeho přesnou motivaci. Rozhodl jsem se proto jeho teorii, která jakoby mimochodem zcela úspěšně odhalila vše o obrazoboreckých motivacích, podrobit detailnějšímu zkoumání a dobrat se k tomu, zda je moţné ji na základě analýzy teologických textů ověřit. Abych se o toto ověření mohl pokusit, zvolil jsem případ nizozemského obrazoborectví, tzv. beeldenstormu, který se odehrál roku 1566. Na základě analýzy teologických textů relevantních pro toto hnutí a obeznámení s konkrétním kontextem jsem pak zjišťoval, zda je Baudrillardovo vysvětlení moţné úspěšně ověřit a obhájit, nebo je naopak nutné ho odmítnout. Práce sestává ze tří hlavních částí – teoretické, kde představuji Baudrillardovou teorii, formuluji výzkumnou otázku a vlastní metodologická východiska; analytické, v níţ prověřuji, zda je moţné v teologických textech najít data, jeţ by s Baudrillardem korespondovala. Budu se soustředit především na teologické texty, jeţ se věnují problematice náboţenských vyobrazení, obrazoborectví a modlářství. Pro komplexnější pochopení historického a kulturního kontextu budu vyuţívat sekundární literaturu. Spojením těchto dvou prvků chci dospět k závěru, kdy budu schopen říci, zda je Baudrillardovo vysvětlení pro religionistiku přínosné a pouţitelné. Nakonec ve třetí, kritické části se věnuji problémům, které s sebou Baudrillardova teorie a interpretace motivací obrazoborectví nese. Všechny přímé citace, jeţ odkazují na anglicky psané texty, jsou mé překlady. 1 Jean Baudrillard, Simulacra and Simulation, Michigan: Ann Arbor 1994. 6 TEORETICKÁ ČÁST V této části představuji Baudrillardovu teorii, dále rámec, v němţ budu chápat obrazoborectví, a nakonec podávám i velmi hrubý úvod do konkrétního obrazoboreckého hnutí – nizozemského beeldenstormu. Řečeno přímočaře, vysvětlím zde, jak budu s kritickým odstupem ověřovat Baudrillardovu teorii na případě beeldenstormu. Baudrillardova teorie: Simulakra a simulace Jean Baudrillard v roce 1981 publikoval monografii Simulakra a simulace, která představuje teorii pozdního kapitalismu, v níţ se zabývá vztahy mezi realitou, znaky a společností. Ústředními koncepty této teorie jsou simulakrum, simulace a hyperrealita. Baudrillard tvrdí, ţe současná abstrakce uţ není zaloţena na vztahu znaku a objektu. Objekt není vzorem pro znak, naopak znak mu předchází a vytváří ho. Avšak samotný vztah znaku a objektu není to, co býval, protoţe mizí základní rozlišení mezi abstraktním a konkrétním; rozdíl mezi znakem a objektem. To je dáno tím, ţe dnešní abstrakce není zaloţena na zobrazování skutečného objektu, ale na simulaci modelů reality, které nemají vlastní počátek nebo realitu – jsou takzvaně hyperreálné. Tímto způsobem generované napodobeniny – simulakra – dnešní realitu předchází a utváří. Jedná se o kopie reality, které jsou reálnější neţ původní realita. V takovémto prostoru uţ nejde o to, co je skutečné nebo pravdivé. Dnešní simulace totiţ není imitace, duplikace nebo parodie původního objektu – je zaloţena na tom, ţe znaky odkazující k realitě byly nadobro nahrazeny kruhovým opakováním simulačních modelů, simulaker. Znaky odkazují jedině k dalším znakům, realita byla nahrazena hyperrealitou.2 Baudrillard to nazývá sémiokracií.3 V práci Simulakra a simulace jsou rozlišeny čtyři postupné vývojové fáze znaku, během kterých se stírá vztah mezi znakem a objektem, vytrácí realita a tajemně přechází do hyperreality. Nejedná se o historické vývojové stupně, ale o určité tendence uvnitř znaku samotného:4 2 Jean Baurillard, Simulacra and Simulation, 1-2. Srov. Andrew Wernick, „Real“, in: Richard Gordon Smith (ed.), Baudrillard Dictionary, Edinburgh: Edinburgh University Press 2010, 179. Srov. Radim Brázda, „Jean Baudrillard – reálný únik z hyperreality,“ Aluze 1, 2007, 70-72: 71. 3 Ibid. 4 William Pawlett, „Simulacra + Simulacrum“, in: Richard Gordon Smith, Baudrillard Dictionary, 197. 7 1. Znak je odrazem reality. Toto simulakrum je „dobré,“ protoţe realitu odráţí věrně. 2. Znak maskuje a denaturuje realitu. Zde uţ je simulakrum „zlé,“ protoţe realitu neodráţí věrně. 3. Znak maskuje absenci reality. Simulakrum jen hraje, předstírá, ţe je zobrazení; uţ je kopií bez originálu. 4. Znak nemá ţádnou spojitost s realitou – je své vlastní hyperreálné simulakrum, kdy má prvenství nad jakoukoli domnělou realitou.5 Uţ se nepohybuje v řádu zobrazení, nýbrţ v řádu simulace.6 Simulace je činnost, která předstírá, ţe má něco, co nemá. Nicméně mezi simulací a pouhým předstíráním je zásadní rozdíl, a totiţ to, ţe simulace narušuje rozdíl mezi skutečným a falešným, mezi skutečným a imaginárním. Baudrillard k vysvětlení pouţívá ilustraci s nemocí. Pokud někdo předstírá nemoc, tak můţe ostatní přesvědčit, ţe je nemocný, ale je to pouhá maska. Avšak ten, kdo nemoc simuluje, si přivodí „skutečné“ symptomy dané nemoci. Pouhé předstírání tedy nijak nenarušuje principy reality, zato simulace ano. Pokud lze simulovat jakýkoli symptom, který nemůţe být brán jako přirozený, tak můţe být jakákoli nemoc povaţována za simulovatelnou a simulovanou. Prostřednictvím takovéto simulace je zkompromitován smysl medicíny, neboť ta je tu proto, aby léčila skutečné nemoci. A právě tato ztráta rozlišení je to, co dělá simulaci tak nebezpečnou.7 Skutečný význam se hroutí, a tak zbývá pouze jeho simulace.8 Realita se vytrácí na úkor nastupující hyperreality. Baudrillard rozlišuje 3 řády simulaker, které postupně spějí k současné simulaci reality: 1. Simulakra, která jsou přirozená, zaloţená na imitaci. Jsou harmonická, optimistická a jejich cílem je vytvoření nebo obnovení přírody podle obrazu Boţího. Jsou utopická; transcendentní sféra získává podobu prostřednictvím simulaker. Odpovídají předmoderní době. 2. Simulakra, která jsou produktivistická, zaloţená na energii
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