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1 " In describing the ways that religious and other types of communities appropriate and understand their histories, among both fundamentalists and non-fundamentalists, the sociologist Anthony Giddens utilizes the term “reflexivity” and states that it is the characteristic of “all human action.” Reflexivity takes place when individuals and/or communities utilize their perceptions of their histories as a way of guiding their present and future actions. For Giddens, tradition is a means of “handling time and space, which asserts any particular activity or experience with the community of past, present, and future, these in turn being structured by recurrent social practices.” In light of this, tradition is a set of entities which religious communities and cultures continually reconstruct within certain parameters. Religions are not completely static in that almost every new generation reinvents the religious and cultural inheritance from the generations that preceded it. "
2 " What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling " leitmotifs" , it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: " Nothing is more true in pscyhoanalysis than its exaggeration" ); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly " effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling " effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation. "