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Additional resources for Dramatizing the Political: Deleuze and Guattari
This dramatization can be then seen to filter back through a variety of concepts, such as ‘truth’ and ‘unconditionality’, as their unavoidable condition. Put crudely; the concept of truth is staged and conditioned in and through its performance in a specific communicative context, a drama that then extends out by becoming the normative promise of a claim that is defendable in all possible contexts to a (virtually or potentially) universal audience. At this point, therefore, we can see the drama played out in the Habermasian text beginning to take on the formal modality of the method of dramatization as we will develop it, implying, as it does, a consideration of how concepts are conditioned, brought to life and made to function.
From the perspective of method, the problem that Habermas identifies with the interpretivists, of a hermeneutic variety, is that they have insufficient grounds for the critical analysis of those processes of communication. In many respects, his theory of communicative action is his attempt at providing those grounds. It is a debate that has its roots in the critical tradition that spans Kant, Hegel and Marx (for instance, see Habermas, 1990). Much has been said about these roots and this is not the place to rehearse the debates.
Both these versions of political science take a naturalist epistemological stance: that we can know the political world by proper application of methods in the natural sciences. They simply disagree about what the ‘science’ in political science really means. Alongside the emergence of political science in the field of politics the critique of this naturalistic attitude also emerged. Most notably, the interpretivists challenged the claims of naturalism in the social sciences (Marsh and Stoker, 1995).