Abstract

Diderot?s universe is somewhat weird, often dreamlike and hallucinatory, and his ontology fluid and elusive. It comprises the existing, the non-existent and even contradictory entities, the boundaries between which cannot always be clearly delimited. This universe in which nothing is of the essence of a particular being and everything is more or less something or other, resembles the amorphous and oneiric world of Zhuangzi in which nothing is clearly defined, while essenceless things, floating in uncertainty and indeterminacy, literally blend into one another. The author examines what the early Hollywood comedies of Preston Sturges and the Marx brothers can teach us about the metaphysics and the principles at work in this complex and intricate world. Didroov univerzum je unekoliko neobican, cesto nalik na san, halucinatoran, a njegova ontologija fluidna i neuhvatljiva. Ona, naime, obuhvata kako postojeca tako i nepostojeca, pa cak i protivrecna bica, izmedju kojih nije uvek moguce postaviti jasne granice. Taj univerzum, u kojem nista nema sustinu posebnog bica i svaka stvar je vise ili manje bilo koja stvar, mozda jos najvise podseca na Cuang Ceov amorfni i oniricni svet, u kojem nema nicega razgovetnog, a stvari koje bez ikakve esencije plutaju u neizvesnosti i neodredjenosti se doslovno prelivaju jedna u drugu. Autor razmatra sta nam o metafizici i principima koji vaze u tom kompleksnom i slozenom svetu mogu reci rane holivudske komedije Prestona Stardzesa i brace Marks.