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Against the uncritical adoption of the concept of instrumental knowledge in the most advanced societies we have two objections, which we have already mentioned above. Knowledge is not science, especially in its modern form, this last, though, and can't darken the problem of the legitimacy of knowledge causes us to put this problem in all its not only socio-political but also epistemological completeness. Specify to start the nature of "narrative" knowledge; such analysis may help by comparing it is better to put at least some of the characteristics of the form that takes Knowledge is not confined to science and even to learn. Knowledge can be interpreted as a set of statements that specifies the objects or describing
Here he again addresses the problem form/content.G. Shpet defines a clear relationship of form, but equally significantfeedback from the form. "Claim form coming from content.The contents of the form suffers, and suffers without her, suffering from itself by howlingdisgusting as suffering souls "in itself", devoid of body,disgusting. Form without content is not the subject of creativity, andcollecting, collecting..." (P. 358-359). In many respects close to thatideas come also from Boleslav Yavorsky. When G. Shpet goes to the issue of the plot, hetraces the roll call with representatives of the formal school.The plot in General was an important element for the new literary studiesbecause of its centrality to the piece. G. Shpet notes: "in the mostelementary transfer of the plot in itself already reveals "the game" of formsindeed, the same poetic forms. Here we shall meetparallelism, contrast, transformation, chain links etc. Indeed,"content" takes the form of forms, the role of matter in relation towhich assumes what is called "motive" in the poetics of the plot andwhat could be called generally, in relation to any content,element. Method of designing the content of the items -- soto say, the scheme of addition of atoms of matter in molecules -- in its dynamics and isthen, on the object consciousness which ponderous emotional distressmood, excitement, etc. for Further analysis, of course, and in "atom"find shape, and therefore rights, for example, Veselovsky when he talks about"formulas" and "patterns" not only of subjects, but motives" (P. 457).
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