Heterodoxy, sects and sectarianism seemingly belong to the sphere of religions; they obviously refer to doctrinal organizational and behavioral aspects of dissension within the frameworks of religions. It would, however, be wrong to think that their importance is confined only within such frameworks—broad and important as they are. The importance of heterodoxy and sectarianism is indeed much wider. It is much wider not only because the term sect has been often used—as Roger Caillois has demonstrated in his brilliant essay on “L'Esprit des Sectes”—to refer to a much broader range of phenomena in the overall political and social order. The very possibility of using this term beyond its strictly religious connotation indicates that the developments of sectarianism, rooted as it is in the sphere of religion, are, potentially at least, of much broader implications.

This was, of course, most clearly seen and elaborated by Max Weber who, in his classical essays on the comparative sociology of religions, was among the first to stress the place of dissent and heterodoxy, not only from the point of view of the doctrinal or organizational development of various religions, but from the broader point of view of the broader civilizational dynamics, of the innovative capacity of different civilizations.

A notable aspect of contemporary fiction is the increasing importance acquired by the detective as a literary figure. From World War II up to today he has transcended a narrow role played in a narrow genre to become the symbol for man's existential quest and puzzlement in the face of mystery. If science fiction is the expression of our hopes and fears concerning the future of our technological society, the detective and a new form of literary detective fiction have lately become the expression of our hopes and fears concerning the present, since mystery is not only, too obviously, in the future but, more subtly, in the present. While science fiction lacks a character typical of the genre who may embody and possibly transcend its purposes, the detective novel thanks to the multifold aspects of its “ordainer”—the detective—has progressively risen to literary prominence through the apparently paradoxical negation of its original functions.

For purposes of initial discussion, technology may be taken to mean applied science, thereby drawing attention to the practical applications of researches and discoveries made by science. This gives technology an importance which is not always fully recognised. Technology entails an enlargement of the apparatus with which man shapes, and is shaped by, his environment. This in turn leads to a modification of the behaviour-pattern defined by an earlier, if cruder, technology.

It is a truism that the relationships between literature and visual entertainment are multiple, complex and variable, especially if we consider literature in the broad sense and keep in mind the enormous variety in the forms of spectacle. Actually, several dangers lie in wait for the one who, on the comparative level, deals with the problem of the relationships between a literary work and a work intended to be viewed as visual entertainment.

We should approach this topic with great fear and respect. It is not a merely “academic” issue. Human rights are trampled upon in the East as in the West, in the North as in the South of our planet. Granting the part of human greed and sheer evil in this universal transgression, could it not also be that Human Rights are not observed because in their present form they do not represent a universal symbol powerful enough to elicit understanding and agreement?

At first glance such a title seems antinomic. Obviously we accept the fact that there exists a relation, frequently conflictual, between the press and public authority, without mentioning other media; but art continues to represent, at least in the mind of the public, a privileged domain which, though subject to frequently abrupt and brutal changes, benefits nevertheless from an “innocence” distinguishing it from other activities. Visiting the Louvre in Paris, the Uffizi in Florence, or touring the Loire valley châteaux are all so-called cultural activities pursued “simply to develop the personality.”