Modernism and cultural discourse

1. Sartreist absurdity and textual narrative

"Society is part of the failure of narrativity," says Derrida; however, according to Tilton[1] , it is not so much society that is part of the failure of narrativity, but rather the failure of society. However, Lacan promotes the use of presemantic libertarianism to attack sexual identity.

The primary theme of von Ludwig's[2] critique of cultural discourse is the rubicon, and some would say the meaninglessness, of capitalist art. Thus, Foucault's analysis of textual narrative holds that the law is capable of intent, given that language is interchangeable with consciousness.

Hamburger[3] states that the works of Gaiman are empowering. In a sense, if cultural discourse holds, we have to choose between Lyotardist narrative and the postcultural paradigm of narrative. Foucault suggests the use of modernism to deconstruct class divisions. Thus, the main theme of the works of Gibson is the role of the participant as artist.

2. Expressions of rubicon

If one examines textual narrative, one is faced with a choice: either reject Derridaist reading or conclude that the goal of the writer is social comment. Sartre promotes the use of modernism to read and attack society. However, Baudrillard uses the term 'cultural discourse' to denote a capitalist paradox.

The primary theme of de Selby's[4] model of textual narrative is the meaninglessness, and eventually the genre, of predeconstructivist reality. Bataille suggests the use of modernism to challenge sexism. In a sense, the example of textual narrative depicted in Pynchon's Mason & Dixon emerges again in Vineland, although in a more self-justifying sense.

"Society is impossible," says Lyotard. La Tournier[5] holds that we have to choose between modernism and the textual paradigm of expression. Therefore, the main theme of the works of Pynchon is a subdialectic totality.

The premise of cultural discourse states that sexual identity has objective value, but only if Marx's critique of textual narrative is valid; otherwise, the purpose of the artist is significant form. But in The Crying of Lot 49, Pynchon examines capitalist desituationism; in V, although, he affirms modernism.

Sontag uses the term 'cultural discourse' to denote the rubicon, and thus the collapse, of predialectic society. In a sense, the premise of modernism holds that narrativity is capable of truth, given that consciousness is distinct from art.

If cultural discourse holds, we have to choose between textual narrative and semanticist objectivism. But any number of theories concerning the role of the writer as poet exist.

The subject is contextualised into a modernism that includes consciousness as a reality. It could be said that the primary theme of Parry's[6] essay on textual narrative is the common ground between sexuality and sexual identity.

3. Cultural discourse and neoconstructivist construction

In the works of Pynchon, a predominant concept is the distinction between ground and figure. Brophy[7] implies that we have to choose between modernism and subdeconstructive desublimation. However, if cultural discourse holds, the works of Pynchon are not postmodern.

The characteristic theme of the works of Pynchon is the absurdity, and eventually the genre, of dialectic class. Many theories concerning the postcultural paradigm of narrative may be found. Therefore, the main theme of Hubbard's[8] model of cultural discourse is the bridge between consciousness and sexual identity.

"Class is part of the meaninglessness of art," says Lyotard. In Midnight's Children, Rushdie denies Derridaist reading; in The Moor's Last Sigh he examines neoconstructivist construction. However, modernism holds that narrativity serves to marginalize the underprivileged.

If one examines neoconstructivist construction, one is faced with a choice: either accept conceptualist feminism or conclude that the goal of the reader is social comment. A number of deappropriations concerning not, in fact, sublimation, but subsublimation exist. Therefore, Sontag's analysis of neoconstructivist construction states that context is a product of communication.

Lacan uses the term 'cultural discourse' to denote the failure of neocultural reality. Thus, the primary theme of the works of Rushdie is the role of the participant as artist.

Any number of dematerialisms concerning neoconstructivist construction may be revealed. Therefore, Pickett[9] holds that the works of Rushdie are postmodern. Postsemanticist objectivism implies that the establishment is capable of intention, given that the premise of modernism is invalid. But in Midnight's Children, Rushdie deconstructs the dialectic paradigm of narrative; in The Ground Beneath Her Feet, although, he denies neoconstructivist construction.

A number of theories concerning the common ground between sexual identity and society exist. In a sense, if cultural discourse holds, we have to choose between modernism and subcapitalist patriarchialist theory.

The subject is interpolated into a precultural desituationism that includes consciousness as a totality. But the main theme of la Fournier's[10] model of neoconstructivist construction is the role of the poet as writer.

The subject is contextualised into a modernism that includes culture as a whole. Therefore, Sontag promotes the use of neoconstructivist construction to analyse sexual identity.

4. Rushdie and modernism

"Narrativity is responsible for class divisions," says Sartre. Foucault uses the term 'neoconstructivist construction' to denote not narrative per se, but postnarrative. It could be said that Humphrey[11] suggests that the works of Rushdie are an example of mythopoetical libertarianism.

In the works of Burroughs, a predominant concept is the concept of dialectic truth. If modernism holds, we have to choose between cultural discourse and the neotextual paradigm of reality. Thus, Bataille uses the term 'neoconstructivist construction' to denote the bridge between class and narrativity.

The characteristic theme of the works of Burroughs is the failure, and eventually the stasis, of modern sexual identity. The subject is interpolated into a modernism that includes sexuality as a paradox. However, Marx uses the term 'subcapitalist discourse' to denote a self-falsifying totality.

Neoconstructivist construction holds that consciousness may be used to entrench capitalism. In a sense, Pickett[12] states that we have to choose between cultural discourse and neopatriarchialist constructive theory.

The subject is contextualised into a modernism that includes culture as a paradox. Therefore, if the subdialectic paradigm of expression holds, we have to choose between cultural discourse and Sontagist camp.

The subject is interpolated into a modernism that includes language as a totality. But in Junky, Burroughs affirms neoconstructivist construction; in The Soft Machine he denies the semioticist paradigm of narrative.

The subject is contextualised into a cultural discourse that includes sexuality as a paradox. Therefore, many narratives concerning postcapitalist rationalism may be found.

5. Expressions of economy

In the works of Burroughs, a predominant concept is the distinction between within and without. The subject is interpolated into a cultural discourse that includes art as a reality. In a sense, Sartre uses the term 'neoconstructivist construction' to denote the genre, and subsequent meaninglessness, of conceptual society.

The main theme of Finnis's[13] critique of cultural discourse is not discourse, but postdiscourse. Therefore, a number of destructuralisms concerning the role of the participant as observer exist.

The characteristic theme of the works of Burroughs is a mythopoetical whole. However, Debord uses the term 'neocapitalist theory' to denote the stasis of textual sexual identity. The main theme of Geoffrey's[14] essay on modernism is a subdeconstructivist paradox. It could be said that the feminine/masculine distinction which is a central theme of Burroughs's The Ticket that Exploded is also evident in Junky.


1. Tilton, S. A. ed. (1978) The Absurdity of Expression: Cultural discourse and modernism. Schlangekraft

2. von Ludwig, F. M. U. (1994) Modernism in the works of Smith. University of Illinois Press

3. Hamburger, Q. E. ed. (1986) Discourses of Defining characteristic: Modernism in the works of Gibson. Loompanics

4. de Selby, C. M. F. (1994) Cultural discourse in the works of Pynchon. Yale University Press

5. la Tournier, L. I. ed. (1985) The Dialectic of Reality: Modernism in the works of Mapplethorpe. Cambridge University Press

6. Parry, Z. (1977) Modernism and cultural discourse. University of California Press

7. Brophy, N. A. D. ed. (1991) The Iron Sea: Cultural discourse and modernism. Schlangekraft

8. Hubbard, W. (1985) Modernism in the works of Rushdie. University of Georgia Press

9. Pickett, V. B. ed. (1974) The Dialectic of Reality: Modernism and cultural discourse. Panic Button Books

10. la Fournier, U. F. U. (1995) Objectivism, modernism and Batailleist `powerful communication'. And/Or Press

11. Humphrey, Q. N. ed. (1973) Reading Marx: Modernism in the works of Burroughs. Panic Button Books

12. Pickett, C. M. I. (1984) Cultural discourse and modernism. And/Or Press

13. Finnis, C. ed. (1993) The Defining characteristic of Narrativity: Modernism, subtextual dialectic theory and objectivism. Loompanics

14. Geoffrey, N. P. V. (1971) Modernism and cultural discourse. Harvard University Press

 

Nice to have you back Dino

Michael.

 

say that in english, please, cookie

 

But cookie, surely...

1. Capitalist situationism and capitalist narrative
The main theme of the works of Pynchon is the role of the reader as poet. A number of theories concerning a self-fulfilling totality may be found.

In the works of Pynchon, a predominant concept is the distinction between feminine and masculine. However, Derrida uses the term 'capitalist narrative' to denote the bridge between class and sexual identity. The characteristic theme of Werther's[1] analysis of expressionism is the role of the artist as participant.

It could be said that several discourses concerning capitalist narrative exist. If postdialectic textual theory holds, we have to choose between capitalist narrative and subcapitalist dedeconstructivism.

But the premise of expressionism holds that consciousness is capable of significant form. The main theme of the works of Gaiman is a dialectic reality. Thus, Brophy[2] states that we have to choose between Lacanist obscurity and the dialectic paradigm of discourse. Marx promotes the use of capitalist narrative to modify sexual identity.

It could be said that the primary theme of Dahmus's[3] model of capitalist situationism is not construction, but subconstruction. In Erotica, Madonna reiterates expressionism; in Material Girl, however, she affirms postcapitalist discourse.

2. Madonna and capitalist situationism
If one examines expressionism, one is faced with a choice: either accept capitalist narrative or conclude that reality comes from communication, but only if narrativity is distinct from truth; if that is not the case, culture serves to oppress minorities. However, Foucault's critique of conceptual Marxism implies that the establishment is capable of truth. Any number of theories concerning the role of the artist as poet may be revealed.

"Society is part of the genre of reality," says Derrida. But the subject is interpolated into a capitalist situationism that includes narrativity as a totality. If capitalist narrative holds, we have to choose between expressionism and neocapitalist deappropriation.

In the works of Madonna, a predominant concept is the concept of dialectic reality. It could be said that Lacan suggests the use of capitalist narrative to deconstruct sexism. The subject is contextualised into a expressionism that includes narrativity as a reality.

"Language is used in the service of capitalism," says Foucault. Therefore, Lyotard uses the term 'capitalist situationism' to denote the difference between class and society. An abundance of theories concerning posttextual socialism exist.

In a sense, Derrida uses the term 'capitalist situationism' to denote a mythopoetical totality. Brophy[4] suggests that we have to choose between Debordist image and cultural capitalism.

However, the subject is interpolated into a capitalist situationism that includes reality as a paradox. Bataille promotes the use of the neostructuralist paradigm of expression to attack and modify sexual identity.

It could be said that any number of constructions concerning the common ground between class and society may be discovered. Foucault suggests the use of capitalist situationism to challenge the status quo.

Thus, if capitalist narrative holds, we have to choose between capitalist situationism and Sontagist camp. Marx uses the term 'expressionism' to denote not theory, but pretheory.

However, an abundance of dematerialisms concerning capitalist narrative exist. The characteristic theme of the works of Pynchon is the meaninglessness, and subsequent absurdity, of conceptual sexual identity.

3. Capitalist situationism and the postdialectic paradigm of narrative
"Class is fundamentally elitist," says Derrida; however, according to la Tournier[5] , it is not so much class that is fundamentally elitist, but rather the rubicon, and eventually the futility, of class. But many deappropriations concerning not situationism as such, but subsituationism may be found. The main theme of Humphrey's[6] essay on the postdialectic paradigm of narrative is a self-referential reality.

In the works of Pynchon, a predominant concept is the distinction between figure and ground. In a sense, d'Erlette[7] holds that we have to choose between expressionism and cultural presemantic theory. The subject is contextualised into a textual paradigm of expression that includes narrativity as a paradox.

"Society is meaningless," says Baudrillard; however, according to Finnis[8] , it is not so much society that is meaningless, but rather the paradigm, and some would say the meaninglessness, of society. But several theories concerning expressionism exist. The example of the precultural paradigm of consensus prevalent in Madonna's Sex is also evident in Erotica, although in a more mythopoetical sense.

The characteristic theme of the works of Madonna is the bridge between class and sexuality. Therefore, the subject is interpolated into a capitalist situationism that includes art as a whole. If capitalist rationalism holds, we have to choose between capitalist situationism and submaterial discourse.

"Sexual identity is part of the genre of truth," says Lacan; however, according to Scuglia[9] , it is not so much sexual identity that is part of the genre of truth, but rather the stasis, and subsequent collapse, of sexual identity. Thus, Baudrillard promotes the use of expressionism to read society. The main theme of la Tournier's[10] model of Foucaultist power relations is the role of the participant as poet.

It could be said that an abundance of appropriations concerning the genre, and some would say the dialectic, of postcapitalist sexuality may be revealed. The subject is contextualised into a capitalist situationism that includes culture as a reality.

Therefore, Sartre suggests the use of expressionism to deconstruct sexism. Werther[11] implies that we have to choose between the postdialectic paradigm of narrative and cultural subcapitalist theory. However, if expressionism holds, the works of Gibson are reminiscent of Gaiman. Foucault promotes the use of cultural narrative to attack and read class.

It could be said that Sartre uses the term 'the postdialectic paradigm of narrative' to denote not, in fact, discourse, but neodiscourse. Subcapitalist deconstruction suggests that art may be used to entrench the status quo.

But in Neuromancer, Gibson examines expressionism; in Virtual Light, although, he reiterates the cultural paradigm of reality. Derrida uses the term 'expressionism' to denote the role of the writer as reader.

Therefore, Abian[12] states that we have to choose between capitalist situationism and prestructuralist sublimation. The opening/closing distinction which is a central theme of Eco's The Name of the Rose emerges again in Foucault's Pendulum.

It could be said that if cultural discourse holds, we have to choose between capitalist situationism and subconceptual textual theory. Foucault's critique of the postdialectic paradigm of narrative implies that the task of the participant is deconstruction, but only if capitalist situationism is valid.

4. Expressions of meaninglessness
In the works of Eco, a predominant concept is the concept of postmodern sexuality. But the subject is interpolated into a Sartreist absurdity that includes reality as a paradox. Baudrillard suggests the use of the postdialectic paradigm of narrative to deconstruct sexism.

"Class is intrinsically used in the service of sexist perceptions of consciousness," says Derrida; however, according to la Tournier[13] , it is not so much class that is intrinsically used in the service of sexist perceptions of consciousness, but rather the futility, and subsequent defining characteristic, of class. It could be said that Buxton[14] holds that we have to choose between capitalist situationism and constructivist feminism. The subject is contextualised into a precultural textual theory that includes culture as a whole.

But if capitalist situationism holds, we have to choose between the postdialectic paradigm of narrative and the postsemanticist paradigm of context. A number of desituationisms concerning capitalist situationism exist.

In a sense, in V, Pynchon examines semiotic pretextual theory; in The Crying of Lot 49, however, he affirms the postdialectic paradigm of narrative. Foucault uses the term 'capitalist situationism' to denote the common ground between sexual identity and society. Thus, the characteristic theme of the works of Pynchon is not discourse, as Lyotard would have it, but postdiscourse. The subject is interpolated into a expressionism that includes language as a reality.

In a sense, Derrida promotes the use of the postdialectic paradigm of narrative to modify class. The primary theme of von Ludwig's[15] analysis of capitalist situationism is the difference between culture and class.


--------------------------------------------------------------------------------
1. Werther, R. I. V. ed. (1992) The Stasis of Class: Expressionism in the works of Gaiman. Panic Button Books
2. Brophy, G. (1986) Expressionism and capitalist situationism. Loompanics

3. Dahmus, H. O. Z. ed. (1998) Contexts of Collapse: Expressionism in the works of Madonna. O'Reilly & Associates

4. Brophy, F. D. (1983) Capitalist situationism in the works of Pynchon. Loompanics

5. la Tournier, L. ed. (1979) Forgetting Lacan: Deconstructive construction, nationalism and expressionism. University of California Press

6. Humphrey, H. K. I. (1984) Capitalist situationism and expressionism. Cambridge University Press

7. d'Erlette, M. ed. (1979) The Context of Stasis: Expressionism in the works of Madonna. University of Georgia Press

8. Finnis, R. P. N. (1998) Expressionism and capitalist situationism. Yale University Press

9. Scuglia, E. ed. (1985) The Stone House: Expressionism in the works of Mapplethorpe. Panic Button Books

10. la Tournier, H. B. (1974) Capitalist situationism and expressionism. And/Or Press

11. Werther, F. M. D. ed. (1981) Reassessing Modernism: Capitalist situationism in the works of Gibson. O'Reilly & Associates

12. Abian, F. M. (1972) Expressionism in the works of Eco. Loompanics

13. la Tournier, H. U. T. ed. (1993) Realities of Failure: Expressionism in the works of Koons. Cambridge University Press

14. Buxton, R. (1974) Capitalist situationism in the works of Pynchon. Loompanics

15. von Ludwig, T. H. ed. (1997) The Futility of Narrative: Expressionism in the works of Pynchon. University of Illinois Press

 

Quite right Jules.

http://www.elsewhere.org/cgi-bin/postmodern

 

Yo Dino

Have you read Alan Sokal's Intellectual Impostures? He wrote a joke article for Social Text magazine, called "Toward a Transformative Hermeneutics of Quantum Gravity", or some such guff, which was published. The resulting argument between the supporters of post-modernist drivel and the real world was very amusing. More here:

http://www.physics.nyu.edu/faculty/sokal/

-- Ian

 

I haven't read it, but it's been sitting in my Amazon basket for many moons.

I discovered that link in Richard Dawkins' 'A Devil's Chaplain', and thought it was quite amusing.

Apparently Sokal was inspired partly by this book:

http://www.amazon.co.uk/exec/obidos...li_/202-8528740-4768668?coliid=I1AZGT05K859KW

 

More ex grads with too much time on thier hands, prehaps better severed by actually living in the real world, than trying to circumvent it via judicious use of overly long and uneccessary phydo-time line departure ramblings.
Maybe some time spent as a London underground ticket saleman would be more rewarding for themelves, than looking for ways to exercise their neo cortex's with irrelvenices, 'Buddy Holly, what a loss, what a loss'

 

A Freudian slip, W-M?

Good to have you back, cookiemonster.

 

Goomer,

Who know's,Who Know's
Dino, how are you doing sir, have wrested power from the demonic Tantutus and combated his gellatinious followers, to gain access to your new resting place good fellow, has't been a long time indeed.

 

Ah, the Freudian slip. When you say one thing and mean your mother...er, I mean another.

 

Who's Fred, stumblin'?

 

Tone,

Agreeable, thanks. I now combat regularly in 64 dimensions simultaneously, and have also relocated the three dimensional domicile 2 grid squares east in 1:19000 scale. If you happen to be in the vicinity of this A to Z space continuum vector, i shall be sure to open the main port and serve delicious refreshments and modest sonic pleasures for your satisfaction. If we cross diagonals in the chequered cauldron however, i will venture to lop your Tantalus's head off.

cheers
Dino

 

'Wibble'
Captain E Blackadder 1916

 

Don't know what you mean...

 

And you're from Blackburn, yeah?

 

Excellent! I think I'll enter some of these things in the famous Bad Writing Contest run by the journal "Philosophy and Literature". For some fine examples of communicating in English, see here:

http://aldaily.com/bwc.htm