In light of the PA primary, there are some things that struck me about the campaign and the narrative of feminism in general. This is a deconstruction I whipped up last night.
More below the fold
(if the reading gets too muddled, just skip on down to the update in blockquote)
1. Contexts of paradigm
“Society is used in the service of hierarchy,” says Sontag; however, according to Scuglia[1] , it is not so much society that is used in the service of hierarchy, but rather the absurdity, and some would say the fatal flaw, of society. Debord suggests the use of cultural Marxism to challenge and analyse language.
In the works of Burroughs, a predominant concept is the concept of dialectic narrativity. Thus, several theories concerning a mythopoetical paradox exist. The subject is interpolated into a that includes art as a reality.
The primary theme of von Junz’s[2] critique of social realism is not discourse as such, but postdiscourse. But Marx promotes the use of cultural Marxism to deconstruct capitalism. The subject is contextualised into a that includes language as a whole.
In the works of Burroughs, a predominant concept is the distinction between closing and opening. In a sense, Debord’s model of precapitalist libertarianism states that the significance of the artist is deconstruction. Any number of narratives concerning capitalist discourse may be found.
“Society is part of the meaninglessness of reality,” says Bataille. However, Cameron[3] suggests that the works of Burroughs are empowering. Debord suggests the use of precapitalist libertarianism to read sexual identity.
It could be said that an abundance of theories concerning the role of the reader as poet exist. Derrida promotes the use of cultural Marxism to challenge class divisions.
However, Bataille uses the term ’social realism’ to denote not narrative, but subnarrative. Sontag suggests the use of cultural Marxism to modify and attack class.
But the subject is interpolated into a that includes sexuality as a reality. The premise of cultural Marxism implies that culture may be used to entrench archaic perceptions of art, given that truth is interchangeable with consciousness.
Therefore, any number of theories concerning precapitalist libertarianism may be revealed. If cultural Marxism holds, we have to choose between precapitalist libertarianism and neocultural dialectic theory.
It could be said that the main theme of the works of Gibson is a self-referential paradox. Several discourses concerning the collapse of precapitalist sexual identity exist.
But Bataille’s essay on social realism holds that the establishment is intrinsically elitist. Von Junz[4] implies that we have to choose between precapitalist libertarianism and postcapitalist appropriation.
In a sense, the primary theme of Hamburger’s[5] model of Derridaist reading is not discourse, as cultural Marxism suggests, but neodiscourse. Textual precapitalist theory states that narrativity is used to marginalize minorities.
2. Eco and cultural Marxism
If one examines social realism, one is faced with a choice: either reject precapitalist libertarianism or conclude that discourse is created by the masses. Therefore, if cultural Marxism holds, we have to choose between precapitalist libertarianism and dialectic desituationism. The premise of cultural Marxism implies that sexuality may be used to reinforce hierarchy, given that social realism is valid.
In the works of Eco, a predominant concept is the concept of posttextual reality. But Baudrillard uses the term ‘precapitalist libertarianism’ to denote the role of the writer as observer. Derrida’s critique of social realism states that the task of the reader is social comment.
“Sexuality is part of the genre of truth,” says Marx. Therefore, Sartre uses the term ‘precapitalist libertarianism’ to denote the common ground between society and sexuality. Baudrillard promotes the use of cultural Marxism to deconstruct class divisions.
If one examines conceptual feminism, one is faced with a choice: either accept social realism or conclude that consciousness is capable of intentionality, but only if narrativity is distinct from reality. However, the characteristic theme of the works of Eco is the role of the observer as artist. An abundance of theories concerning cultural Marxism may be discovered.
“Sexual identity is meaningless,” says Lyotard; however, according to Tilton[6] , it is not so much sexual identity that is meaningless, but rather the absurdity, and eventually the failure, of sexual identity. Therefore, the economy, and subsequent fatal flaw, of social realism intrinsic to Eco’s The Limits of Interpretation (Advances in Semiotics) is also evident in The Aesthetics of Thomas Aquinas, although in a more deconstructive sense. Sartre uses the term ‘postcapitalist materialist theory’ to denote not, in fact, deconstructivism, but neodeconstructivism.
If one examines cultural Marxism, one is faced with a choice: either reject social realism or conclude that art is used to oppress the underprivileged. In a sense, any number of narratives concerning a mythopoetical reality exist. Debord uses the term ‘cultural Marxism’ to denote the difference between society and class.
The primary theme of Bailey’s[7] analysis of postsemiotic deappropriation is the role of the poet as artist. Thus, a number of discourses concerning cultural Marxism may be revealed. The characteristic theme of the works of Burroughs is the bridge between sexual identity and class.
But Pickett[8] implies that we have to choose between textual sublimation and prematerialist objectivism. Sartre uses the term ‘cultural Marxism’ to denote the role of the writer as reader.
However, any number of discourses concerning not theory per se, but neotheory exist. If precapitalist libertarianism holds, we have to choose between social realism and capitalist posttextual theory.
Thus, Sontag suggests the use of Derridaist reading to modify sexual identity. The subject is contextualised into a that includes culture as a whole.
Therefore, many narratives concerning cultural discourse may be discovered. The subject is interpolated into a that includes truth as a paradox.
Thus, the primary theme of Parry’s[9] critique of precapitalist libertarianism is the role of the artist as writer. Marx uses the term ‘cultural Marxism’ to denote the genre, and some would say the failure, of deconstructivist consciousness.
It could be said that a number of narratives concerning a self-justifying reality exist. The subject is contextualised into a that includes art as a totality.
In a sense, in The Ticket that Exploded, Burroughs denies social realism; in Queer, however, he analyses cultural Marxism. The subject is interpolated into a that includes reality as a whole.
However, the destruction/creation distinction depicted in Burroughs’s The Soft Machine emerges again in Naked Lunch. The subject is contextualised into a that includes truth as a reality.
3. Realities of economy
If one examines precapitalist libertarianism, one is faced with a choice: either accept cultural Marxism or conclude that the law is part of the collapse of culture, given that precapitalist libertarianism is invalid. Therefore, in The Last Words of Dutch Schultz, Burroughs deconstructs subtextual discourse; in Queer he reiterates precapitalist libertarianism. The characteristic theme of the works of Burroughs is not dematerialism, but predematerialism.
“Society is fundamentally used in the service of hierarchy,” says Lacan; however, according to Hanfkopf[10] , it is not so much society that is fundamentally used in the service of hierarchy, but rather the defining characteristic, and eventually the meaninglessness, of society. In a sense, Prinn[11] holds that we have to choose between social realism and the precultural paradigm of narrative. Bataille promotes the use of dialectic subcultural theory to challenge colonialist perceptions of sexual identity.
Thus, the subject is interpolated into a that includes truth as a whole. An abundance of desublimations concerning Derridaist reading may be revealed.
It could be said that the main theme of Finnis’s[12] analysis of cultural Marxism is a textual reality. Sontag uses the term ‘precapitalist libertarianism’ to denote not discourse, but neodiscourse.
However, the example of cultural Marxism intrinsic to Joyce’s A Portrait of the Artist As a Young Man is also evident in Finnegan’s Wake, although in a more self-falsifying sense. The subject is contextualised into a that includes culture as a whole.
But Lacan uses the term ‘postconstructive deconstruction’ to denote a capitalist totality. The subject is interpolated into a that includes art as a whole.
- Scuglia, K. O. ed. (1973) The Forgotten House: Social realism in the works of Burroughs. And/Or Press
- von Junz, Y. P. L. (1987) Social realism and cultural Marxism. O’Reilly & Associates
- Cameron, Y. ed. (1999) Expressions of Paradigm: Social realism in the works of Gibson. Yale University Press
- von Junz, I. B. (1971) Textual nihilism, feminism and social realism. Schlangekraft
- Hamburger, A. ed. (1994) Reading Debord: Social realism in the works of Eco. Cambridge University Press
- Tilton, G. P. J. (1971) Cultural Marxism and social realism. Yale University Press
- Bailey, T. ed. (1995) Reassessing Expressionism: Social realism in the works of Burroughs. Loompanics
- Pickett, M. D. S. (1983) Social realism in the works of McLaren. Harvard University Press
- Parry, C. ed. (1971) The Iron Key: Social realism and cultural Marxism. O’Reilly & Associates
- Hanfkopf, D. M. V. (1982) Feminism, social realism and Debordist situation. University of Massachusetts Press
- Prinn, Y. Q. ed. (1994) Semanticist Appropriations: Cultural Marxism and social realism. Loompanics
- Finnis, L. (1982) Cultural Marxism in the works of Joyce. And/Or Press
UPDATE: The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.
http://www.elsewhere.org/...
The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).
This installation of the Generator has delivered 3135363 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA.
More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: “On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks”. An on-line copy is available from Monash University.
If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.