The Economy of Expression: Social realism in the works of Rushdie

(Dave's note: Boss! Once again I luck out with a Miskatonic Univ. article.)
E. Thomas Sargeant
Department of Literature, Miskatonic University, Arkham, Mass.
Helmut M. T. Geoffrey
Department of Politics, Carnegie-Mellon University
1. Rushdie and the capitalist paradigm of reality

If one examines postconstructive capitalist theory, one is faced with a choice: either reject the capitalist paradigm of reality or conclude that the purpose of the poet is social comment, given that Lyotard's essay on neodialectic Marxism is invalid. If the capitalist paradigm of reality holds, we have to choose between the textual paradigm of reality and subdialectic textual theory.

The characteristic theme of von Junz's[1] analysis of social realism is the futility, and subsequent meaninglessness, of postdialectic sexual identity. However, any number of narratives concerning neodialectic Marxism exist. Bataille suggests the use of the capitalist paradigm of reality to attack outmoded perceptions of society.

"Sexual identity is part of the fatal flaw of narrativity," says Sontag. Thus, the primary theme of the works of Gibson is the role of the reader as poet. Prinn[2] states that we have to choose between social realism and Debordist image.

However, the subject is contextualised into a capitalist paradigm of reality that includes consciousness as a paradox. A number of narratives concerning the bridge between class and narrativity may be revealed.

But if neodialectic Marxism holds, the works of Gibson are reminiscent of Burroughs. Sontag uses the term 'the neodialectic paradigm of expression' to denote the defining characteristic, and eventually the genre, of textual class.

Therefore, in Idoru, Gibson affirms neodialectic Marxism; in All Tomorrow's Parties, although, he denies the capitalist paradigm of reality. Drucker[3] suggests that we have to choose between social realism and precapitalist desituationism.

Thus, many theories concerning Marxist capitalism exist. The characteristic theme of Cameron's[4] essay on the capitalist paradigm of reality is a capitalist reality.
2. Social realism and postcultural discourse

If one examines dialectic capitalism, one is faced with a choice: either accept the capitalist paradigm of reality or conclude that sexual identity has objective value. Therefore, social realism implies that truth is fundamentally responsible for the status quo, but only if art is equal to language; otherwise, the goal of the writer is significant form. Baudrillard promotes the use of postcultural discourse to modify culture.

In the works of Smith, a predominant concept is the concept of subcapitalist art. It could be said that Lyotard's analysis of the capitalist paradigm of reality suggests that the Constitution is capable of intentionality. The stasis of social realism depicted in Smith's Mallrats is also evident in Chasing Amy, although in a more self-supporting sense.

"Class is part of the fatal flaw of sexuality," says Derrida; however, according to d'Erlette[5] , it is not so much class that is part of the fatal flaw of sexuality, but rather the collapse, and subsequent rubicon, of class. Therefore, the premise of the capitalist paradigm of reality implies that culture is intrinsically unattainable. The subject is interpolated into a social realism that includes language as a whole.

Thus, Bataille uses the term 'the capitalist paradigm of reality' to denote the role of the participant as poet. If social realism holds, the works of Smith are empowering.

However, Sontag suggests the use of postcultural discourse to deconstruct capitalism. Foucault uses the term 'social realism' to denote not narrative, as cultural neomaterial theory suggests, but subnarrative.

Thus, in Clerks, Smith analyses postcultural discourse; in Dogma he denies social realism. Geoffrey[6] states that we have to choose between postcultural discourse and Sontagist camp.

Therefore, several theories concerning a dialectic totality may be found. If social realism holds, the works of Gibson are reminiscent of Mapplethorpe.
3. Discourses of collapse

In the works of Gibson, a predominant concept is the distinction between closing and opening. However, the subject is contextualised into a capitalist paradigm of reality that includes truth as a whole. Debord's model of premodernist nihilism holds that reality is created by communication, but only if social realism is valid; if that is not the case, we can assume that the media is part of the stasis of sexuality.

The primary theme of the works of Gibson is the common ground between society and sexual identity. Therefore, an abundance of narratives concerning the capitalist paradigm of reality exist. The premise of social realism suggests that society, somewhat surprisingly, has significance.

In a sense, several deappropriations concerning the meaninglessness, and eventually the genre, of structural consciousness may be revealed. The characteristic theme of Pickett's[7] critique of the capitalist paradigm of reality is the role of the reader as writer.

Therefore, the subject is interpolated into a social realism that includes truth as a paradox. Von Ludwig[8] states that we have to choose between the capitalist paradigm of reality and the modern paradigm of context.

However, the subject is contextualised into a postdialectic textual theory that includes art as a totality. If postcultural discourse holds, we have to choose between social realism and Foucaultist power relations.
1. von Junz, Y. J. (1981) The capitalist paradigm of reality in the works of Gibson. University of Illinois Press

2. Prinn, O. P. H. ed. (1998) Reassessing Surrealism: The capitalist paradigm of reality and social realism. Oxford University Press

3. Drucker, Q. G. (1975) Social realism in the works of Smith. University of North Carolina Press

4. Cameron, L. ed. (1980) Reading Sontag: Social realism and the capitalist paradigm of reality. Panic Button Books

5. d'Erlette, Z. H. (1974) The capitalist paradigm of reality and social realism. And/Or Press

6. Geoffrey, D. ed. (1981) Contexts of Stasis: Social realism in the works of Gibson. Loompanics

7. Pickett, Z. N. (1990) Subtextual constructivism, rationalism and social realism. University of Massachusetts Press

8. von Ludwig, W. ed. (1983) The Defining characteristic of Expression: The capitalist paradigm of reality in the works of Spelling. Harvard University Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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 1624923 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.

More generated texts are linked to from the Communications From Elsewhere front page.

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.

Social realism in the works of Eco

Wilhelm Dahmus
Department of Sociology, University of California, Berkeley
1. Eco and textual theory

The primary theme of Hamburger's[1] essay on cultural subcapitalist theory is a mythopoetical whole. Thus, if social realism holds, we have to choose between textual theory and Sartreist absurdity. Foucault uses the term 'cultural subcapitalist theory' to denote the role of the reader as artist.

"Class is part of the meaninglessness of language," says Marx; however, according to Reicher[2] , it is not so much class that is part of the meaninglessness of language, but rather the dialectic, and some would say the failure, of class. In a sense, in Mona Lisa Overdrive, Gibson examines social realism; in Count Zero, however, he deconstructs textual theory. The subject is contextualised into a deconstructivist paradigm of narrative that includes sexuality as a totality.

Thus, Hanfkopf[3] states that we have to choose between social realism and Batailleist `powerful communication'. If postdialectic feminism holds, the works of Madonna are not postmodern.

But the subject is interpolated into a social realism that includes culture as a whole. Baudrillard's model of textual theory implies that sexual identity has significance, but only if social realism is valid.

Therefore, Foucault uses the term 'capitalist narrative' to denote not discourse, but subdiscourse. A number of theories concerning a self-referential reality exist.
2. Cultural subcapitalist theory and the predialectic paradigm of discourse

The characteristic theme of the works of Madonna is the collapse, and subsequent fatal flaw, of semiotic language. But the collapse, and hence the fatal flaw, of social realism intrinsic to Madonna's Sex emerges again in Erotica. An abundance of discourses concerning the predialectic paradigm of discourse may be revealed.

If one examines postcultural construction, one is faced with a choice: either accept cultural subcapitalist theory or conclude that context is created by the masses. Therefore, in Material Girl, Madonna affirms the predialectic paradigm of discourse; in Erotica, although, she analyses social realism. The primary theme of Hanfkopf's[4] analysis of the predialectic paradigm of discourse is a subcultural paradox.

The main theme of the works of Madonna is the difference between class and sexual identity. In a sense, the within/without distinction prevalent in Madonna's Sex is also evident in Material Girl, although in a more self-fulfilling sense. Humphrey[5] states that we have to choose between cultural subcapitalist theory and conceptualist feminism.

In the works of Tarantino, a predominant concept is the concept of postpatriarchial narrativity. But the premise of social realism holds that class, somewhat ironically, has intrinsic meaning. The primary theme of Abian's[6] essay on deconstructivist rationalism is the absurdity of neocapitalist sexual identity.

If one examines the predialectic paradigm of discourse, one is faced with a choice: either reject Marxist capitalism or conclude that consciousness is capable of intention. However, several discourses concerning the role of the participant as reader exist. In Four Rooms, Tarantino reiterates social realism; in Reservoir Dogs, however, he analyses cultural subcapitalist theory.

It could be said that the main theme of the works of Tarantino is not narrative per se, but prenarrative. Derrida uses the term 'social realism' to denote the failure, and thus the meaninglessness, of semioticist language.

Therefore, if postconstructive desituationism holds, we have to choose between social realism and dialectic prepatriarchialist theory. Sartre uses the term 'Debordist situation' to denote a mythopoetical reality. It could be said that d'Erlette[7] implies that we have to choose between the predialectic paradigm of discourse and the capitalist paradigm of expression. The characteristic theme of Hamburger's[8] model of cultural subcapitalist theory is the role of the writer as participant.

In a sense, if the patriarchialist paradigm of narrative holds, we have to choose between the predialectic paradigm of discourse and neocultural objectivism. Prinn[9] suggests that the works of Tarantino are empowering.

Thus, Lyotard uses the term 'social realism' to denote a self-justifying paradox. The main theme of the works of Madonna is the role of the poet as artist.

It could be said that the predialectic paradigm of discourse states that sexual identity has significance, given that sexuality is equal to narrativity. An abundance of theories concerning social realism may be discovered.

In a sense, the example of the textual paradigm of context intrinsic to Madonna's Sex emerges again in Erotica. Several dematerialisms concerning a subcultural whole exist.
1. Hamburger, S. B. J. ed. (1999) Reading Derrida: Cultural subcapitalist theory in the works of Gibson. Harvard University Press

2. Reicher, D. (1988) Capitalism, social realism and preconceptual rationalism. And/Or Press

3. Hanfkopf, B. N. ed. (1991) Expressions of Stasis: Cultural subcapitalist theory in the works of Madonna. Schlangekraft

4. Hanfkopf, J. Y. W. (1977) Capitalism, the textual paradigm of narrative and social realism. University of Illinois Press

5. Humphrey, Z. ed. (1985) The Consensus of Stasis: Social realism in the works of Tarantino. Cambridge University Press

6. Abian, S. U. F. (1992) Social realism, capitalism and Derridaist reading. Schlangekraft

7. d'Erlette, U. Q. ed. (1973) Textual Theories: Cultural subcapitalist theory and social realism. Yale University Press

8. Hamburger, B. G. B. (1981) Social realism and cultural subcapitalist theory. Panic Button Books

9. Prinn, J. L. ed. (1996) The Circular House: Cultural subcapitalist theory in the works of Madonna. Cambridge University Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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 1624923 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.

More generated texts are linked to from the Communications From Elsewhere front page.

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.

The Broken Key: Predialectic textual theory and social realism

Jane N. G. Sargeant
Department of Peace Studies, Miskatonic University, Arkham, Mass.
1. Discourses of meaninglessness

"Class is part of the futility of consciousness," says Marx. But any number of sublimations concerning predialectic textual theory exist.

Lyotard uses the term 'social realism' to denote the role of the poet as reader. However, von Ludwig[1] holds that we have to choose between the dialectic paradigm of consensus and Debordist image.

The subject is contextualised into a subcapitalist dialectic theory that includes culture as a whole. Therefore, if predialectic textual theory holds, the works of Gaiman are modernistic. The subject is interpolated into a prepatriarchialist paradigm of reality that includes truth as a paradox. However, in Black Orchid, Gaiman affirms predialectic textual theory; in The Books of Magic, although, he analyses semantic neocultural theory.
2. Social realism and the deconstructive paradigm of expression

"Narrativity is meaningless," says Derrida; however, according to Dahmus[2] , it is not so much narrativity that is meaningless, but rather the absurdity of narrativity. Abian[3] implies that we have to choose between postmaterialist deconstruction and Lyotardist narrative. Therefore, the subject is contextualised into a predialectic textual theory that includes culture as a whole.

If one examines the deconstructive paradigm of expression, one is faced with a choice: either reject predialectic textual theory or conclude that art is used to reinforce capitalism. Baudrillard suggests the use of social realism to deconstruct sexism. It could be said that the subject is interpolated into a deconstructive paradigm of expression that includes language as a paradox.

The main theme of the works of Rushdie is the bridge between society and class. If social realism holds, we have to choose between the deconstructive paradigm of expression and dialectic theory. However, an abundance of dematerialisms concerning the role of the artist as observer may be revealed.

"Sexual identity is fundamentally dead," says Lacan. Reicher[4] suggests that we have to choose between social realism and preconceptual cultural theory. But Derrida uses the term 'posttextual situationism' to denote the difference between class and narrativity.

The primary theme of Scuglia's[5] critique of social realism is a neosemiotic totality. The characteristic theme of the works of Rushdie is the absurdity, and eventually the economy, of capitalist class. Thus, Marx uses the term 'the deconstructive paradigm of expression' to denote the common ground between society and sexual identity.

If one examines social realism, one is faced with a choice: either accept subtextual rationalism or conclude that the goal of the poet is significant form, but only if truth is equal to sexuality. The primary theme of Drucker's[6] model of social realism is a self-falsifying paradox. Therefore, if predialectic textual theory holds, we have to choose between social realism and Derridaist reading.

The premise of predialectic textual theory implies that expression is created by communication. It could be said that the characteristic theme of the works of Rushdie is the difference between society and sexual identity.

Baudrillard uses the term 'neotextual theory' to denote the failure, and subsequent rubicon, of modernist class. However, Bataille promotes the use of social realism to analyse and read society. The example of predialectic textual theory prevalent in Rushdie's Satanic Verses is also evident in The Moor's Last Sigh, although in a more mythopoetical sense. Therefore, Debord uses the term 'social realism' to denote a self-supporting reality.

Pickett[7] states that we have to choose between the deconstructive paradigm of expression and semanticist narrative. In a sense, the primary theme of Hubbard's[8] analysis of social realism is the bridge between sexual identity and consciousness.

Lyotard suggests the use of Foucaultist power relations to challenge hierarchy. It could be said that the characteristic theme of the works of Rushdie is not discourse, but postdiscourse.

The subject is contextualised into a predialectic textual theory that includes culture as a paradox. However, if social realism holds, the works of Rushdie are an example of mythopoetical objectivism.

The subject is interpolated into a submaterial nationalism that includes language as a reality. Therefore, Sontag uses the term 'predialectic textual theory' to denote the common ground between class and reality.

The subject is contextualised into a social realism that includes sexuality as a whole. But Bataille promotes the use of dialectic situationism to analyse sexual identity.
3. Narratives of stasis

In the works of Rushdie, a predominant concept is the concept of postconceptualist narrativity. The primary theme of Hanfkopf's[9] model of social realism is the role of the artist as reader. However, the opening/closing distinction which is a central theme of Rushdie's Midnight's Children emerges again in The Ground Beneath Her Feet.

"Consciousness is part of the defining characteristic of culture," says Lacan; however, according to Drucker[10] , it is not so much consciousness that is part of the defining characteristic of culture, but rather the fatal flaw, and some would say the collapse, of consciousness. The deconstructive paradigm of expression implies that sexuality serves to exploit the underprivileged, given that Derrida's critique of predialectic textual theory is valid. Therefore, the characteristic theme of the works of Rushdie is the difference between sexual identity and society.

"Sexual identity is intrinsically impossible," says Lyotard. Several discourses concerning social realism exist. In a sense, Debord uses the term 'predialectic textual theory' to denote a self-sufficient paradox.

In the works of Rushdie, a predominant concept is the distinction between within and without. Neoconstructive theory holds that discourse comes from the masses. But the primary theme of Tilton's[11] essay on predialectic textual theory is the fatal flaw, and subsequent stasis, of cultural class.

Many narratives concerning the bridge between language and sexual identity may be discovered. In a sense, the characteristic theme of the works of Gibson is a mythopoetical totality.

Derrida suggests the use of the deconstructive paradigm of expression to deconstruct sexism. Therefore, any number of theories concerning postdialectic discourse exist.

Parry[12] implies that the works of Gibson are postmodern. However, if predialectic textual theory holds, we have to choose between cultural objectivism and subdialectic textual theory.

Marx promotes the use of the deconstructive paradigm of expression to modify and analyse class. But the primary theme of von Junz's[13] analysis of predialectic textual theory is the absurdity, and some would say the dialectic, of predialectic society.

Foucault uses the term 'social realism' to denote the role of the participant as reader. It could be said that Lacan suggests the use of the deconstructive paradigm of expression to attack class divisions.
1. von Ludwig, Q. J. D. (1994) Social realism in the works of Gaiman. Harvard University Press

2. Dahmus, R. L. ed. (1970) Subcultural Narratives: Marxism, semantic discourse and social realism. Loompanics

3. Abian, I. (1982) Predialectic textual theory in the works of Rushdie. University of Michigan Press

4. Reicher, L. I. ed. (1996) Contexts of Genre: Social realism in the works of Koons. Panic Button Books

5. Scuglia, Y. V. D. (1972) Social realism and predialectic textual theory. Loompanics

6. Drucker, K. ed. (1997) The Dialectic of Consensus: Predialectic textual theory and social realism. Oxford University Press

7. Pickett, V. O. (1982) Social realism, the subcultural paradigm of context and Marxism. And/Or Press

8. Hubbard, C. ed. (1970) Deconstructing Sartre: Social realism in the works of Spelling. University of Illinois Press

9. Hanfkopf, F. V. (1996) Marxism, capitalist nihilism and social realism. Loompanics

10. Drucker, L. M. E. ed. (1984) The Economy of Reality: Social realism and predialectic textual theory. And/Or Press

11. Tilton, W. I. (1972) Predialectic textual theory in the works of Gibson. Harvard University Press

12. Parry, T. ed. (1986) Contexts of Failure: Social realism in the works of Lynch. Yale University Press

13. von Junz, E. L. (1999) Social realism in the works of Stone. Loompanics

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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 1624923 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.

More generated texts are linked to from the Communications From Elsewhere front page.

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.

Realism in the works of Stone

Martin H. D. la Tournier
Department of Sociolinguistics, University of Illinois
David L. la Fournier
Department of Future Studies, Harvard University
1. Consensuses of defining characteristic

The characteristic theme of the works of Stone is a mythopoetical whole. Sontag promotes the use of structural discourse to attack hierarchy. It could be said that Lyotard uses the term 'subdialectic cultural theory' to denote the common ground between class and sexual identity.

"Class is impossible," says Marx. The primary theme of Pickett's[1] analysis of realism is not theory, as Baudrillardist simulation suggests, but posttheory. Thus, if structural discourse holds, we have to choose between subcapitalist rationalism and cultural discourse.

In the works of Stone, a predominant concept is the concept of predialectic language. Bataille suggests the use of realism to deconstruct and modify art. In a sense, Long[2] states that we have to choose between structural discourse and postsemantic theory.

Any number of discourses concerning a self-fulfilling reality may be revealed. Thus, Debord uses the term 'realism' to denote the role of the artist as writer.

The main theme of the works of Stone is not, in fact, theory, but pretheory. But if subdialectic cultural theory holds, we have to choose between realism and dialectic subtextual theory.

Sartre uses the term 'dialectic desublimation' to denote the bridge between sexual identity and class. Thus, the subject is interpolated into a structural discourse that includes language as a paradox.

The characteristic theme of Hanfkopf's[3] critique of realism is the failure, and some would say the meaninglessness, of subconceptual sexual identity. However, Baudrillard promotes the use of structural discourse to challenge elitist perceptions of society.
2. Subdialectic cultural theory and capitalist Marxism

If one examines realism, one is faced with a choice: either reject the postmaterial paradigm of narrative or conclude that discourse comes from the collective unconscious. Finnis[4] implies that the works of Stone are an example of mythopoetical capitalism. It could be said that if realism holds, we have to choose between the textual paradigm of context and postdialectic deappropriation.

"Sexual identity is intrinsically elitist," says Debord. Derrida uses the term 'capitalist Marxism' to denote the difference between class and society. But d'Erlette[5] suggests that we have to choose between subdialectic cultural theory and textual materialism.

Sartre suggests the use of capitalist Marxism to deconstruct reality. In a sense, many discourses concerning subdialectic cultural theory exist.

Sontag promotes the use of capitalist Marxism to challenge class divisions. Therefore, the example of preconceptualist feminism prevalent in Stone's Heaven and Earth emerges again in Platoon.

Subdialectic cultural theory implies that class has objective value. Thus, Sartre suggests the use of textual neostructural theory to modify and read sexual identity.
3. Discourses of absurdity

In the works of Stone, a predominant concept is the distinction between feminine and masculine. The subject is contextualised into a capitalist Marxism that includes consciousness as a reality. But in Heaven and Earth, Stone deconstructs capitalist objectivism; in Platoon he examines realism.

If one examines subdialectic cultural theory, one is faced with a choice: either accept the subdialectic paradigm of expression or conclude that the media is capable of significance. Foucault uses the term 'realism' to denote not narrative as such, but neonarrative. It could be said that if capitalist Marxism holds, we have to choose between subdialectic cultural theory and cultural dematerialism.

Von Junz[6] holds that the works of Stone are not postmodern. Thus, the main theme of the works of Gibson is the role of the artist as participant.

Debord uses the term 'capitalist Marxism' to denote a postsemantic paradox. In a sense, if realism holds, we have to choose between capitalist Marxism and Baudrillardist hyperreality. Debord promotes the use of realism to deconstruct the status quo. However, the premise of capitalist Marxism suggests that consensus is created by the masses, but only if culture is equal to reality; otherwise, Sontag's model of subdialectic cultural theory is one of "materialist capitalism", and therefore part of the collapse of narrativity.

Any number of discourses concerning the role of the writer as participant may be found. Thus, Prinn[7] holds that we have to choose between capitalist Marxism and subcapitalist cultural theory.
4. Realism and Marxist class

"Class is fundamentally impossible," says Debord; however, according to Geoffrey[8] , it is not so much class that is fundamentally impossible, but rather the fatal flaw, and thus the stasis, of class. Foucault suggests the use of subdialectic cultural theory to modify sexual identity. In a sense, Debord uses the term 'Baudrillardist simulacra' to denote a mythopoetical reality.

If one examines realism, one is faced with a choice: either reject Marxist class or conclude that consciousness is used to marginalize the proletariat. A number of dematerialisms concerning realism exist. It could be said that Sontag promotes the use of Marxist class to challenge hierarchy.

Several appropriations concerning the collapse of semanticist truth may be discovered. However, the masculine/feminine distinction intrinsic to Gibson's All Tomorrow's Parties is also evident in Idoru, although in a more postdialectic sense.

The subject is interpolated into a realism that includes sexuality as a whole. But Lyotard uses the term 'subdialectic cultural theory' to denote a mythopoetical reality.

The characteristic theme of Prinn's[9] analysis of subcapitalist desituationism is not theory, but pretheory. It could be said that in Neuromancer, Gibson deconstructs realism; in All Tomorrow's Parties, however, he analyses subdialectic cultural theory.
5. Realities of rubicon

The main theme of the works of Gibson is the paradigm, and eventually the collapse, of patriarchial sexual identity. Baudrillard's model of Marxist class implies that truth is capable of social comment, given that realism is invalid. In a sense, the characteristic theme of Cameron's[10] critique of capitalist deappropriation is not sublimation, but presublimation.

"Truth is part of the paradigm of culture," says Sontag; however, according to von Junz[11] , it is not so much truth that is part of the paradigm of culture, but rather the absurdity, and therefore the failure, of truth. The premise of subdialectic cultural theory suggests that language serves to reinforce sexism. But the example of Marxist class which is a central theme of Gibson's Mona Lisa Overdrive emerges again in Neuromancer.

The primary theme of the works of Gibson is the role of the writer as observer. Marx suggests the use of realism to attack and modify class. Thus, any number of discourses concerning Marxist class exist.

The subject is contextualised into a subdialectic cultural theory that includes narrativity as a paradox. But Debord uses the term 'material desituationism' to denote not, in fact, discourse, but subdiscourse.

The main theme of Werther's[12] essay on subdialectic cultural theory is the role of the reader as poet. It could be said that if realism holds, the works of Gibson are reminiscent of Koons. An abundance of narratives concerning not discourse, as subdialectic cultural theory suggests, but prediscourse may be revealed. Thus, the characteristic theme of the works of Gibson is a self-sufficient whole.

The within/without distinction prevalent in Gibson's All Tomorrow's Parties is also evident in Virtual Light, although in a more mythopoetical sense. It could be said that the primary theme of Tilton's[13] model of Foucaultist power relations is the stasis, and subsequent fatal flaw, of dialectic reality.

Baudrillard promotes the use of Marxist class to deconstruct the status quo. In a sense, Lacan's analysis of realism holds that the raison d'etre of the writer is deconstruction, but only if culture is distinct from language; if that is not the case, the collective is intrinsically a legal fiction.
6. Pynchon and subdialectic cultural theory

In the works of Pynchon, a predominant concept is the concept of subdeconstructivist reality. The subject is interpolated into a Marxist class that includes consciousness as a totality. However, any number of theories concerning subdialectic cultural theory exist.

"Class is elitist," says Sartre. The main theme of the works of Pynchon is the bridge between society and reality. Thus, the subject is contextualised into a Marxist class that includes art as a paradox.

In the works of Pynchon, a predominant concept is the distinction between feminine and masculine. Derrida suggests the use of realism to analyse sexual identity. Therefore, Dahmus[14] states that we have to choose between subdialectic cultural theory and semiotic neocapitalist theory.

The premise of cultural discourse holds that narrativity, somewhat paradoxically, has significance. However, the characteristic theme of la Tournier's[15] critique of subdialectic cultural theory is a self-fulfilling whole.

Realism implies that sexuality is capable of truth. In a sense, the main theme of the works of Rushdie is the role of the poet as reader. If subdialectic cultural theory holds, we have to choose between Marxist class and posttextual objectivism. Therefore, Debord promotes the use of subdialectic cultural theory to attack outmoded, colonialist perceptions of society.

An abundance of narratives concerning a mythopoetical paradox may be found. In a sense, Sontag's model of realism states that the goal of the artist is social comment, but only if the premise of Lyotardist narrative is valid; otherwise, we can assume that the establishment is capable of intent.

D'Erlette[16] implies that we have to choose between Marxist class and the substructuralist paradigm of context. But Derrida suggests the use of realism to modify and analyse art.
7. Expressions of dialectic

"Class is fundamentally responsible for class divisions," says Debord. If subdialectic cultural theory holds, we have to choose between cultural feminism and the precapitalist paradigm of narrative. Thus, Sontag promotes the use of subdialectic cultural theory to deconstruct capitalism.

In the works of Rushdie, a predominant concept is the concept of patriarchial reality. Debord's critique of Marxist class suggests that reality must come from communication, given that sexuality is interchangeable with reality. It could be said that the primary theme of Hanfkopf's[17] model of subdialectic cultural theory is the futility, and some would say the paradigm, of neoconceptualist class.

Sontag suggests the use of dialectic sublimation to read culture. Therefore, Wilson[18] states that we have to choose between realism and neodeconstructive narrative.

The subject is interpolated into a subdialectic cultural theory that includes consciousness as a totality. But several deappropriations concerning realism exist. Baudrillard promotes the use of Marxist class to challenge sexism. It could be said that the subject is contextualised into a subdialectic cultural theory that includes language as a paradox.

The characteristic theme of the works of Tarantino is the common ground between sexual identity and culture. However, Bataille suggests the use of realism to modify and read society.
1. Pickett, R. K. L. (1977) Realities of Absurdity: Realism in the works of Mapplethorpe. And/Or Press

2. Long, S. ed. (1981) Realism, capitalism and the textual paradigm of expression. Panic Button Books

3. Hanfkopf, V. D. (1978) Reading Bataille: Subdialectic cultural theory and realism. Schlangekraft

4. Finnis, Q. ed. (1996) Realism and subdialectic cultural theory. Panic Button Books

5. d'Erlette, C. S. (1984) The Stasis of Sexual identity: Subdialectic cultural theory and realism. And/Or Press

6. von Junz, R. F. C. ed. (1973) Realism in the works of Gibson. Schlangekraft

7. Prinn, K. (1998) The Burning Sky: Realism in the works of Rushdie. Panic Button Books

8. Geoffrey, F. Y. P. ed. (1985) Realism and subdialectic cultural theory. Schlangekraft

9. Prinn, O. I. (1990) The Context of Stasis: Subdialectic cultural theory and realism. Panic Button Books

10. Cameron, V. ed. (1983) The substructuralist paradigm of discourse, capitalism and realism. University of Georgia Press

11. von Junz, O. J. (1978) The Iron Key: Realism and subdialectic cultural theory. Schlangekraft

12. Werther, I. C. S. ed. (1993) Posttextual Marxism, realism and capitalism. Panic Button Books

13. Tilton, U. (1980) The Meaninglessness of Sexual identity: Realism in the works of Pynchon. And/Or Press

14. Dahmus, T. L. ed. (1996) Subdialectic cultural theory in the works of Stone. O'Reilly & Associates

15. la Tournier, U. (1972) Deconstructing Expressionism: Realism in the works of Rushdie. Schlangekraft

16. d'Erlette, E. J. S. ed. (1996) Subdialectic cultural theory and realism. O'Reilly & Associates

17. Hanfkopf, T. (1987) The Stasis of Sexual identity: Realism in the works of Tarantino. And/Or Press

18. Wilson, F. J. K. ed. (1972) Realism and subdialectic cultural theory. Oxford University Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link. If you like this particular essay and would like to return to it, follow this link for a bookmarkable page.

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 1624923 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.

More generated texts are linked to from the Communications From Elsewhere front page.

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.

Forgetting Foucault: The dialectic paradigm of expression, nihilism and neoconceptual modernist theory

John J. Humphrey
Department of Politics, Miskatonic University, Arkham, Mass.

(Dave's note: I love that they used Miskatonic U., the spooky fake college H.P. Lovecraft used in his Cthulhu mythos stories--good reading, by the way.)

1. Gibson and Sartreist existentialism

If one examines prestructural nationalism, one is faced with a choice: either accept the dialectic paradigm of expression or conclude that consensus is created by communication. The main theme of the works of Gibson is not, in fact, discourse, but neodiscourse. Thus, Wilson[1] holds that we have to choose between the predialectic paradigm of discourse and conceptualist neomodern theory.

Foucault uses the term 'the dialectic paradigm of reality' to denote the meaninglessness of subcapitalist class. Therefore, Sontag promotes the use of textual libertarianism to attack archaic perceptions of sexual identity.

If prestructural nationalism holds, we have to choose between the prepatriarchial paradigm of consensus and textual nationalism. But Baudrillard suggests the use of the dialectic paradigm of reality to analyse and deconstruct art.
2. Contexts of futility

"Society is impossible," says Lyotard. Tilton[2] states that we have to choose between the dialectic paradigm of expression and postcultural dialectic theory. Thus, Lacan uses the term 'the dialectic paradigm of reality' to denote the role of the artist as participant.

In the works of Pynchon, a predominant concept is the concept of subcapitalist truth. Several theories concerning prestructural nationalism exist. In a sense, the subject is contextualised into a dialectic paradigm of reality that includes art as a totality.

If the dialectic paradigm of context holds, we have to choose between the dialectic paradigm of expression and postcapitalist nihilism. Therefore, Foucault promotes the use of cultural desemioticism to challenge sexism.

De Selby[3] suggests that we have to choose between the dialectic paradigm of expression and the neocapitalist paradigm of consensus. However, the subject is interpolated into a modernist capitalism that includes narrativity as a paradox. Any number of discourses concerning the bridge between sexual identity and society may be revealed. But if the dialectic paradigm of expression holds, we have to choose between postdialectic narrative and semantic construction.

Bataille suggests the use of the dialectic paradigm of reality to modify language. Thus, the subject is contextualised into a Debordist image that includes art as a totality.
3. Pynchon and the dialectic paradigm of reality

"Class is fundamentally a legal fiction," says Sartre. A number of theories concerning the dialectic paradigm of expression exist. In a sense, Tilton[4] implies that we have to choose between cultural subconstructive theory and the deconstructivist paradigm of reality.

In the works of Pynchon, a predominant concept is the distinction between masculine and feminine. The dialectic paradigm of expression suggests that narrativity serves to entrench the status quo, given that the premise of Marxist socialism is invalid. However, Baudrillard uses the term 'the dialectic paradigm of expression' to denote the role of the reader as writer.

"Society is used in the service of hierarchy," says Bataille. If postcultural structural theory holds, we have to choose between prestructural nationalism and the subsemioticist paradigm of narrative. But Lacan's essay on patriarchial narrative implies that the purpose of the participant is social comment.

The primary theme of Dahmus's[5] critique of prestructural nationalism is a cultural paradox. Thus, the subject is interpolated into a dialectic paradigm of expression that includes sexuality as a whole.

McElwaine[6] suggests that we have to choose between prestructural nationalism and subcapitalist constructive theory. In a sense, the dialectic paradigm of expression implies that narrativity is used to exploit the underprivileged. Several semioticisms concerning the role of the artist as writer may be discovered. However, Lacan promotes the use of prestructural nationalism to attack class divisions.

The example of the dialectic paradigm of expression which is a central theme of Pynchon's The Crying of Lot 49 emerges again in Vineland, although in a more self-falsifying sense. But if the dialectic paradigm of reality holds, we have to choose between the posttextual paradigm of consensus and capitalist deappropriation.

The characteristic theme of the works of Pynchon is the common ground between class and society. It could be said that Bataille's essay on the dialectic paradigm of expression suggests that reality must come from the masses.
4. Neodialectic textual theory and the predialectic paradigm of expression

In the works of Pynchon, a predominant concept is the concept of capitalist reality. In Gravity's Rainbow, Pynchon affirms the predialectic paradigm of expression; in V he denies the dialectic paradigm of expression. But Dietrich[7] implies that we have to choose between the predialectic paradigm of expression and the capitalist paradigm of narrative.

"Sexual identity is intrinsically elitist," says Sartre; however, according to la Fournier[8] , it is not so much sexual identity that is intrinsically elitist, but rather the collapse, and eventually the rubicon, of sexual identity. The subject is contextualised into a dialectic paradigm of expression that includes culture as a reality. Thus, the primary theme of Pickett's[9] analysis of textual appropriation is not theory per se, but neotheory.

Baudrillard uses the term 'the predialectic paradigm of expression' to denote the role of the reader as observer. Therefore, Bataille suggests the use of the dialectic paradigm of expression to challenge and analyse consciousness.

If the predialectic paradigm of expression holds, we have to choose between the dialectic paradigm of expression and precapitalist dematerialism. Thus, any number of narratives concerning the predialectic paradigm of expression exist. The characteristic theme of the works of Pynchon is the bridge between society and class. In a sense, Long[10] states that we have to choose between prestructural nationalism and the modern paradigm of expression.

Foucault uses the term 'the dialectic paradigm of expression' to denote the meaninglessness of neocultural truth. Thus, the subject is interpolated into a Marxist class that includes culture as a paradox.
1. Wilson, Y. L. U. ed. (1991) Prestructural nationalism and the dialectic paradigm of expression. Cambridge University Press

2. Tilton, P. (1975) The Stasis of Consensus: Prestructural nationalism in the works of Pynchon. And/Or Press

3. de Selby, R. H. P. ed. (1990) The dialectic paradigm of expression and prestructural nationalism. Yale University Press

4. Tilton, L. P. (1972) The Discourse of Failure: Prestructural nationalism and the dialectic paradigm of expression. And/Or Press

5. Dahmus, M. H. B. ed. (1998) Nihilism, the dialectic paradigm of expression and the predialectic paradigm of discourse. O'Reilly & Associates

6. McElwaine, T. (1985) Deconstructing Debord: The dialectic paradigm of expression in the works of Spelling. Panic Button Books

7. Dietrich, S. E. ed. (1970) Nihilism, posttextual theory and the dialectic paradigm of expression. Cambridge University Press

8. la Fournier, G. I. P. (1982) Discourses of Fatal flaw: The dialectic paradigm of expression and prestructural nationalism. Schlangekraft

9. Pickett, L. ed. (1976) Prestructural nationalism and the dialectic paradigm of expression. University of North Carolina Press

10. Long, F. R. W. (1983) Deconstructing Social realism: The dialectic paradigm of expression in the works of Madonna. Panic Button Books

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link. If you like this particular essay and would like to return to it, follow this link for a bookmarkable page.

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 1624946 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.

More generated texts are linked to from the Communications From Elsewhere front page.

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.