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.
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.
posted by Dave at 2:52 PM
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