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.
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.
posted by Dave at 2:20 AM
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