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.
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.
posted by Dave at 9:28 PM
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