The postcapitalist paradigm of reality and the conceptual paradigm of
expression
Barbara I. Pickett
Department of Literature, Stanford University
1. Contexts of rubicon
The main theme of Hanfkopf’s[1] analysis of
postcapitalist desituationism is the bridge between sexual identity and class.
But the subject is interpolated into a conceptual paradigm of expression that
includes culture as a whole.
A number of narratives concerning the economy, and some would say the fatal
flaw, of textual sexual identity exist. In a sense, the subject is
contextualised into a postcapitalist paradigm of reality that includes
narrativity as a reality.
The premise of prematerialist capitalist theory suggests that the
establishment is capable of social comment. It could be said that the
absurdity, and thus the collapse, of the conceptual paradigm of expression
intrinsic to Stone’s Natural Born Killers emerges again in JFK.
Sontag suggests the use of subconceptual discourse to challenge the status
quo. Thus, Bataille uses the term ‘the postcapitalist paradigm of reality’ to
denote not, in fact, sublimation, but neosublimation.
2. Stone and the conceptual paradigm of expression
“Class is part of the futility of consciousness,” says Sartre; however,
according to Buxton[2] , it is not so much class that is
part of the futility of consciousness, but rather the paradigm of class. Many
theories concerning postcapitalist desituationism may be revealed. However, the
subject is interpolated into a Derridaist reading that includes art as a
paradox.
“Sexuality is dead,” says Bataille. The characteristic theme of the works of
Stone is the common ground between sexual identity and art. But an abundance of
constructions concerning the absurdity, and eventually the economy, of
dialectic class exist.
Debord uses the term ‘the conceptual paradigm of expression’ to denote a
posttextual reality. However, the primary theme of Drucker’s[3] essay on capitalist theory is the difference between sexual
identity and class.
The subject is contextualised into a postcapitalist desituationism that
includes truth as a paradox. It could be said that Baudrillard uses the term
‘subcultural nihilism’ to denote a mythopoetical totality.
The subject is interpolated into a postcapitalist desituationism that
includes narrativity as a paradox. However, Sontag promotes the use of the
conceptual paradigm of expression to modify society.
3. Contexts of genre
If one examines postcapitalist desituationism, one is faced with a choice:
either accept the conceptual paradigm of expression or conclude that sexuality
is fundamentally impossible. Parry[4] states that we have to
choose between postcapitalist desituationism and precultural theory. Therefore,
Sartre’s critique of the postcapitalist paradigm of reality holds that
discourse is a product of the masses.
“Class is part of the paradigm of narrativity,” says Lacan; however,
according to Werther[5] , it is not so much class that is
part of the paradigm of narrativity, but rather the fatal flaw of class. If the
capitalist paradigm of narrative holds, we have to choose between
postcapitalist desituationism and Sontagist camp. But several discourses
concerning neostructuralist rationalism may be discovered.
“Sexuality is responsible for archaic, sexist perceptions of society,” says
Lacan. The main theme of the works of Stone is the dialectic, and subsequent
futility, of cultural sexual identity. Thus, an abundance of desublimations
concerning the role of the reader as artist exist.
If one examines the postcapitalist paradigm of reality, one is faced with a
choice: either reject postcapitalist desituationism or conclude that academe is
intrinsically impossible, but only if the premise of postcapitalist theory is
invalid. Debord’s model of the postcapitalist paradigm of reality implies that
consciousness is used to marginalize the underprivileged. Therefore, any number
of appropriations concerning the conceptual paradigm of expression may be
found.
The subject is contextualised into a postcapitalist paradigm of reality that
includes reality as a whole. Thus, Baudrillard uses the term ‘postcapitalist
desituationism’ to denote the common ground between class and sexual identity.
Sontag suggests the use of the postcapitalist paradigm of reality to
deconstruct hierarchy. Therefore, Debord uses the term ‘Derridaist reading’ to
denote a dialectic reality.
The primary theme of Pickett’s[6] critique of
postcapitalist desituationism is the dialectic, and hence the fatal flaw, of
precapitalist class. However, Marx uses the term ‘semantic deconstruction’ to
denote a self-falsifying totality.
Bataille promotes the use of the postcapitalist paradigm of reality to
analyse and attack sexual identity. It could be said that in Natural Born
Killers, Stone affirms the conceptual paradigm of expression; in
JFK, however, he denies the postcapitalist paradigm of reality.
A number of theories concerning the difference between class and art exist.
But Lacan suggests the use of postcapitalist desituationism to deconstruct
sexism.
Cameron[7] suggests that we have to choose between the
postcapitalist paradigm of reality and the cultural paradigm of expression. In
a sense, Derrida uses the term ‘the conceptual paradigm of expression’ to
denote a mythopoetical paradox.
4. Stone and postcapitalist desituationism
“Sexual identity is a legal fiction,” says Sontag. The ground/figure
distinction prevalent in Stone’s Heaven and Earth is also evident in
Platoon, although in a more self-referential sense. Thus, the subject is
interpolated into a postcapitalist paradigm of reality that includes culture as
a whole.
If the conceptual paradigm of expression holds, we have to choose between
neocapitalist narrative and the modernist paradigm of reality. But the premise
of the postcapitalist paradigm of reality implies that art has significance.
The characteristic theme of the works of Stone is not patriarchialism, as
Debord would have it, but prepatriarchialism. It could be said that Derrida
uses the term ‘the conceptual paradigm of expression’ to denote the bridge
between society and reality.
5. Expressions of futility
“Class is fundamentally meaningless,” says Lyotard; however, according to
Long[8] , it is not so much class that is fundamentally
meaningless, but rather the dialectic of class. Cameron[9]
holds that the works of Pynchon are reminiscent of Eco. However, Foucault uses
the term ‘postcapitalist desituationism’ to denote a mythopoetical paradox.
If one examines the conceptual paradigm of expression, one is faced with a
choice: either accept the postcapitalist paradigm of reality or conclude that
truth is part of the stasis of consciousness. In Vineland, Pynchon
reiterates the conceptual paradigm of expression; in Gravity’s Rainbow,
although, he denies postcapitalist desituationism. Thus, the main theme of
Dahmus’s[10] essay on the conceptual paradigm of expression
is the dialectic, and some would say the rubicon, of neopatriarchial sexual
identity.
Postcapitalist desituationism implies that sexuality may be used to
reinforce elitist perceptions of class, but only if art is distinct from
language; if that is not the case, sexual identity, ironically, has objective
value. But if the conceptual paradigm of expression holds, we have to choose
between the postcapitalist paradigm of reality and textual submaterial theory.
Several narratives concerning postcapitalist desituationism may be
discovered. Thus, the subject is contextualised into a postcapitalist paradigm
of reality that includes reality as a totality.
Prinn[11] holds that we have to choose between cultural
nationalism and preconstructivist patriarchialism. In a sense, if the
postcapitalist paradigm of reality holds, the works of Pynchon are not
postmodern.
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 liked 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 43,815,721 essays since 25/Feb/2000 18:43:09 PST, when it became operational.
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“.
More generated texts are linked to from the sidebar to the right.
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.
