User:Silenthummer/sandbox
Text generated from the Postmodernism Generator located here.
Objectivism in the Works of Smith[edit]
1. Prematerialist narrative and dialectic Marxism[edit]
If one examines objectivism, one is faced with a choice: either reject the capitalist paradigm of expression or conclude that reality must come from the masses. The premise of dialectic Marxism suggests that the goal of the poet is significant form. But an abundance of modernisms concerning not discourse, but subdiscourse exist.
The subject is interpolated into a postsemantic paradigm of discourse that includes consciousness as a reality. It could be said that the characteristic theme of the works of Stone is the role of the reader as participant.
Debord uses the term ‘dialectic Marxism’ to denote not desublimation as such, but neodesublimation. Thus, if the capitalist paradigm of expression holds, we have to choose between dialectic construction and postmaterial textual theory.
2. Stone and objectivism[edit]
“Society is part of the rubicon of truth,” says Sartre; however, according to la Fournier[1], it is not so much society that is part of the rubicon of truth, but rather the economy, and some would say the genre, of society. The subject is contextualised into a capitalist paradigm of expression that includes consciousness as a paradox. In a sense, any number of situationisms concerning dialectic Marxism may be revealed.
If one examines objectivism, one is faced with a choice: either accept dialectic Marxism or conclude that context is a product of communication. De Selby[2] holds that the works of Stone are modernistic. But Debord’s analysis of postcultural discourse suggests that class, perhaps ironically, has intrinsic meaning, but only if truth is equal to reality; otherwise, Foucault’s model of dialectic Marxism is one of “semantic demodernism”, and thus fundamentally a legal fiction.
In the works of Stone, a predominant concept is the concept of subdialectic art. The primary theme of Reicher’s[3] essay on the capitalist paradigm of expression is the common ground between reality and class. In a sense, Lyotard promotes the use of dialectic Marxism to deconstruct outmoded, sexist perceptions of sexual identity.
“Society is part of the absurdity of art,” says Sontag. The main theme of the works of Stone is the role of the writer as artist. It could be said that several materialisms concerning not, in fact, theory, but posttheory exist.
If one examines objectivism, one is faced with a choice: either reject Lacanist obscurity or conclude that the significance of the observer is deconstruction. The characteristic theme of Hanfkopf’s[4] critique of objectivism is a self-referential reality. Thus, Debord suggests the use of pretextual situationism to read sexual identity.
If dialectic Marxism holds, we have to choose between objectivism and Marxist socialism. But an abundance of narratives concerning materialist discourse may be discovered.
Bataille uses the term ‘dialectic Marxism’ to denote the collapse, and hence the dialectic, of neosemantic culture. It could be said that the primary theme of the works of Pynchon is the bridge between sexual identity and language.
The subject is interpolated into a capitalist paradigm of expression that includes consciousness as a totality. But the premise of objectivism states that narrativity is elitist, given that dialectic Marxism is invalid.
Derrida promotes the use of objectivism to challenge class divisions. Therefore, the premise of capitalist feminism suggests that discourse comes from the collective unconscious.
Marx uses the term ‘dialectic Marxism’ to denote not deappropriation, as Bataille would have it, but predeappropriation. But Sontag’s essay on subtextual theory holds that language may be used to reinforce colonialist perceptions of society.
Lyotard suggests the use of objectivism to modify and analyse sexual identity. Therefore, a number of narratives concerning the role of the participant as poet exist.
Wilson[5] implies that we have to choose between the capitalist paradigm of expression and precultural capitalism. In a sense, the characteristic theme of Hubbard’s[6] model of objectivism is the difference between society and truth.
3. The capitalist paradigm of expression and constructive deconstruction[edit]
The main theme of the works of Madonna is a neosemioticist whole. An abundance of narratives concerning constructive deconstruction may be revealed. Thus, in Erotica, Madonna examines the dialectic paradigm of consensus; in Sex, although, she deconstructs constructive deconstruction.
“Class is intrinsically used in the service of capitalism,” says Sartre. If the capitalist paradigm of expression holds, we have to choose between constructive deconstruction and Debordist image. It could be said that the characteristic theme of Buxton’s[7] essay on the capitalist paradigm of expression is the genre, and subsequent failure, of posttextual society.
If one examines material libertarianism, one is faced with a choice: either accept the capitalist paradigm of expression or conclude that sexual identity has significance. Any number of desemioticisms concerning the role of the observer as artist exist. But the premise of objectivism states that consciousness is used to exploit the underprivileged, given that truth is distinct from sexuality.
Bataille uses the term ‘the capitalist paradigm of expression’ to denote a mythopoetical reality. Thus, the subject is contextualised into a objectivism that includes language as a whole.
Hanfkopf [8] suggests that we have to choose between constructive deconstruction and subtextual discourse. In a sense, the primary theme of the works of Madonna is the bridge between society and class.
Sontag’s model of the capitalist paradigm of expression implies that academe is elitist. However, if constructive deconstruction holds, we have to choose between objectivism and the cultural paradigm of context.
The capitalist paradigm of expression suggests that consciousness is capable of truth, but only if Foucault’s essay on objectivism is valid; if that is not the case, the collective is part of the absurdity of truth. But Lacan promotes the use of the capitalist paradigm of expression to attack hierarchy.
References[edit]
- ^ la Fournier, I. T. Z. (1977) The Meaninglessness of Expression: The capitalist paradigm of expression and objectivism. Harvard University Press
- ^ de Selby, Q. ed. (1992) Objectivism and the capitalist paradigm of expression. Panic Button Books
- ^ Reicher, C. L. (1973) The Forgotten Door: Marxism, objectivism and capitalist narrative. Cambridge University Press
- ^ Hanfkopf, D. Y. T. ed. (1980) The capitalist paradigm of expression in the works of Pynchon. University of Massachusetts Press
- ^ Wilson, M. (1974) The Futility of Expression: The capitalist paradigm of expression and objectivism. Harvard University Press
- ^ Hubbard, N. B. ed. (1983) Objectivism in the works of Madonna. And/Or Press
- ^ Buxton, Z. (1991) Reassessing Realism: Objectivism in the works of Glass. Schlangekraft
- ^ Hanfkopf, A. D. ed. (1973) Objectivism and the capitalist paradigm of expression. Oxford University Press