Hey guys

I got bored and decide to write a short essay on capitalist deconstruction, socialism and its implications towards postcultural theory. Hope you like it!

Capitalist deconstruction, socialism and postcultural theory
Tenshu
Department of Psychology and Pedagogics, Gent University (Belgium)

1. Consensuses of absurdity
If one examines neodialectic capitalist theory, one is faced with a choice: either accept precultural narrative or conclude that discourse comes from communication. In a sense, several discourses concerning postcultural theory exist. Marx uses the term 'dialectic libertarianism' to denote a subpatriarchial whole.

"Truth is fundamentally meaningless," says Lacan. Therefore, la Tournier[1] states that we have to choose between neodialectic capitalist theory and neocultural nihilism. Debord uses the term 'the capitalist paradigm of context' to denote the stasis of subdialectic sexual identity.

In the works of Joyce, a predominant concept is the concept of cultural art. Thus, in Ulysses, Joyce affirms neodialectic capitalist theory; in Finnegan's Wake, however, he examines Derridaist reading. Foucault promotes the use of neodialectic capitalist theory to deconstruct archaic perceptions of language.

The main theme of Humphrey's[2] critique of Derridaist reading is a self-falsifying reality. Therefore, if neodialectic theory holds, we have to choose between Derridaist reading and textual deconstruction. Baudrillard suggests the use of neodialectic capitalist theory to modify society.

In a sense, the subject is contextualised into a Derridaist reading that includes reality as a totality. Dahmus[3] holds that we have to choose between neodialectic capitalist theory and Lyotardist narrative.

But the characteristic theme of the works of Spelling is the role of the reader as artist. The collapse, and subsequent failure, of postcultural theory depicted in Spelling's The Heights is also evident in Models, Inc., although in a more mythopoetical sense.

Therefore, Debord promotes the use of neodialectic capitalist theory to attack class divisions. The subject is interpolated into a postcultural theory that includes culture as a reality.

Thus, in Charmed, Spelling analyses Derridaist reading; in Models, Inc., although, he affirms postcultural theory. Bataille uses the term 'presemanticist cultural theory' to denote the futility, and eventually the defining characteristic, of postmodern language.

It could be said that the main theme of Buxton's[4] analysis of postcultural theory is the common ground between class and society. A number of theories concerning a neodialectic totality may be found.

2. Derridaist reading and the cultural paradigm of discourse
"Class is part of the meaninglessness of sexuality," says Lyotard. In a sense, if pretextual libertarianism holds, we have to choose between Derridaist reading and semanticist subcapitalist theory. Derrida suggests the use of postcultural theory to read and modify narrativity.

Therefore, the subject is contextualised into a cultural paradigm of discourse that includes language as a reality. The characteristic theme of the works of Spelling is the bridge between class and society.

In a sense, Baudrillard promotes the use of dialectic Marxism to deconstruct elitist perceptions of sexual identity. Several dematerialisms concerning Derridaist reading exist. However, Bataille uses the term 'precapitalist narrative' to denote the role of the poet as observer. Baudrillard's critique of the cultural paradigm of discourse suggests that the media is capable of significance, but only if the premise of semioticist postcapitalist theory is invalid.

3. Realities of futility
The main theme of Bailey's[5] model of the cultural paradigm of discourse is the common ground between society and reality. Therefore, the example of Derridaist reading which is a central theme of Spelling's The Heights emerges again in Melrose Place. Foucault's analysis of postcultural theory holds that context must come from the masses.

"Class is intrinsically impossible," says Lyotard; however, according to Dietrich[6] , it is not so much class that is intrinsically impossible, but rather the stasis, and subsequent meaninglessness, of class. However, Baudrillard suggests the use of Derridaist reading to analyse sexual identity. In Robin's Hoods, Spelling deconstructs postcultural theory; in Models, Inc. he reiterates the cultural paradigm of discourse.

It could be said that the subject is interpolated into a Derridaist reading that includes sexuality as a paradox. The closing/opening distinction intrinsic to Spelling's The Heights is also evident in Charmed, although in a more mythopoetical sense.

But the subject is contextualised into a substructural theory that includes culture as a totality. The primary theme of the works of Spelling is a self-referential reality. It could be said that in Models, Inc., Spelling examines the cultural paradigm of discourse; in The Heights, however, he reiterates capitalist neomaterialist theory. The subject is interpolated into a Derridaist reading that includes art as a whole.

However, a number of discourses concerning the bridge between class and sexuality may be discovered. Buxton[7] implies that we have to choose between the cultural paradigm of discourse and dialectic discourse.

4. Spelling and Derridaist reading
If one examines postcultural theory, one is faced with a choice: either reject postcapitalist dialectic theory or conclude that the purpose of the poet is significant form. It could be said that the subject is contextualised into a postcultural theory that includes language as a paradox. The characteristic theme of Drucker's[8] model of Derridaist reading is not construction, as conceptual narrative suggests, but subconstruction.

"Society is part of the collapse of art," says Debord. But if Derridaist reading holds, the works of Spelling are not postmodern. Postcultural semioticist theory holds that sexuality serves to entrench hierarchy.

In the works of Spelling, a predominant concept is the distinction between ground and figure. It could be said that many theories concerning postcultural theory exist. The subject is interpolated into a Marxist class that includes culture as a reality.

The primary theme of the works of Spelling is the common ground between sexual identity and class. But a number of desituationisms concerning a precapitalist whole may be found. The premise of Derridaist reading states that truth is a legal fiction, given that narrativity is equal to sexuality.

In the works of Spelling, a predominant concept is the concept of structuralist narrativity. It could be said that in Charmed, Spelling examines postcultural theory; in Models, Inc., although, he denies Derridaist reading. Bataille uses the term 'the cultural paradigm of discourse' to denote the difference between sexuality and sexual identity.

"Society is part of the paradigm of narrativity," says Baudrillard; however, according to Dahmus[9] , it is not so much society that is part of the paradigm of narrativity, but rather the dialectic, and eventually the stasis, of society. Therefore, Porter[10] implies that we have to choose between deconstructivist desublimation and predialectic narrative. Bataille promotes the use of Derridaist reading to attack capitalism.

But Derrida uses the term 'textual subcultural theory' to denote a mythopoetical paradox. The main theme of von Junz's[11] analysis of Derridaist reading is the bridge between class and culture.

However, Marx uses the term 'postcultural theory' to denote not dematerialism, but postdematerialism. The subject is contextualised into a dialectic paradigm of context that includes truth as a totality. It could be said that if Derridaist reading holds, the works of Eco are empowering. The primary theme of the works of Eco is the role of the observer as writer.

But the cultural paradigm of discourse holds that the goal of the poet is deconstruction. Hamburger[12] implies that we have to choose between Derridaist reading and submaterialist theory.

It could be said that the premise of the cultural paradigm of discourse states that the collective is responsible for the status quo. If dialectic nihilism holds, we have to choose between the cultural paradigm of discourse and the pretextual paradigm of reality.

In a sense, the fatal flaw, and some would say the rubicon, of structuralist libertarianism depicted in Eco's The Island of the Day Before emerges again in The Name of the Rose. The subject is interpolated into a cultural paradigm of discourse that includes reality as a whole.

But many discourses concerning postcapitalist conceptual theory exist. Cameron[13] suggests that the works of Eco are an example of textual rationalism.

Thus, Debord uses the term 'Derridaist reading' to denote a self-supporting paradox. Baudrillard's essay on the cultural paradigm of discourse states that the raison d'etre of the participant is social comment.


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1. la Tournier, M. ed. (1985) The Fatal flaw of Reality: Derridaist reading and postcultural theory. And/Or Press
2. Humphrey, C. D. R. (1971) Derridaist reading in the works of Smith. O'Reilly & Associates

3. Dahmus, M. V. ed. (1994) The Iron House: Postcultural theory in the works of Spelling. Schlangekraft

4. Buxton, A. (1978) Postcultural theory and Derridaist reading. Loompanics

5. Bailey, S. L. U. ed. (1993) Deconstructing Modernism: Derridaist reading and postcultural theory. Yale University Press

6. Dietrich, Q. K. (1980) Postcultural theory in the works of Burroughs. O'Reilly & Associates

7. Buxton, I. ed. (1972) Textual Narratives: Postcultural theory, socialism and the subsemantic paradigm of reality. Schlangekraft

8. Drucker, S. O. B. (1993) Postcultural theory and Derridaist reading. And/Or Press

9. Dahmus, P. ed. (1970) The Discourse of Absurdity: Derridaist reading and postcultural theory. Panic Button Books

10. Porter, D. A. (1993) Postcultural theory in the works of Eco. University of Illinois Press

11. von Junz, R. ed. (1972) Reassessing Modernism: Postcultural theory and Derridaist reading. Schlangekraft

12. Hamburger, N. M. (1994) Postcultural theory in the works of Mapplethorpe. O'Reilly & Associates

13. Cameron, S. J. Z. ed. (1975) The Stasis of Sexual identity: Derridaist reading and postcultural theory. Oxford University Press

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Looks like all you did is use a whole bunch of long words and quote a whole bunch of people who may or may not have anything to do with each other...

I would be impressed, but I'm still trying to understand the first sentence...

...

If your objective was to present the ideas of different people on a subject, you did well. If you were trying to make a persuasive argument, you failed because you only did the former.

This man speaks the truth. I understand nothing.

Not anything much to do with the topic, but I found it amusing:

http://www.google.co.uk/search?hl=en&safe=off&q=%22accept+precultural+narrative%22&meta=



c.f. "either accept precultural narrative or conclude that discourse comes from communication." (Tenshu, 2005)

Not that, you know, academics like to throw around terms that sound good and can mean pretty much anything. "'Academic' is, after all, also a pejorative term in the English language, a synonym for being 'excessively concerned with academic matters' it says in my dictionary, and that is not meant as a compliment" (McCrone, 2002).



Tenshu (2005) Capitalist deconstruction, socialism and postcultural theory (Massassi)

McCrone, D. (2002) New Politics: New Governance: the experience of Scottish Devolution (Edinburgh: Institute of Governance)

Right.

Lets see on the whole a bunch of people telling us stuff with lots of sesquipedalian terms.

My comments:

Basically I would make two fundamental changes:

Try to use less magniloquence and avoid pleonasm.

Further more, if you have trouble understanding what i'm saying, you know how you're readers felt.

Check this site out: [url]www.dictionary.com[/url]
Maybe you'll find it useful.
:p

Plenty of buzzwords, not a whole lot of substance. Just say what you mean.

QF F'ing T

You got bored, and decided to write an essay?

You have taken a concept that is either fundamentally simple or completely meaningless, and obfuscated it through the use of obscure vocabulary and citations for the sole purpose of creating the illusion of being a highly educated and intellectual individual. However, this is no more intellectual or educated than writing every other sentence in the Kalaallisut language of Greenland. I wouldn't be surprised if this came from a random essay generator on the internet.

I have no problem with using context-specific lexis, but in any essay it's usually good form to define those terms before you start rambling discussing.

Quoted because people still haven't figure it out.

No, he decided he wanted to be seen as smarter, so he strung a bunch of ideas from other people together. I know a few other people who do this. "I've got no idea what he's talking about, so he must be knowledgeable/artistic/creative!"

Ahahaha...you think you've just got it all figured out. If only you heard everyone coughing...

*hint* he just used the random essay generator. It's a joke.

pssst! be quiet!

that is the coolest word i've seen in a long time

I always loved the irony of calling someone a sesquipedalian.

Fight for capitalism!

Russia is a nazi.

I got about that far before giggling to myself and skipping to the responses. If truth is fundamentally meaningless, then clearly the statement that truth is fundamentally meaningless is also fundamentally meaningless, no?

Somehow, the whole thing made about as much sense as a randomly generated string of quotations...

.

You guys, this is clearly written by a script. It's generic, it follows a clear pattern, and quite simply, only an idiot would write like this. The patterns are so easy to pick up that I didn't buy it after the second paragraph.

The commentary the script makes on absolutely retarded postmodernist BS, however, I <3.

Edit:
Scrolling down, it appears that someone even posted the link to the generator. C'mon though, reading just a few sentences reveals how cludgy and terrible the emulation of a real writer is.

There are quite a few gems, like "In the works of Joyce, a predominant concept is the concept of cultural art."

The link to the webpage that generated the essay has been posted twice already.

I suppose posting it a third time wouldn't hurt, what with even me not noticing it the first time:
http://www.elsewhere.org/cgi-bin/postmodern/

Personally, I like In a sense, the fatal flaw, and some would say the rubicon, of structuralist libertarianism .... 'And some would say the rubicon'... That is so ****ing money. Who actually says that kind of stuff?

An NYU Physics Prof, Alan Sokal, actually sent one of these meaningless beauties on science to a magazine called Social Text. They accepted it and printed it as one of their main articles or something... That kind of was the rubicon of Social Text right there, as well as postmodernism 'science'. What bs.

I don't understand the purpose of this thread.

......More bantha-fodder. Move on.

whoever made this thread I'm going 2 slap u in the face with some form of manhood

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elseif(getThingFlags(source) & 0x4){
  do other babe}
else{
  do a dude}