1. Rushdie and the conceptual paradigm of expression
In the works of Rushdie, a predominant concept is the concept of substructuralist consciousness. Therefore, Sartre suggests the use of textual narrative to attack class divisions.
"Society is responsible for outdated perceptions of sexuality," says Foucault; however, according to de Selby[1] , it is not so much society that is responsible for outdated perceptions of sexuality, but rather the futility of society. The subject is interpolated into a conceptual paradigm of expression that includes reality as a whole. Thus, a number of deconstructions concerning neodeconstructivist rationalism may be found.
Lyotard promotes the use of capitalist neoconstructivist theory to analyse and read class. Therefore, the conceptual paradigm of expression implies that culture is intrinsically used in the service of class divisions.
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The main theme of the works of Rushdie is the paradigm, and eventually the rubicon, of semantic sexual identity. It could be said that Pickett[2] holds that we have to choose between neodeconstructivist rationalism and Foucaultist power relations.
Any number of discourses concerning not, in fact, theory, but subtheory exist. However, the subject is contextualised into a realism that includes reality as a totality.
2. Narratives of futility
The characteristic theme of Drucker's[3] essay on neodeconstructivist rationalism is a textual paradox. The premise of postdialectic narrative states that consciousness may be used to marginalize the proletariat, given that Bataille's analysis of realism is valid. In a sense, if the conceptual paradigm of expression holds, we have to choose between realism and the deconstructive paradigm of reality.
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"Society is a legal fiction," says Derrida; however, according to Finnis[4] , it is not so much society that is a legal fiction, but rather the failure, and some would say the rubicon, of society. Several materialisms concerning neodeconstructivist rationalism may be discovered. However, the main theme of the works of Eco is the role of the writer as observer.
"Truth is fundamentally elitist," says Sontag. Hamburger[5] suggests that the works of Eco are empowering. In a sense, the subject is interpolated into a conceptual paradigm of expression that includes narrativity as a reality.
The primary theme of Tilton's[6] critique of semantic neocapitalist theory is the bridge between class and language. Debord suggests the use of realism to challenge sexism. Thus, the subject is contextualised into a neodeconstructivist rationalism that includes reality as a whole.
In the works of Pynchon, a predominant concept is the distinction between masculine and feminine. The without/within distinction depicted in Pynchon's Gravity's Rainbow emerges again in The Crying of Lot 49, although in a more mythopoetical sense. However, Sartre uses the term 'cultural rationalism' to denote the role of the artist as observer.
"Sexual identity is part of the genre of truth," says Derrida; however, according to Parry[7] , it is not so much sexual identity that is part of the genre of truth, but rather the collapse, and thus the dialectic, of sexual identity. If the conceptual paradigm of expression holds, we have to choose between dialectic deconstruction and the neoconstructive paradigm of discourse. Therefore, the main theme of the works of Pynchon is a textual paradox.
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The subject is interpolated into a neodeconstructivist rationalism that includes language as a totality. It could be said that a number of theories concerning not narrative as such, but postnarrative exist.
Scuglia[8] implies that the works of Pynchon are modernistic. But several discourses concerning the conceptual paradigm of expression may be revealed. The characteristic theme of Hubbard's[9] model of realism is the stasis, and subsequent genre, of dialectic sexuality. Therefore, the subject is contextualised into a neodeconstructivist rationalism that includes truth as a whole.
Foucault uses the term 'the submodern paradigm of narrative' to denote not narrative, but neonarrative. It could be said that the main theme of the works of Pynchon is the role of the poet as observer.
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Baudrillard uses the term 'the conceptual paradigm of expression' to denote not deconstructivism, but subdeconstructivism. But an abundance of discourses concerning a mythopoetical reality exist.
Sartre uses the term 'patriarchialist libertarianism' to denote not, in fact, deconstruction, but neodeconstruction. In a sense, if realism holds, we have to choose between the conceptual paradigm of expression and subcultural materialism.
The subject is interpolated into a neodeconstructivist rationalism that includes language as a whole. Thus, the primary theme of Hanfkopf's[10] critique of realism is the meaninglessness, and eventually the dialectic, of materialist society.
Parry[11] states that we have to choose between neodeconstructivist rationalism and premodern discourse. But the example of dialectic theory intrinsic to Rushdie's The Ground Beneath Her Feet is also evident in Midnight's Children.
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The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. Happy April Fool's Day. To generate another essay, follow this link.
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The Postmodernism Generator was written by Andrew C. Bulhak and modified slightly by Pope Dubious Provenance XI using the Dada Engine, a system for generating random text from recursive grammars.
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 here.
More generated texts are linked to from the Communications From Elsewhere front page.
If you enjoyed it, you may also like to read Alan Sokal particularly his Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity"
