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Sartreist existentialism and rationalism
Text generated from the Postmodernism Generator located here.

1. Contexts of absurdity
“Society is elitist,” says Sontag. However, Baudrillard suggests the use of

the textual paradigm of expression to challenge and read sexual identity. The

premise of subcultural structuralist theory implies that sexuality has

intrinsic meaning.

If one examines the textual paradigm of expression, one is faced with a

choice: either reject rationalism or conclude that the raison d’etre of the

participant is social comment, given that Bataille’s model of pretextual

discourse is invalid. Therefore, Sartre uses the term ‘the textual paradigm of

expression’ to denote not narrative, as Sartreist existentialism suggests, but

subnarrative. The subject is contextualised into a rationalism that includes

narrativity as a reality.

“Sexual identity is intrinsically a legal fiction,” says Foucault. It could

be said that the textual paradigm of expression suggests that the collective is

unattainable. Many deconstructions concerning rationalism may be revealed.

In the works of Eco, a predominant concept is the concept of dialectic

sexuality. But Baudrillard promotes the use of neocapitalist Marxism to attack

sexism. The subject is interpolated into a rationalism that includes

consciousness as a paradox.

Therefore, Dietrich[1 ] states that we have to choose

between the textual paradigm of expression and the semanticist paradigm of

narrative. Derrida suggests the use of premodern discourse to deconstruct art.

But the masculine/feminine distinction prevalent in Madonna’s Erotica

is also evident in Sex, although in a more mythopoetical sense.

Baudrillard promotes the use of Sartreist existentialism to attack capitalism.

Thus, the characteristic theme of the works of Madonna is the role of the

observer as poet. The premise of the textual paradigm of expression holds that

language may be used to marginalize minorities, but only if narrativity is

equal to sexuality; otherwise, Foucault’s model of Sartreist existentialism is

one of “the dialectic paradigm of reality”, and hence fundamentally a legal

fiction.

Therefore, the subject is contextualised into a textual paradigm of

expression that includes reality as a whole. Bataille uses the term ‘Sartreist

existentialism’ to denote the defining characteristic, and eventually the

stasis, of neotextual class.

Thus, the subject is interpolated into a Derridaist reading that includes

truth as a paradox. An abundance of materialisms concerning a self-supporting

totality exist.

Therefore, the subject is contextualised into a textual paradigm of

expression that includes language as a paradox. The main theme of von Junz’s[2 ] essay on rationalism is the bridge between sexuality and

class.

2. Sartreist existentialism and Baudrillardist simulacra
If one examines Baudrillardist simulacra, one is faced with a choice: either

accept rationalism or conclude that sexual identity, somewhat paradoxically,

has objective value. Thus, Sontag uses the term ‘Sartreist existentialism’ to

denote not, in fact, discourse, but subdiscourse. Any number of appropriations

concerning Baudrillardist simulacra may be found.

In the works of Madonna, a predominant concept is the distinction between

closing and opening. It could be said that Marx suggests the use of Sartreist

existentialism to modify and deconstruct class. If rationalism holds, the works

of Madonna are an example of mythopoetical feminism.

“Sexual identity is responsible for class divisions,” says Lyotard. But

Sontag uses the term ‘Sartreist existentialism’ to denote the role of the

writer as poet. In Erotica, Madonna examines cultural discourse; in

Material Girl, however, she deconstructs rationalism.

Thus, Sartreist existentialism states that truth is capable of

intentionality, given that the premise of Baudrillardist simulacra is valid.

The characteristic theme of the works of Madonna is the collapse, and

subsequent stasis, of postcapitalist society.

But a number of sublimations concerning the role of the observer as poet

exist. Derrida’s critique of Sartreist existentialism implies that reality

serves to reinforce hierarchy.

However, Bataille uses the term ‘rationalism’ to denote the dialectic, and

eventually the failure, of dialectic class. Lyotard promotes the use of

subdeconstructivist nihilism to challenge capitalism.

But Scuglia[3 ] states that we have to choose between

Sartreist existentialism and presemantic textual theory. Bataille suggests the

use of Baudrillardist simulacra to read class.

3. Madonna and subconceptualist dedeconstructivism
The main theme of Dietrich’s[4 ] model of Sartreist

existentialism is a dialectic whole. In a sense, if rationalism holds, we have

to choose between posttextual nationalism and capitalist subsemantic theory.

Foucault uses the term ‘Sartreist existentialism’ to denote the defining

characteristic, and therefore the paradigm, of capitalist society.

In the works of Rushdie, a predominant concept is the concept of pretextual

culture. It could be said that Derridaist reading suggests that sexual identity

has intrinsic meaning. Debord uses the term ‘rationalism’ to denote not theory,

as Marx would have it, but posttheory.

“Society is part of the absurdity of art,” says Foucault; however, according

to Humphrey[5 ], it is not so much society that is part of

the absurdity of art, but rather the genre, and eventually the paradigm, of

society. However, the primary theme of the works of Rushdie is the role of the

observer as participant. Lacan promotes the use of modernist discourse to

deconstruct class divisions.

“Sexual identity is impossible,” says Sontag. In a sense, an abundance of

narratives concerning Baudrillardist simulacra may be revealed. The premise of

Sartreist absurdity states that the media is intrinsically elitist.

If one examines Baudrillardist simulacra, one is faced with a choice: either

reject rationalism or conclude that the goal of the poet is significant form,

given that consciousness is interchangeable with culture. Therefore, the main

theme of d’Erlette’s[6 ] critique of Baudrillardist simulacra

is the stasis of prematerial class. The subject is interpolated into a

Sartreist existentialism that includes art as a totality.

“Sexual identity is meaningless,” says Lyotard; however, according to

Brophy[7 ], it is not so much sexual identity that is

meaningless, but rather the collapse, and thus the meaninglessness, of sexual

identity. Thus, Derrida suggests the use of Baudrillardist simulacra to attack

and read consciousness. Rationalism implies that sexual identity, ironically,

has significance.

“Class is part of the absurdity of truth,” says Baudrillard. Therefore,

Abian[8 ] states that the works of Rushdie are not

postmodern. The subject is contextualised into a Baudrillardist simulacra that

includes art as a whole.

It could be said that if Sartreist existentialism holds, we have to choose

between posttextual rationalism and the material paradigm of expression. Marx

promotes the use of rationalism to challenge sexism.

However, the subject is interpolated into a Sartreist existentialism that

includes truth as a totality. Sontag uses the term ‘subdialectic patriarchial

theory’ to denote not sublimation, but presublimation.

In a sense, in Sandman, Gaiman affirms rationalism; in Death: The

Time of Your Life, although, he deconstructs Sartreist existentialism. A

number of narratives concerning the difference between society and

consciousness exist.

It could be said that Sartre suggests the use of Baudrillardist simulacra to

analyse sexual identity. The example of Sartreist existentialism intrinsic to

Gaiman’s Sandman emerges again in Black Orchid.

But the characteristic theme of the works of Gaiman is the role of the

participant as writer. Hamburger[9 ] holds that the works of

Gaiman are an example of mythopoetical socialism.

Therefore, Sontag uses the term ‘Baudrillardist simulacra’ to denote the

bridge between society and sexual identity. The subject is contextualised into

a Derridaist reading that includes sexuality as a reality.

However, several theories concerning Sartreist existentialism may be

discovered. The within/without distinction prevalent in Gaiman’s

Neverwhere is also evident in Sandman, although in a more textual

sense.

But an abundance of desublimations concerning a self-referential paradox

exist. Lyotard promotes the use of Baudrillardist simulacra to deconstruct

hierarchy.

4. Subdialectic discourse and capitalist narrative
“Consciousness is unattainable,” says Debord; however, according to von

Junz[10 ], it is not so much consciousness that is

unattainable, but rather the dialectic, and subsequent economy, of

consciousness. Thus, the primary theme of la Fournier’s[11 ]

model of Sartreist existentialism is the common ground between class and

society. If preconstructivist appropriation holds, the works of Spelling are

not postmodern.

In the works of Spelling, a predominant concept is the distinction between

figure and ground. It could be said that the main theme of the works of

Spelling is the role of the reader as poet. Any number of discourses concerning

rationalism may be found.

“Truth is fundamentally used in the service of the status quo,” says Lacan;

however, according to de Selby[12 ], it is not so much

truth that is fundamentally used in the service of the status quo, but rather

the genre, and hence the fatal flaw, of truth. But the primary theme of

Finnis’s[13 ] analysis of capitalist narrative is a cultural

totality. Baudrillard suggests the use of Sartreist existentialism to modify

and attack class.

Thus, an abundance of materialisms concerning the stasis, and eventually the

absurdity, of posttextual reality exist. Debord promotes the use of cultural

subdeconstructivist theory to deconstruct sexism.

In a sense, Baudrillard uses the term ‘capitalist narrative’ to denote the

role of the artist as participant. The characteristic theme of the works of

Spelling is the stasis, and therefore the genre, of capitalist society.

Therefore, Sartre suggests the use of Sartreist existentialism to read

class. In Models, Inc., Spelling denies neotextual discourse; in

Charmed he analyses capitalist narrative.

However, Bataille promotes the use of rationalism to challenge hierarchy.

The main theme of McElwaine’s[14 ] model of Sartreist

existentialism is not deconstruction per se, but subdeconstruction.

Thus, Lyotard suggests the use of dialectic nihilism to modify and read

sexuality. The subject is interpolated into a capitalist narrative that

includes reality as a paradox. 1. Dietrich, C. N. S. ed. (1993)

Reinventing Socialist realism: Rationalism in the works of Madonna.

University of California Press

2. von Junz, C. N. (1977) Capitalist preconceptualist

theory, rationalism and rationalism. Panic Button Books

3. Scuglia, Z. ed. (1992) The Stasis of Narrativity:

Rationalism and Sartreist existentialism. University of Illinois

Press

4. Dietrich, A. J. (1985) Rationalism in the works of

Rushdie. Schlangekraft

5. Humphrey, U. R. A. ed. (1990) Contexts of Defining

characteristic: Sartreist existentialism and rationalism. O’Reilly &

Associates

6. d’Erlette, B. P. (1985) Rationalism in the works of

McLaren. Loompanics

7. Brophy, B. ed. (1973) The Consensus of Failure:

Rationalism, the constructivist paradigm of discourse and rationalism.

And/Or Press

8. Abian, U. Y. P. (1987) Rationalism in the works of

Gaiman. Loompanics

9. Hamburger, I. Z. ed. (1975) The Fatal flaw of Art:

Rationalism and Sartreist existentialism. Schlangekraft

10. von Junz, O. (1992) Rationalism in the works of

Joyce. Loompanics

11. la Fournier, H. Z. ed. (1971) The Rubicon of Reality:

Sartreist existentialism in the works of Spelling. Harvard University

Press

12. de Selby, K. (1997) Rationalism in the works of

Gibson. Loompanics

13. Finnis, H. O. ed. (1979) Capitalist Narratives:

Sartreist existentialism and rationalism. Cambridge University

Press

14. McElwaine, K. I. Q. (1993) Rationalism and Sartreist

existentialism. Panic Button Books