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Postmodernism Generator Excerpt
Text lifted from the Postmodernism Generator located here:

1. Burroughs and neocultural sublimation
In the works of Burroughs, a predominant concept is the distinction between without and within. However, the stasis, and hence the failure, of the dialectic paradigm of narrative intrinsic to Burroughs’s The Soft Machine is also evident in Queer. Sartre suggests the use of modern discourse to analyse society.

If one examines postcultural semanticist theory, one is faced with a choice: either reject the dialectic paradigm of narrative or conclude that the significance of the reader is significant form, given that neocultural theory is valid. Therefore, the subject is contextualised into a cultural deconstruction that includes truth as a paradox. Bataille’s model of the dialectic paradigm of narrative states that art is used to entrench class divisions.

However, Pickett implies that we have to choose between postdialectic materialist theory and neocapitalist desituationism. An abundance of theories concerning the difference between sexual identity and language may be discovered.

In a sense, in Junky, Burroughs reiterates cultural deconstruction; in Queer, although, he denies Sartreist existentialism. Cultural deconstruction states that the law is capable of significance, but only if reality is interchangeable with language; if that is not the case, the raison d’etre of the participant is social comment.

Thus, the subject is interpolated into a constructive discourse that includes art as a totality. Baudrillard promotes the use of the dialectic paradigm of narrative to challenge capitalism.

2. Consensuses of defining characteristic
“Sexual identity is used in the service of class divisions,” says Sontag; however, according to Long, it is not so much sexual identity that is used in the service of class divisions, but rather the meaninglessness of sexual identity. It could be said that the subject is contextualised into a cultural deconstruction that includes language as a reality. The characteristic theme of the works of Gaiman is a mythopoetical whole.

“Society is fundamentally responsible for capitalism,” says Derrida. Thus, Lyotard uses the term ‘the dialectic paradigm of narrative’ to denote not appropriation, but postappropriation. If cultural deconstruction holds, we have to choose between modern discourse and precultural capitalism.

However, the premise of cultural deconstruction implies that consciousness may be used to oppress the proletariat, given that Marx’s critique of modern discourse is invalid. The primary theme of la Tournier’s  analysis of cultural deconstruction is the common ground between class and narrativity.

In a sense, any number of dematerialisms concerning modern discourse exist. The example of the textual paradigm of context depicted in Rushdie’s Midnight’s Children emerges again in The Ground Beneath Her Feet, although in a more self-sufficient sense.

It could be said that Sontag uses the term ‘modern discourse’ to denote a subcultural totality. The main theme of the works of Rushdie is not narrative per se, but postnarrative.