Neocapitalist Discourses: Constructivism and the cultural paradigm of
narrative
Linda L. P. von Ludwig
Department of Sociology, University of California, Berkeley
1. Rushdie and postpatriarchial narrative
“Sexual identity is intrinsically responsible for hierarchy,” says
Baudrillard. The subject is contextualised into a cultural paradigm of
narrative that includes art as a totality. Therefore, an abundance of
constructions concerning the paradigm, and eventually the failure, of cultural
society exist.
“Class is impossible,” says Lacan; however, according to Sargeant[1] , it is not so much class that is impossible, but rather
the economy, and thus the defining characteristic, of class. Derrida’s model of
Lyotardist narrative states that the raison d’etre of the poet is social
comment, but only if the premise of postpatriarchial narrative is invalid;
otherwise, Foucault’s model of the cultural paradigm of narrative is one of
“submodern Marxism”, and therefore fundamentally meaningless. Thus, Marx
promotes the use of postpatriarchial narrative to attack elitist perceptions of
society.
If one examines the dialectic paradigm of discourse, one is faced with a
choice: either reject postpatriarchial narrative or conclude that narrativity
is responsible for sexism. If the cultural paradigm of narrative holds, we have
to choose between postpatriarchial narrative and postconstructivist dialectic
theory. Therefore, the primary theme of the works of Rushdie is the common
ground between consciousness and sexual identity.
In the works of Rushdie, a predominant concept is the concept of
precapitalist reality. Buxton[2] implies that we have to
choose between the cultural paradigm of narrative and Baudrillardist simulacra.
It could be said that Marx uses the term ‘postpatriarchial narrative’ to denote
the economy, and eventually the meaninglessness, of conceptualist sexual
identity.
The main theme of von Ludwig’s[3] essay on the cultural
paradigm of narrative is the difference between class and society. A number of
narratives concerning postpatriarchial narrative may be discovered. Therefore,
the characteristic theme of the works of Spelling is the role of the writer as
poet.
Foucault uses the term ‘constructivism’ to denote the genre of subcapitalist
sexual identity. Thus, an abundance of theories concerning the role of the
reader as poet exist.
Sontag uses the term ‘the cultural paradigm of narrative’ to denote a
self-falsifying paradox. However, Sartre suggests the use of postpatriarchial
narrative to modify society.
In Models, Inc., Spelling examines constructivism; in Robin’s
Hoods, however, he affirms postpatriarchial narrative. In a sense, if
constructivism holds, we have to choose between the cultural paradigm of
narrative and deconstructive discourse.
The main theme of Drucker’s[4] analysis of
postpatriarchial narrative is the role of the reader as artist. However, von
Ludwig[5] holds that the works of Spelling are reminiscent
of Fellini.
The subject is interpolated into a constructivism that includes reality as a
totality. It could be said that the example of postpatriarchial narrative
intrinsic to Spelling’s Beverly Hills 90210 emerges again in The
Heights, although in a more posttextual sense.
Debord promotes the use of the cultural paradigm of narrative to deconstruct
capitalism. In a sense, any number of narratives concerning constructivism may
be found.
2. Consensuses of fatal flaw
In the works of Spelling, a predominant concept is the distinction between
closing and opening. Foucault suggests the use of the cultural paradigm of
narrative to analyse and attack language. It could be said that if
constructivism holds, the works of Spelling are postmodern.
Reicher[6] states that we have to choose between the
cultural paradigm of narrative and cultural postsemantic theory. However, the
subject is contextualised into a constructivism that includes narrativity as a
whole.
In Melrose Place, Spelling deconstructs cultural desituationism; in
Models, Inc., although, he examines the cultural paradigm of narrative.
Therefore, if constructivism holds, we have to choose between Sontagist camp
and the neocapitalist paradigm of reality.
Sartre uses the term ‘constructivism’ to denote the common ground between
society and class. In a sense, the cultural paradigm of narrative suggests that
language may be used to oppress the Other.
3. Cultural capitalism and the postpatriarchial paradigm of narrative
The characteristic theme of the works of Spelling is a self-sufficient
reality. The within/without distinction depicted in Spelling’s Charmed
is also evident in Models, Inc.. But Foucault promotes the use of the
cultural paradigm of narrative to challenge hierarchy.
In the works of Spelling, a predominant concept is the concept of cultural
reality. Finnis[7] implies that the works of Spelling are
reminiscent of Mapplethorpe. Thus, Sartre uses the term ‘constructivism’ to
denote the genre, and some would say the futility, of neotextual society.
“Sexual identity is intrinsically used in the service of capitalism,” says
Debord. Lacan suggests the use of the postpatriarchial paradigm of narrative to
read narrativity. It could be said that Sartre’s model of modernist nationalism
holds that the goal of the reader is significant form.
In the works of Burroughs, a predominant concept is the distinction between
masculine and feminine. Several narratives concerning a prematerial totality
exist. Therefore, if the postpatriarchial paradigm of narrative holds, we have
to choose between the cultural paradigm of narrative and Lyotardist narrative.
The premise of the postpatriarchial paradigm of narrative implies that
reality is used to reinforce archaic perceptions of sexual identity, but only
if consciousness is distinct from culture. In a sense, the subject is
interpolated into a cultural nihilism that includes truth as a reality.
In The Last Words of Dutch Schultz, Burroughs analyses the cultural
paradigm of narrative; in The Ticket that Exploded he reiterates
subcapitalist conceptualism. Therefore, constructivism suggests that language,
paradoxically, has intrinsic meaning.
Sontag promotes the use of the postpatriarchial paradigm of narrative to
attack class divisions. It could be said that a number of discourses concerning
constructivism may be discovered.
Humphrey[8] holds that the works of Burroughs are
empowering. In a sense, Derrida uses the term ‘Sartreist existentialism’ to
denote the failure, and eventually the fatal flaw, of semiotic society.
In Midnight’s Children, Rushdie denies the postpatriarchial paradigm
of narrative; in Satanic Verses, however, he reiterates neodialectic
deappropriation. It could be said that if constructivism holds, we have to
choose between conceptualist discourse and subtextual nationalism.
The subject is contextualised into a cultural paradigm of narrative that
includes art as a totality. But Marx uses the term ‘Lacanist obscurity’ to
denote not narrative, but neonarrative.
1. Sargeant, Q. ed. (1992)
Constructivism in the works of Pynchon. O’Reilly & Associates
5. von Ludwig, N. Z. U. ed. (1988) Constructivism in the
works of Koons. Schlangekraft
The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link.
If you liked this particular essay and would like to return to it, follow this link for a bookmarkable page.
The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).
This installation of the Generator has delivered 68,364,218 essays since 25/Feb/2000 18:43:09 PST, when it became operational.
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“.
More generated texts are linked to from the sidebar to the right.
If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.
