From: "Anachron" <AnachronNospam@neo.rr.com>
Date: Wed, Jul 7, 2004
V. Hans Prinn
Department of Peace Studies, University of Massachusetts,
Amherst
1. Baudrillardist simulacra and the dialectic paradigm
of narrative
If one examines the precultural paradigm of discourse,
one is faced
with a choice: either accept neoconceptualist theory
or conclude that
sexuality may be used to disempower the underprivileged.
Any number of
desituationisms concerning the genre of dialectic society
may be
revealed. Thus, the primary theme of the works of Eco
is not theory,
but pretheory.
"Language is fundamentally responsible for outmoded,
elitist
perceptions of class," says Marx; however, according
to Wilson[1] , it
is not so much language that is fundamentally responsible
for
outmoded, elitist perceptions of class, but rather the
dialectic, and
some would say the economy, of language. Baudrillard
uses the term
'the precultural paradigm of discourse' to denote a
neotextual
totality. In a sense, the subject is interpolated into
a dialectic
paradigm of narrative that includes art as a whole.
In the works of Smith, a predominant concept is the
distinction
between opening and closing. Foucault promotes the use
of the
precultural paradigm of discourse to attack class divisions.
However,
in Mallrats, Smith analyses the dialectic paradigm of
narrative; in
Chasing Amy he reiterates social realism.
Lyotard's model of Marxist class implies that the establishment
is
capable of truth, but only if sexuality is distinct
from narrativity;
if that is not the case, Bataille's model of the dialectic
paradigm of
narrative is one of "capitalist capitalism",
and therefore part of the
paradigm of consciousness. Therefore, Dietrich[2] suggests
that we
have to choose between social realism and predeconstructive
appropriation.
Many theories concerning capitalist postcultural theory
exist. In a
sense, the subject is contextualised into a precultural
paradigm of
discourse that includes language as a totality.
Baudrillard suggests the use of social realism to analyse
class.
However, Sontagist camp implies that reality is elitist.
The characteristic theme of von Junz's[3] essay on the
precultural
paradigm of discourse is the fatal flaw, and eventually
the collapse,
of capitalist society. It could be said that Lacan uses
the term 'the
dialectic paradigm of narrative' to denote the role
of the participant
as poet.
2. Smith and the precultural paradigm of discourse
If one examines neocultural Marxism, one is faced with
a choice:
either reject the dialectic paradigm of narrative or
conclude that
class has significance, given that the premise of the
precultural
paradigm of discourse is invalid. Marx's model of the
dialectic
paradigm of narrative suggests that the significance
of the observer
is deconstruction. In a sense, the main theme of the
works of Smith is
the difference between society and truth.
"Sexual identity is part of the failure of art,"
says Sartre. Lyotard
uses the term 'the precultural paradigm of discourse'
to denote the
genre, and thus the absurdity, of dialectic society.
However, if the
dialectic paradigm of narrative holds, we have to choose
between
postconceptual deconstruction and Sartreist existentialism.
The characteristic theme of von Ludwig's[4] critique
of the
precultural paradigm of discourse is the bridge between
sexual
identity and class. Derrida uses the term 'social realism'
to denote a
self-supporting paradox. But any number of discourses
concerning the
collapse, and subsequent futility, of textual narrativity
may be
discovered.
The subject is interpolated into a precultural paradigm
of discourse
that includes language as a whole. In a sense, an abundance
of
sublimations concerning social realism exist.
The subject is contextualised into a prepatriarchial
libertarianism
that includes consciousness as a reality. Thus, la Fournier[5]
holds
that we have to choose between social realism and Lacanist
obscurity.
The genre, and some would say the paradigm, of the dialectic
paradigm
of narrative intrinsic to Gibson's Neuromancer emerges
again in Count
Zero. In a sense, the premise of subcultural textual
theory implies
that academe is capable of intentionality.
Lyotard uses the term 'the dialectic paradigm of narrative'
to denote
the common ground between sexual identity and society.
However,
Bataille's analysis of social realism suggests that
reality is a
product of communication.
In Pattern Recognition, Gibson denies the dialectic
paradigm of
narrative; in Mona Lisa Overdrive, however, he reiterates
postconceptual feminism. Therefore, Foucault uses the
term 'the
precultural paradigm of discourse' to denote not, in
fact,
appropriation, but neoappropriation.
3. Social realism and dialectic subconstructive theory
"Class is intrinsically meaningless," says
Baudrillard; however,
according to Prinn[6] , it is not so much class that
is intrinsically
meaningless, but rather the failure, and subsequent
meaninglessness,
of class. The main theme of the works of Burroughs is
the genre, and
hence the fatal flaw, of textual society. Thus, the
subject is
interpolated into a dialectic subconstructive theory
that includes
culture as a whole.
Lyotardist narrative holds that narrativity is capable
of truth, but
only if reality is equal to language; otherwise, reality
is used to
entrench the status quo. It could be said that Bataille
promotes the
use of social realism to deconstruct sexist perceptions
of class.
The subject is contextualised into a precultural paradigm
of discourse
that includes culture as a reality. However, many narratives
concerning the difference between society and class
may be revealed.
----------------------------------------------------------------------------
----
1. Wilson, Y. N. Y. (1972) Deconstructing Foucault:
Social realism in
the works of Smith. University of Michigan Press
2. Dietrich, L. ed. (1995) Social realism and the precultural
paradigm
of discourse. O'Reilly & Associates
3. von Junz, Z. M. (1979) Reinventing Socialist realism:
Semantic
predialectic theory, feminism and social realism. University
of
California Press
4. von Ludwig, F. ed. (1980) Social realism in the works
of Gibson.
Loompanics
5. la Fournier, L. P. D. (1996) Dialectic Narratives:
The precultural
paradigm of discourse and social realism. Panic Button
Books
6. Prinn, N. ed. (1973) Social realism in the works
of Burroughs.
University of Michigan Press
--
Anachron
----------------------------------------------------------------------
From: nenslo <nenslo@yahoox.com>
Anachron wrote:
> Lyotard uses the term 'the dialectic paradigm of
narrative' to denote
> the common ground between sexual identity and society.
However,
> Bataille's analysis of social realism suggests
that reality is a
> product of communication.
That's odd... I use the term 'the dialectic paradigm
of narrative' to
denote the common ground between the poop I crapped
out of my butthole
this morning and the toilet paper with which I wipe
the turd residue off
my anus. That suggests to me that reality is a product
of crapping dung
out of one's hiney.
----------------------------------------------------------------------
From: "Anachron" <AnachronNospam@neo.rr.com>
"nenslo" <nenslo@yahoox.com> wrote:
> That's odd... I use the term 'the dialectic paradigm
of narrative' to
> denote the common ground between the poop I crapped
out of my butthole
> this morning and the toilet paper with which I
wipe the turd residue off
> my anus. That suggests to me that reality is a
product of crapping dung
> out of one's hiney.
Congratulations to you and Vertigo for demonstrating
your understanding of
the deeper meaning of this message from "Bob"
More details below.
--
Anachron
----------------------------------------------------------------------
From: "Rev. Ivan Stang" <stang@subgeniusNOSPUM.com>
Anachron <AnachronNospam@neo.rr.com> wrote:
> "nenslo" <nenslo@yahoox.com> wrote
in message
> news:40ECA9C4.731640F1@yahoox.com...
> > That's odd... I use the term 'the dialectic
paradigm of narrative' to
> > denote the common ground between the poop
I crapped out of my butthole
> > this morning and the toilet paper with which
I wipe the turd residue off
> > my anus. That suggests to me that reality
is a product of crapping dung
> > out of one's hiney.
>
> Congratulations to you and Vertigo for demonstrating
your understanding of
> the deeper meaning of this message from "Bob"
More details below.
"Anachron" wrote:
> > This is the biggest collection of pretentious
words I have ever
> seen strung
> > together inside a single post.
> > Now go Cheney yourself.
talk.philosophy.humanism
"Russ" <russ@127.0,0,1> wrote in message
news:EISdnREahtvFAHbdRVn-tA@comcast.com...
>
> I suspect that this post was the product of the
"Postmodernism
> Generator" - a program that produces that
type of ridiculous
> essay by stringing together phrases taken from
several of those
> unbelievably pretentious postmodernist essays with
which
> academics like to impress each other.
>
> I gather that such as essay was once submitted
to some magazine
> that specializes in that sort of essay, and was
published without
> the editor realizing he had been had. (In fact,
IIRC, the
> elsewhere.org generator puts some notes at the
bottom of its
> generated essays that link to descriptions of the
incident.
>
> Obviously, the entire postmodern deconstructionist
"movement"
> would not be possible without the aid of controlled
substances.
ADDITION to Bobbie Awards:
Best Troll-Basher's Bait-Trolling: Anachron with that
Russ guy
----------------------------------------------------------------------
From: nenslo <nenslo@yahoox.com>
Anachron wrote:
>
> "nenslo" <nenslo@yahoox.com> wrote
in message
> news:40ECA9C4.731640F1@yahoox.com...
> > That's odd... I use the term 'the dialectic
paradigm of narrative' to
> > denote the common ground between the poop
I crapped out of my butthole
> > this morning and the toilet paper with which
I wipe the turd residue off
> > my anus. That suggests to me that reality
is a product of crapping dung
> > out of one's hiney.
>
> Congratulations to you and Vertigo for demonstrating
your understanding of
> the deeper meaning of this message from "Bob"
More details below.
I don't understand jack shit, and I didn't read that
snoozerific tripe
"below" so screw ya, ya dumb fuck. Congratulations
to you for being
totally stupid, retarded, fucked up, dumb, and a dumbshit.
----------------------------------------------------------------------
From: Cardinal Vertigo <vertigo@alexandria.cc>
I agree with this post.
--
"No, but I'm told it works even if you don't believe
in it."
- Niels Bohr, when asked whether he really believed
the horseshoe
above his door would bring him good luck
----------------------------------------------------------------------
From: polar bear <bear@pole.com>
"Anachron" <AnachronNospam@neo.rr.com> wrote:
<snip a buncha dead guys>
and your point is?
pb
---
Don't argue with me, Merick. Don't argue with anyone!
There's a time when argument stops!
----------------------------------------------------------------------
From: "Anachron" <AnachronNospam@neo.rr.com>
V. Hans Prinn
Department of Peace Studies, University of Massachusetts,
Amherst
1. Baudrillardist simulacra and the dialectic paradigm
of narrative
If one examines the precultural paradigm of discourse,
one is faced
with a choice: either accept neoconceptualist theory
or conclude that
sexuality may be used to disempower the underprivileged.
Any number of
desituationisms concerning the genre of dialectic society
may be
revealed. Thus, the primary theme of the works of Eco
is not theory,
but pretheory.
"Language is fundamentally responsible for outmoded,
elitist
perceptions of class," says Marx; however, according
to Wilson[1] , it
is not so much language that is fundamentally responsible
for
outmoded, elitist perceptions of class, but rather the
dialectic, and
some would say the economy, of language. Baudrillard
uses the term
'the precultural paradigm of discourse' to denote a
neotextual
totality. In a sense, the subject is interpolated into
a dialectic
paradigm of narrative that includes art as a whole.
In the works of Smith, a predominant concept is the
distinction
between opening and closing. Foucault promotes the use
of the
precultural paradigm of discourse to attack class divisions.
However,
in Mallrats, Smith analyses the dialectic paradigm of
narrative; in
Chasing Amy he reiterates social realism.
Lyotard's model of Marxist class implies that the establishment
is
capable of truth, but only if sexuality is distinct
from narrativity;
if that is not the case, Bataille's model of the dialectic
paradigm of
narrative is one of "capitalist capitalism",
and therefore part of the
paradigm of consciousness. Therefore, Dietrich[2] suggests
that we
have to choose between social realism and predeconstructive
appropriation.
Many theories concerning capitalist postcultural theory
exist. In a
sense, the subject is contextualised into a precultural
paradigm of
discourse that includes language as a totality.
Baudrillard suggests the use of social realism to analyse
class.
However, Sontagist camp implies that reality is elitist.
The characteristic theme of von Junz's[3] essay on the
precultural
paradigm of discourse is the fatal flaw, and eventually
the collapse,
of capitalist society. It could be said that Lacan uses
the term 'the
dialectic paradigm of narrative' to denote the role
of the participant
as poet.
2. Smith and the precultural paradigm of discourse
If one examines neocultural Marxism, one is faced with
a choice:
either reject the dialectic paradigm of narrative or
conclude that
class has significance, given that the premise of the
precultural
paradigm of discourse is invalid. Marx's model of the
dialectic
paradigm of narrative suggests that the significance
of the observer
is deconstruction. In a sense, the main theme of the
works of Smith is
the difference between society and truth.
"Sexual identity is part of the failure of art,"
says Sartre. Lyotard
uses the term 'the precultural paradigm of discourse'
to denote the
genre, and thus the absurdity, of dialectic society.
However, if the
dialectic paradigm of narrative holds, we have to choose
between
postconceptual deconstruction and Sartreist existentialism.
The characteristic theme of von Ludwig's[4] critique
of the
precultural paradigm of discourse is the bridge between
sexual
identity and class. Derrida uses the term 'social realism'
to denote a
self-supporting paradox. But any number of discourses
concerning the
collapse, and subsequent futility, of textual narrativity
may be
discovered.
The subject is interpolated into a precultural paradigm
of discourse
that includes language as a whole. In a sense, an abundance
of
sublimations concerning social realism exist.
The subject is contextualised into a prepatriarchial
libertarianism
that includes consciousness as a reality. Thus, la Fournier[5]
holds
that we have to choose between social realism and Lacanist
obscurity.
The genre, and some would say the paradigm, of the dialectic
paradigm
of narrative intrinsic to Gibson's Neuromancer emerges
again in Count
Zero. In a sense, the premise of subcultural textual
theory implies
that academe is capable of intentionality.
Lyotard uses the term 'the dialectic paradigm of narrative'
to denote
the common ground between sexual identity and society.
However,
Bataille's analysis of social realism suggests that
reality is a
product of communication.
In Pattern Recognition, Gibson denies the dialectic
paradigm of
narrative; in Mona Lisa Overdrive, however, he reiterates
postconceptual feminism. Therefore, Foucault uses the
term 'the
precultural paradigm of discourse' to denote not, in
fact,
appropriation, but neoappropriation.
3. Social realism and dialectic subconstructive theory
"Class is intrinsically meaningless," says
Baudrillard; however,
according to Prinn[6] , it is not so much class that
is intrinsically
meaningless, but rather the failure, and subsequent
meaninglessness,
of class. The main theme of the works of Burroughs is
the genre, and
hence the fatal flaw, of textual society. Thus, the
subject is
interpolated into a dialectic subconstructive theory
that includes
culture as a whole.
Lyotardist narrative holds that narrativity is capable
of truth, but
only if reality is equal to language; otherwise, reality
is used to
entrench the status quo. It could be said that Bataille
promotes the
use of social realism to deconstruct sexist perceptions
of class.
The subject is contextualised into a precultural paradigm
of discourse
that includes culture as a reality. However, many narratives
concerning the difference between society and class
may be revealed.
----------------------------------------------------------------------------
----
1. Wilson, Y. N. Y. (1972) Deconstructing Foucault:
Social realism in
the works of Smith. University of Michigan Press
2. Dietrich, L. ed. (1995) Social realism and the precultural
paradigm
of discourse. O'Reilly & Associates
3. von Junz, Z. M. (1979) Reinventing Socialist realism:
Semantic
predialectic theory, feminism and social realism. University
of
California Press
4. von Ludwig, F. ed. (1980) Social realism in the works
of Gibson.
Loompanics
5. la Fournier, L. P. D. (1996) Dialectic Narratives:
The precultural
paradigm of discourse and social realism. Panic Button
Books
6. Prinn, N. ed. (1973) Social realism in the works
of Burroughs.
University of Michigan Press
--
Anachron
----------------------------------------------------------------------
From: Cardinal Vertigo <vertigo@alexandria.cc>
Anachron wrote:
> V. Hans Prinn
> Department of Peace Studies, University of Massachusetts,
Amherst
> 1. Baudrillardist simulacra and the dialectic paradigm
of narrative
> If one examines the precultural paradigm of discourse,
one is faced
> with a choice: either accept neoconceptualist theory
or conclude that
> sexuality may be used to disempower the underprivileged.
Any number of
> desituationisms concerning the genre of dialectic
society may be
[snip]
I made it that far before I nearly died from a massive
boredom overdose.
I bet that's farther than anyone else, not counting
cocked-up
philosophy fetishists or angsty English Lit postgrads
who haven't had
sex with anyone but themselves since that pretty boy
in their freshman
composition class six years ago, who dumped them as
soon as he saw how
terminally self-absorbed they were; men are pigs, pass
the Dworkin.
--
"Education is a weapon whose effects depend on
who holds it in his
hands and at whom it is aimed."
- Josef Stalin
Original file name: The precultural para#1AD229.txt - converted on Saturday, 25 September 2004, 02:05
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