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MONDAY, JULY 04, 2011
1. Eco and realism

The primary theme of Humphrey’s critique of Marxist socialism is the difference between sexual identity and narrativity. Brophy suggests that the works of Eco are reminiscent of Joyce. But the main theme of the works of Eco is the stasis, and subsequent rubicon, of postsemioticist sexual identity.

“Society is fundamentally elitist,” says Debord. If the cultural paradigm of expression holds, we have to choose between textual narrative and the precapitalist paradigm of discourse. Thus, Lacan’s model of the cultural paradigm of expression holds that art is capable of significance, given that deconstructive socialism is invalid.

“Narrativity is meaningless,” says Bataille; however, according to Geoffrey , it is not so much narrativity that is meaningless, but rather the futility, and therefore the collapse, of narrativity. The characteristic theme of Humphrey’s essay on Lyotardist narrative is the role of the writer as reader. However, Derrida suggests the use of deconstructive socialism to challenge sexism.

Foucault uses the term ‘the cultural paradigm of expression’ to denote the bridge between class and sexual identity. In a sense, the premise of deconstructive socialism states that truth, surprisingly, has intrinsic meaning.

Derrida promotes the use of postcapitalist libertarianism to modify and analyse sexual identity. It could be said that Foucault uses the term ‘realism’ to denote the role of the poet as writer.

McElwaine suggests that we have to choose between the cultural paradigm of expression and the semioticist paradigm of narrative. Thus, the failure, and subsequent collapse, of realism intrinsic to Spelling’s Charmed is also evident in Beverly Hills 90210, although in a more self-fulfilling sense.

Debord uses the term ‘deconstructive socialism’ to denote a subdialectic totality. However, Lyotard suggests the use of realism to attack archaic perceptions of culture.
2. Deconstructive socialism and semantic discourse

In the works of Spelling, a predominant concept is the concept of postdialectic language. Debord’s model of realism states that the media is intrinsically dead, but only if art is distinct from truth; otherwise, we can assume that expression comes from the collective unconscious. Thus, the primary theme of the works of Spelling is the common ground between class and sexual identity.

If one examines the cultural paradigm of expression, one is faced with a choice: either accept semantic discourse or conclude that class has objective value. The subject is interpolated into a cultural paradigm of expression that includes narrativity as a reality. However, Sartre promotes the use of realism to modify art.

If semantic discourse holds, the works of Spelling are modernistic. It could be said that Lyotard suggests the use of Batailleist `powerful communication’ to deconstruct capitalism.

The creation/destruction distinction depicted in Spelling’s Melrose Place emerges again in Charmed. Therefore, a number of desemioticisms concerning the cultural paradigm of expression exist.

The subject is contextualised into a that includes consciousness as a paradox. Thus, textual narrative suggests that reality is part of the stasis of narrativity.

Derrida uses the term ‘the cultural paradigm of expression’ to denote the role of the participant as poet. But the subject is interpolated into a that includes art as a reality.

1. Humphrey, L. Y. (1976) Deconstructing Surrealism: Realism in the works of Mapplethorpe. Schlangekraft

2. Brophy, R. ed. (1982) The cultural paradigm of expression and realism. Yale University Press

3. Geoffrey, K. O. (1979) Deconstructing Sontag: The cultural paradigm of expression in the works of Rushdie. Schlangekraft

4. Humphrey, I. ed. (1980) Realism in the works of Spelling. Harvard University Press

5. McElwaine, L. H. (1992) Realities of Meaninglessness: Realism in the works of Glass. O’Reilly & Associates
Comments

Hogan

Hogan

Oh, man. What the hell was that about, Scott? I don't know where to start with how incomprehensible that all was.

You don't explain a single term, you just combine a bunch of post-modern words like a jigsaw puzzle and expect it to makes sense. Or maybe I just don't know enough about "narrativity", "deconstructive socialism" and "desemioticisms" to follow it.

It seems to be missing an intro and a conclusion. It just sort of starts, and then keeps on starting.

To go on any more would be to give the piece more attention than it deserves. What exactly were you trying to get at, Scott?

Hogan

Hogan

I've been had!!! And I should I should have realized it. It sounded like a joke. Maybe you should take it as an insult that I could have thought you actually wrote it, or maybe I should feel like an idiot for thinking so. At least I thought it was meaningless garbage.

It lacks the personality your writing usually has, and that should have been the first clue. I did realize that something was right. I just thought it was an exceptionally horrible piece.

But now I know better. After clicking the "postmodern sentence generator" link in your other piece I noticed that the article that popped up had a similarity to your piece, namely the total incohesiveness of it. Plus, the "into a that includes" should have tipped me off. I noticed the exact same sentence misconstruction in the linked page. Or the triple usage of the word "holds". That seemed weird, too.

Damn you, Scott. You got me.

Jackson

JACKSON

I love you man. Merry Christmas (sorry for fleecin' ya; let's see how many other people get bitten)



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