In the next few weeks I have to write a 1500 word proposal of next semesters 6000 - 10,000 word dissertation (they can't make up their minds how long).
Below is something I knocked up just for practice, contains 850 words. If you want to know how, nip to the end of the article!
Deconstructing Sontag: The postdialectic paradigm of context in the works of Spelling J. Jacques Reicher1. Lacanist obscurity and Sartreist existentialism
“Society is impossible,” says Baudrillard; however, according to Sargeant[1] , it is not so much society that is impossible, but rather the genre of society. Thus, a number of discourses concerning neodialectic narrative may be found. The subject is contextualised into a postdialectic paradigm of context that includes truth as a whole.
Therefore, the main theme of the works of Rushdie is the difference between sexual identity and class. Many deconstructions concerning the role of the artist as poet exist.
However, Sontag promotes the use of the textual paradigm of narrative to deconstruct sexuality. Any number of discourses concerning the postdialectic paradigm of context may be discovered.
2. Rushdie and Lacanist obscurity
“Sexual identity is part of the meaninglessness of truth,” says Lyotard. Therefore, Bataille uses the term ‘post semantic de-sublimation’ to denote the collapse, and eventually the absurdity, of capitalist class. Several constructions concerning the common ground between language and sexual identity exist.
If one examines the post dialectic paradigm of context, one is faced with a choice: either reject Lacanist obscurity or conclude that the purpose of the reader is deconstruction, but only if consciousness is distinct from narrativity. But presemiotic narrative holds that reality is intrinsically dead. The characteristic theme of de Selby’s[2] model of Sartreist existentialism is the genre, and some would say the meaninglessness, of subcapitalist language.
“Society is part of the dialectic of reality,” says Sartre. It could be said that the opening/closing distinction depicted in Rushdie’s
Satanic Verses is also evident in
The Moor’s Last Sigh. The subject is interpolated into a dialectic Marxism that includes culture as a reality.
However, in
The Ground Beneath Her Feet, Rushdie reiterates Lacanist obscurity; in
Midnight’s Children he denies pre-cultural theory. An abundance of narratives concerning Sartreist existentialism may be revealed.
It could be said that if the post-dialectic paradigm of context holds, we have to choose between conceptualist socialism and the neodialectic paradigm of reality. A number of desublimations concerning the difference between consciousness and class exist.
In a sense, Abian[3] suggests that we have to choose between Sartreist existentialism and capitalist narrative. The main theme of the works of Eco is a mythopoetical totality.
But if Lacanist obscurity holds, we have to choose between Sartreist existentialism and the post cultural paradigm of context. Pickett[4] holds that the works of Eco are modernistic.
3. Realities of stasis
In the works of Eco, a predominant concept is the concept of neomaterialist culture. Therefore, if Lacanist obscurity holds, we have to choose between the postdialectic paradigm of context and dialectic pretextual theory. Sontag suggests the use of Lacanist obscurity to attack class divisions.
The primary theme of Parry’s[5] essay on Derridaist reading is the role of the participant as writer. It could be said that the subject is contextualised into a Lacanist obscurity that includes sexuality as a whole. The premise of capitalist discourse implies that sexual identity has significance, given that the post-dialectic paradigm of context is invalid.
If one examines Sartreist existentialism, one is faced with a choice: either accept the post-dialectic paradigm of narrative or conclude that the establishment is capable of significant form. But Pickett[6] suggests that we have to choose between Sartreist existentialism and cultural libertarianism. Debord promotes the use of Lacanist obscurity to read and analyse narrativity.
Therefore, in
Heaven and Earth, Stone examines the post-dialectic paradigm of context; in
Platoon, although, he deconstructs Sartreist existentialism. Sontag suggests the use of the post-dialectic paradigm of context to deconstruct elitist perceptions of sexual identity.
However, the example of Sartreist existentialism prevalent in Stone’s JFK emerges again in Platoon, although in a more self-sufficient sense. Sartre promotes the use of the postdialectic paradigm of context to modify society.
In a sense, the main theme of the works of Stone is a mythopoetical totality. If the sub-semanticist paradigm of expression holds, we have to choose between Lacanist obscurity and Marxist capitalism.
Therefore, the premise of the post-dialectic paradigm of context implies that language may be used to marginalize the underprivileged, but only if sexuality is equal to language; otherwise, Sartre’s model of Sartreist existentialism is one of “textual narrative”, and thus fundamentally unattainable. Bataille uses the term ‘precultural sublimation’ to denote the common ground between art and class.
1. Sargeant, H. ed. (1972) The post-dialectic paradigm of context, the modern paradigm of consensus and socialism. University of Michigan Press
2. de Selby, E. M. (1986) The Expression of Dialectic: Lacanist obscurity and the postdialectic paradigm of context. Loompanics
3. Abian, O. A. U. ed. (1998) The post-dialectic paradigm of context in the works of Eco. Yale University Press
4. Pickett, Y. (1987) Textual Discourses: The postdialectic paradigm of context and Lacanist obscurity. Loompanics
5. Parry, Z. D. G. ed. (1973) Lacanist obscurity and the postdialectic paradigm of context. Oxford University Press
6. Pickett, W. (1992) Reading Lacan: The post-dialectic paradigm of context in the works of Stone. 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.
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 LariosYou can find further text generators here:-
Wasn't that a brilliant find, will save you hours of work and no one will ever know!
Starting Saturday 31st July at Wills Art Warehouse, Lower Richmond Rd, Putney, London SW15 1LY will be holding an exhibition of contemporary art, Beside the Sea.
Exhibit 1 Abuse Kills - Sue McAuley
