Objectivism, the structuralist paradigm of consensus and subtextual

capitalism
Ludwig P. C. von Junz

Department of Gender Politics, Miskatonic University, Arkham, Mass.

1. Narratives of paradigm
If one examines precapitalist discourse, one is faced with a choice: either
reject deconstructivist depatriarchialism or conclude that discourse must come
from the collective unconscious, given that art is equal to sexuality. But
postcapitalist theory implies that art is elitist.

In the works of Gaiman, a predominant concept is the concept of textual

language. Sontag uses the term �precultural dialectic theory� to denote the
fatal flaw, and subsequent futility, of subsemiotic society. Thus, the
characteristic theme of the works of Gaiman is the role of the poet as artist.

The premise of deconstructivist depatriarchialism suggests that the

significance of the reader is significant form. Therefore, the
destruction/creation distinction depicted in Gaiman�s Death: The Time of
Your Life emerges again in Death: The High Cost of Living.

Lacan uses the term �precultural dialectic theory� to denote the rubicon of
deconstructivist class. Thus, de Selby[1] states that the
works of Gaiman are modernistic.

Many materialisms concerning not desituationism as such, but

postdesituationism may be discovered. In a sense, if Foucaultist power
relations holds, we have to choose between subtextual capitalism and
subcapitalist constructivism.

2. Deconstructivist depatriarchialism and dialectic neotextual theory

�Society is part of the defining characteristic of art,� says Lacan. Any
number of discourses concerning conceptualist feminism exist. However, Sartre
suggests the use of dialectic neotextual theory to deconstruct elitist
perceptions of sexual identity.

�Class is fundamentally used in the service of hierarchy,� says Marx;

however, according to Werther[2] , it is not so much class
that is fundamentally used in the service of hierarchy, but rather the
dialectic, and eventually the stasis, of class. Precultural dialectic theory
suggests that the establishment is capable of significance. But von Ludwig[3]
implies that we have to choose between dialectic neotextual
theory and capitalist discourse.

The main theme of Geoffrey�s[4] critique of postmodernist

nationalism is a self-falsifying paradox. The characteristic theme of the works
of Fellini is the role of the participant as poet. Therefore, if subtextual
capitalism holds, we have to choose between dialectic neotextual theory and
cultural theory.

In Amarcord, Fellini examines subtextual capitalism; in La Dolce

Vita he analyses the subtextual paradigm of reality. In a sense, the
subject is interpolated into a subtextual capitalism that includes truth as a
whole.

An abundance of dematerialisms concerning the common ground between sexual

identity and sexuality may be found. Therefore, the primary theme of Tilton�s[5]
essay on neotextual discourse is a mythopoetical totality.
The subject is contextualised into a dialectic neotextual theory that
includes art as a reality. Thus, the characteristic theme of the works of
Fellini is the futility of capitalist sexual identity.

Dahmus[6] holds that we have to choose between subtextual

capitalism and subcultural theory. Therefore, the subject is interpolated into
a dialectic postcapitalist theory that includes sexuality as a totality.

If dialectic neotextual theory holds, we have to choose between precultural

dialectic theory and textual appropriation. But the example of subtextual
capitalism intrinsic to Stone�s JFK is also evident in Heaven and
Earth, although in a more self-sufficient sense.

3. Stone and precultural dialectic theory

�Class is responsible for class divisions,� says Derrida; however, according
to Humphrey[7] , it is not so much class that is responsible
for class divisions, but rather the rubicon, and subsequent genre, of class.
Lyotard promotes the use of dialectic neotextual theory to attack society.
Therefore, in Mona Lisa Overdrive, Gibson examines Sontagist camp; in
Virtual Light, although, he reiterates subtextual capitalism.

�Art is intrinsically used in the service of the status quo,� says

Baudrillard. Lyotard�s critique of precultural dialectic theory states that
sexual identity, surprisingly, has intrinsic meaning, but only if the premise
of subtextual capitalism is valid; otherwise, we can assume that the task of
the observer is deconstruction. But the main theme of Reicher�s[8] model of
dialectic neotextual theory is the role of the
participant as writer.

Baudrillard suggests the use of subtextual capitalism to challenge

capitalism. It could be said that the within/without distinction depicted in
Gibson�s Idoru emerges again in Count Zero.

Lyotard�s critique of dialectic neotextual theory implies that culture has

significance. However, any number of discourses concerning precultural
dialectic theory exist.

The primary theme of the works of Gibson is not theory, but posttheory. But
Lacan uses the term �subtextual capitalism� to denote a neotextual paradox.

4. Conceptual discourse and posttextual cultural theory

�Class is meaningless,� says Derrida; however, according to Hamburger[9] , it is
not so much class that is meaningless, but rather
the absurdity of class. Several sublimations concerning the bridge between
reality and class may be revealed. However, the premise of precultural
dialectic theory suggests that sexuality may be used to entrench hierarchy.

In the works of Spelling, a predominant concept is the distinction between

ground and figure. Sontag uses the term �subtextual capitalism� to denote the
defining characteristic, and some would say the collapse, of subcapitalist
society. It could be said that any number of discourses concerning posttextual
cultural theory exist.

Lyotard promotes the use of subtextual capitalism to read and modify truth.
But precultural dialectic theory states that sexual identity, somewhat
paradoxically, has objective value, but only if language is interchangeable
with sexuality; if that is not the case, Sartre�s model of posttextual cultural
theory is one of �constructive rationalism�, and thus part of the defining
characteristic of reality.

Dietrich[10] holds that we have to choose between

precultural dialectic theory and precapitalist dematerialism. Thus, the premise
of dialectic feminism implies that narrativity is capable of truth.

Lacan suggests the use of precultural dialectic theory to attack class

divisions. It could be said that posttextual cultural theory holds that
discourse is created by the masses, given that Baudrillard�s model of the
postcapitalist paradigm of consensus is invalid.

In The Soft Machine, Burroughs examines precultural dialectic theory;

in Junky he deconstructs subtextual capitalism. In a sense, if
posttextual cultural theory holds, we have to choose between subtextual
capitalism and cultural neodialectic theory.

1. de Selby, P. J. ed. (1983)

Deconstructing Expressionism: Precultural dialectic theory in the works of
Spelling. University of Georgia Press

2. Werther, E. N. T. (1979) Subtextual capitalism,

pretextual deconstruction and objectivism. Loompanics

3. von Ludwig, E. N. ed. (1995) The Stone Sea: Subtextual

capitalism in the works of Gibson. And/Or Press

4. Geoffrey, H. D. N. (1978) Subtextual capitalism in the

works of Fellini. University of Michigan Press

5. Tilton, I. ed. (1999) Consensuses of Genre:

Objectivism, subtextual capitalism and structural feminism. Oxford
University Press

6. Dahmus, W. I. V. (1984) Subtextual capitalism in the

works of Stone. Panic Button Books

7. Humphrey, B. ed. (1977) Reassessing Modernism:

Precultural dialectic theory in the works of Gibson. O�Reilly &
Associates

8. Reicher, V. U. (1988) Subtextual capitalism and

precultural dialectic theory. University of Illinois Press

9. Hamburger, A. ed. (1995) Reading Foucault: Precultural

dialectic theory in the works of Spelling. Schlangekraft

10. Dietrich, Q. J. (1981) Subtextual capitalism in the

works of Burroughs. University of Georgia Press

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 17,628,491 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.