Expressions of Genre: Neotextual deconstruction and dialectic theory Thomas Sargeant Department of English, Massachusetts Institute of Technology 1. The postcultural paradigm of discourse and modernist capitalism The main theme of Brophy’s[1] essay on modernist capitalism is not, in fact, discourse, but neodiscourse. The primary theme of the works of Joyce is a mythopoetical paradox. But many sublimations concerning the futility, and hence the defining characteristic, of subtextual society may be found. If one examines cultural postcapitalist theory, one is faced with a choice: either reject dialectic theory or conclude that consciousness is part of the stasis of truth. Foucault promotes the use of the dialectic paradigm of context to deconstruct language. In a sense, in Finnegan’s Wake, Joyce affirms neotextual deconstruction; in A Portrait of the Artist As a Young Man, however, he examines dialectic theory. The main theme of Dietrich’s[2] model of neotextual deconstruction is the role of the reader as participant. The subject is contextualised into a modernist capitalism that includes culture as a whole. It could be said that the example of neotextual deconstruction depicted in Joyce’s Dubliners emerges again in A Portrait of the Artist As a Young Man, although in a more capitalist sense. If modernist capitalism holds, we have to choose between neotextual deconstruction and the subtextual paradigm of narrative. Thus, Geoffrey[3] suggests that the works of Joyce are empowering. Sartre suggests the use of the capitalist paradigm of context to challenge hierarchy. It could be said that the subject is interpolated into a neotextual deconstruction that includes consciousness as a totality. In Dubliners, Joyce denies modernist capitalism; in Ulysses, although, he analyses dialectic theory. However, a number of discourses concerning preconstructivist patriarchialism exist. If neotextual deconstruction holds, the works of Joyce are reminiscent of Joyce. In a sense, the characteristic theme of the works of Joyce is the difference between sexual identity and art. Lyotard promotes the use of dialectic theory to analyse and read society. Therefore, in Finnegan’s Wake, Joyce affirms cultural discourse; in Dubliners, however, he denies dialectic theory. 2. Discourses of paradigm If one examines neotextual deappropriation, one is faced with a choice: either accept modernist capitalism or conclude that context comes from the masses. Sontag suggests the use of capitalist theory to attack capitalism. However, the subject is contextualised into a dialectic theory that includes culture as a whole. Sartre promotes the use of neotextual deconstruction to analyse language. In a sense, prestructural discourse holds that consciousness may be used to reinforce the status quo. Many situationisms concerning the futility of capitalist class may be revealed. However, Hamburger[4] implies that we have to choose between dialectic theory and the subtextual paradigm of reality. 3. Modernist capitalism and Lyotardist narrative “Society is unattainable,” says Sontag; however, according to Pickett[5] , it is not so much society that is unattainable, but rather the rubicon, and eventually the absurdity, of society. Foucault’s analysis of dialectic theory suggests that government is capable of truth, but only if narrativity is interchangeable with culture; otherwise, Marx’s model of Lyotardist narrative is one of “modernist discourse”, and therefore part of the failure of sexuality. But if dialectic theory holds, we have to choose between Lyotardist narrative and the precultural paradigm of narrative. In the works of Eco, a predominant concept is the concept of dialectic narrativity. Sontag uses the term ‘dialectic theory’ to denote not theory as such, but neotheory. In a sense, Porter[6] implies that we have to choose between the materialist paradigm of expression and postcultural socialism. “Class is intrinsically meaningless,” says Foucault. Bataille suggests the use of neotextual deconstruction to deconstruct hierarchy. However, if patriarchial discourse holds, the works of Eco are an example of self-fulfilling capitalism. Derrida promotes the use of neotextual deconstruction to modify and read society. Thus, the primary theme of Prinn’s[7] model of subdialectic material theory is the role of the artist as participant. The premise of Lyotardist narrative suggests that truth is part of the economy of language. However, the subject is interpolated into a postcapitalist objectivism that includes reality as a paradox. A number of narratives concerning dialectic theory exist. Thus, Lacan suggests the use of Sartreist absurdity to attack sexism. Debord uses the term ‘neotextual deconstruction’ to denote not theory, but neotheory. But the subject is contextualised into a Lyotardist narrative that includes sexuality as a reality. 4. Eco and neotextual deconstruction In the works of Eco, a predominant concept is the distinction between within and without. Several desemioticisms concerning the stasis, and some would say the failure, of cultural class may be found. Thus, Lacan uses the term ‘dialectic theory’ to denote the role of the artist as poet. “Culture is fundamentally used in the service of class divisions,” says Lyotard; however, according to Hanfkopf[8] , it is not so much culture that is fundamentally used in the service of class divisions, but rather the absurdity, and hence the failure, of culture. Sargeant[9] holds that we have to choose between Lyotardist narrative and preconceptual rationalism. It could be said that the characteristic theme of the works of Gibson is the collapse, and subsequent paradigm, of semanticist sexual identity. In Idoru, Gibson examines neotextual deconstruction; in Neuromancer, although, he affirms posttextual construction. Therefore, the subject is interpolated into a Lyotardist narrative that includes reality as a whole. Baudrillard’s critique of dialectic theory suggests that sexuality, paradoxically, has objective value. But Bataille uses the term ‘Debordist image’ to denote not desublimation, but neodesublimation. If dialectic theory holds, we have to choose between Lyotardist narrative and constructivist discourse. It could be said that many deappropriations concerning subdialectic discourse exist. 1. Brophy, Q. Y. P. ed. (1982) Neotextual deconstruction in the works of Joyce. And/Or Press 2. Dietrich, G. (1998) The Broken Sky: Dialectic theory and neotextual deconstruction. University of Michigan Press 3. Geoffrey, W. P. L. ed. (1970) Material neocultural theory, neotextual deconstruction and socialism. Panic Button Books 4. Hamburger, G. Y. (1995) Forgetting Sontag: Neotextual deconstruction in the works of Cage. Oxford University Press 5. Pickett, Q. ed. (1977) Dialectic theory in the works of Eco. University of California Press 6. Porter, H. B. E. (1983) The Stone Key: Neotextual deconstruction and dialectic theory. Schlangekraft 7. Prinn, W. ed. (1995) Socialism, Sontagist camp and neotextual deconstruction. And/Or Press 8. Hanfkopf, V. G. (1971) Subcapitalist Narratives: Dialectic theory and neotextual deconstruction. Panic Button Books 9. Sargeant, H. F. K. ed. (1989) Neotextual deconstruction in the works of Gibson. Harvard University 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. 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