this is absolutely hilarious. please plough through to the end.
this is pretty much the way most po-mo and po-co-po-co-po-mo (post-colonial, politically-correct, post-modern) stuff reads, and now we know how it is generated.
this is exactly how 'eminent historians' in india create stuff too.
---------------------
Precultural Discourses: Capitalist theory in the works of Joyce
V. Charles Finnis
Department of Deconstruction, Carnegie-Mellon University
Anna Q. Wilson
Department of Sociolinguistics, Cambridge University
1. Joyce and textual theory
The main theme of Parry's[1] essay on capitalist construction is the bridge between sexual identity and reality. Several discourses concerning posttextual theory may be discovered.
If one examines capitalist theory, one is faced with a choice: either reject cultural socialism or conclude that truth is part of the fatal flaw of art. However, the primary theme of the works of Joyce is the role of the writer as reader. An abundance of discourses concerning the common ground between sexual identity and class exist.
"Sexual identity is intrinsically used in the service of hierarchy," says Baudrillard; however, according to Drucker[2] , it is not so much sexual identity that is intrinsically used in the service of hierarchy, but rather the collapse of sexual identity. Therefore, the subject is interpolated into a capitalist construction that includes culture as a totality. If capitalist theory holds, we have to choose between patriarchial narrative and neodialectic modernist theory.
If one examines capitalist theory, one is faced with a choice: either accept textual theory or conclude that expression comes from the collective unconscious. In a sense, the subject is contextualised into a capitalist theory that includes reality as a reality. Baudrillard suggests the use of textual theory to modify class.
In the works of Joyce, a predominant concept is the concept of predeconstructive narrativity. Therefore, the characteristic theme of Scuglia's[3] model of capitalist theory is not theory as such, but posttheory. Tilton[4] states that the works of Pynchon are empowering.
The primary theme of the works of Pynchon is a self-falsifying totality. But Foucault promotes the use of capitalist construction to deconstruct capitalism. Capitalist theory implies that academe is capable of intentionality, but only if the premise of textual theory is invalid; if that is not the case, the raison d'etre of the participant is social comment.
"Culture is part of the failure of truth," says Bataille; however, according to Brophy[5] , it is not so much culture that is part of the failure of truth, but rather the fatal flaw, and eventually the futility, of culture. Thus, the subject is interpolated into a capitalist construction that includes reality as a reality. Sontag's analysis of capitalist theory holds that reality is a product of the masses, given that narrativity is interchangeable with art.
The characteristic theme of Dahmus's[6] critique of textual theory is not discourse, but neodiscourse. However, many structuralisms concerning the postdialectic paradigm of discourse may be revealed. In V, Pynchon analyses capitalist construction; in Vineland, however, he affirms capitalist theory.
In a sense, the main theme of the works of Pynchon is the defining characteristic of capitalist sexual identity. Lyotard suggests the use of textual theory to read and modify class.
But subcultural materialist theory implies that the goal of the writer is deconstruction. The subject is contextualised into a capitalist construction that includes reality as a whole.
However, the premise of the neodialectic paradigm of reality states that language is capable of significance. Derrida uses the term 'capitalist construction' to denote the role of the artist as observer.
In a sense, the characteristic theme of Long's[7] analysis of subtextual nationalism is the difference between sexual identity and sexuality. If capitalist construction holds, the works of Pynchon are reminiscent of Smith.
However, Foucault promotes the use of textual theory to challenge the status quo. The within/without distinction which is a central theme of Pynchon's V is also evident in Vineland, although in a more structuralist sense.
In a sense, Brophy[8] suggests that we have to choose between capitalist construction and postdeconstructive capitalist theory. Sontag's critique of textual theory holds that the significance of the writer is significant form.
It could be said that if subconceptual discourse holds, we have to choose between textual theory and Foucaultist power relations. The primary theme of the works of Smith is the rubicon, and some would say the absurdity, of cultural class.
However, Derrida suggests the use of capitalist construction to read society. Baudrillard uses the term 'postpatriarchial theory' to denote a mythopoetical totality.
In a sense, the subject is interpolated into a capitalist construction that includes truth as a paradox. Bataille uses the term 'Foucaultist power relations' to denote not discourse, as Baudrillard would have it, but neodiscourse.
2. Consensuses of dialectic
"Class is fundamentally elitist," says Sontag; however, according to la Tournier[9] , it is not so much class that is fundamentally elitist, but rather the genre, and eventually the rubicon, of class. It could be said that Lacan promotes the use of textual theory to attack hierarchy. Capitalist theory states that discourse comes from communication, but only if Bataille's essay on textual theory is valid; otherwise, Baudrillard's model of capitalist construction is one of "cultural postcapitalist theory", and thus used in the service of capitalism.
In the works of Gaiman, a predominant concept is the distinction between creation and destruction. Therefore, Lyotard uses the term 'capitalist theory' to denote the bridge between language and society. The subject is contextualised into a capitalist construction that includes truth as a totality.
In a sense, an abundance of deconstructions concerning the role of the poet as writer exist. The characteristic theme of Pickett's[10] model of textual theory is the difference between consciousness and sexual identity.
It could be said that many narratives concerning deconstructivist neocapitalist theory may be discovered. Sartre suggests the use of capitalist construction to modify and analyse truth.
However, the subject is interpolated into a Derridaist reading that includes sexuality as a whole. The main theme of the works of Gaiman is the role of the artist as observer.
3. Gaiman and textual theory
"Class is part of the dialectic of consciousness," says Debord. It could be said that Long[11] implies that the works of Gaiman are an example of subsemiotic socialism. Baudrillard promotes the use of capitalist theory to deconstruct sexism.
Thus, a number of deconstructivisms concerning the futility, and therefore the stasis, of cultural narrativity exist. Sartre suggests the use of capitalist construction to modify class.
It could be said that the primary theme of Humphrey's[12] analysis of preconceptual sublimation is the bridge between consciousness and class. In Four Rooms, Tarantino deconstructs textual theory; in Pulp Fiction he analyses capitalist theory. Thus, an abundance of discourses concerning dialectic deconstruction may be revealed. If capitalist construction holds, we have to choose between capitalist theory and the subtextual paradigm of consensus.
4. Structural postdialectic theory and deconstructivist sublimation
If one examines capitalist construction, one is faced with a choice: either reject capitalist theory or conclude that the collective is capable of deconstruction. Therefore, Marx promotes the use of submodern nationalism to challenge class divisions. The main theme of the works of Tarantino is the role of the artist as reader.
In the works of Tarantino, a predominant concept is the concept of textual reality. It could be said that Buxton[13] states that the works of Tarantino are modernistic. If capitalist theory holds, we have to choose between capitalist construction and cultural pretextual theory.
The characteristic theme of Tilton's[14] model of dialectic theory is the dialectic, and some would say the futility, of neocultural sexual identity. However, in A Portrait of the Artist As a Young Man, Joyce examines deconstructivist sublimation; in Dubliners, however, he deconstructs capitalist construction. The premise of the materialist paradigm of discourse holds that the task of the observer is significant form.
"Art is responsible for capitalism," says Debord; however, according to Dahmus[15] , it is not so much art that is responsible for capitalism, but rather the fatal flaw of art. Thus, the example of capitalist construction prevalent in Joyce's Finnegan's Wake emerges again in Dubliners. Abian[16] suggests that we have to choose between deconstructivist sublimation and dialectic Marxism.
"Society is intrinsically unattainable," says Sartre. It could be said that if the postpatriarchialist paradigm of consensus holds, the works of Joyce are empowering. Bataille uses the term 'deconstructivist sublimation' to denote not, in fact, discourse, but neodiscourse.
The primary theme of the works of Joyce is the difference between sexuality and sexual identity. Therefore, Marx suggests the use of capitalist construction to read and analyse society. The subject is contextualised into a structural socialism that includes consciousness as a paradox.
"Sexual identity is part of the collapse of culture," says Lacan. It could be said that Hanfkopf[17] holds that we have to choose between capitalist theory and subcapitalist constructivism. Derrida uses the term 'capitalist construction' to denote the role of the participant as reader.
However, the destruction/creation distinction intrinsic to Joyce's Finnegan's Wake is also evident in Dubliners, although in a more self-justifying sense. The main theme of Werther's[18] analysis of deconstructivist sublimation is not narrative, as capitalist theory suggests, but postnarrative.
It could be said that the subject is interpolated into a prestructural cultural theory that includes reality as a totality. Several theories concerning the fatal flaw, and subsequent collapse, of postconstructive society exist.
Thus, Lacan promotes the use of capitalist theory to attack outdated, sexist perceptions of sexual identity. If the semanticist paradigm of narrative holds, we have to choose between capitalist theory and subtextual socialism.
It could be said that in Ulysses, Joyce analyses deconstructivist sublimation; in Finnegan's Wake he reiterates dialectic discourse. The subject is contextualised into a capitalist construction that includes narrativity as a reality.
Thus, Bataille suggests the use of capitalist theory to challenge society. An abundance of theories concerning Lacanist obscurity may be discovered.
Therefore, la Fournier[19] implies that we have to choose between deconstructivist sublimation and neomaterialist discourse. Capitalist construction suggests that culture is capable of truth.
Thus, any number of deconstructions concerning the role of the poet as writer exist. The subject is interpolated into a capitalist theory that includes art as a whole.
Therefore, if capitalist construction holds, we have to choose between Lyotardist narrative and the textual paradigm of consensus. Derrida's model of capitalist construction states that reality may be used to oppress minorities, given that narrativity is equal to consciousness.
1. Parry, E. Z. (1990) Capitalist theory, the neodialectic paradigm of context and libertarianism. Schlangekraft
3. Scuglia, H. F. I. (1989) Capitalist theory in the works of Pynchon. Loompanics
5. Brophy, K. V. (1974) Capitalist theory and capitalist construction. University of Michigan Press
7. Long, H. (1972) Capitalist construction and capitalist theory. University of Massachusetts Press
9. la Tournier, A. (1981) Capitalist theory in the works of Gaiman. And/Or Press
11. Long, A. E. (1986) Capitalist construction and capitalist theory. University of Illinois Press
13. Buxton, P. Q. (1986) Capitalist theory and capitalist construction. Panic Button Books
15. Dahmus, P. (1988) Capitalist theory in the works of Lynch. Yale University Press
17. Hanfkopf, S. (1989) Capitalist theory in the works of Rushdie. And/Or Press
19. la Fournier, G. W. (1997) Capitalist theory in the works of Smith. O'Reilly & Associates
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 like 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 1588221 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA.
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". An on-line copy is available from Monash University.
More generated texts are linked to from the Communications From Elsewhere front page.
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.
2 comments:
Hope you have already seen this :-)))
http://www.cnn.com/2005/EDUCATION/04/21/academic.hoax.ap/index.html
Loved this. Also you can go to the link given below-It is a program that allows you to generate random computer science research papers.
http://pdos.csail.mit.edu/scigen/
Post a Comment