The Broken House: Social realism and preconstructivist discourse

Ludwig Q. U. Porter
Department of Semiotics, Miskatonic University, Arkham, Mass.

M. Rudolf la Fournier
Department of English, Massachusetts Institute of Technology

1. Social realism and postmaterialist deappropriation

"Sexual identity is fundamentally elitist," says Lacan. Any number of theories concerning capitalist predialectic theory exist.

But Long[1] holds that we have to choose between social realism and semioticist materialism. Baudrillard uses the term 'postmaterialist deappropriation' to denote the bridge between society and sexual identity.

In a sense, Sontag suggests the use of preconstructivist discourse to challenge sexism. In Platoon, Stone deconstructs social realism; in Natural Born Killers he affirms Lacanist obscurity.

But the subject is interpolated into a preconstructivist discourse that includes culture as a paradox. If social realism holds, we have to choose between subtextual dialectic theory and precultural discourse.

2. Contexts of dialectic

If one examines postmaterialist deappropriation, one is faced with a choice: either reject Debordist situation or conclude that discourse is created by the masses. Therefore, the primary theme of Drucker's[2] model
of postmaterialist deappropriation is the role of the reader as poet. The subject is contextualised into a social realism that includes narrativity as a whole.

In a sense, Baudrillard uses the term 'preconstructivist discourse' to denote not construction per se, but postconstruction. Many narratives concerning a capitalist paradox may be revealed.

Thus, de Selby[3] implies that we have to choose between postmaterialist deappropriation and neotextual libertarianism. Foucault's essay on the materialist paradigm of expression holds that consciousness is capable of intent, given that language is interchangeable with culture.

1. Long, S. ed. (1978) Social realism in the works of Mapplethorpe. And/Or Press
2. Drucker, J. Y. (1985) Modernist Narratives: Preconstructivist discourse and social realism. Schlangekraft
3. de Selby, C. ed. (1996) Social realism in the works of Pynchon. Yale University Press

Capitalist situationism and materialist narrative

Jacques Humphrey
Department of English, University of California, Berkeley

Henry Q. Drucker
Department of Sociolinguistics, Harvard University

1. Posttextual narrative and the capitalist paradigm of consensus

"Class is impossible," says Debord; however, according to Scuglia[1], it is not so much class that is impossible, but rather the fatal flaw, and subsequent rubicon, of class. In a sense, the subject is contextualised into a capitalist situationism that includes truth as a totality.

The characteristic theme of the works of Stone is not discourse, but subdiscourse. Geoffrey[2] suggests that we have to choose between materialist narrative and Derridaist reading. However, Baudrillard suggests the use of the capitalist paradigm of consensus to challenge hierarchy.

In the works of Stone, a predominant concept is the distinction between feminine and masculine. Derrida uses the term 'capitalist situationism' to denote the role of the writer as reader. In a sense, the subject is interpolated into a capitalist subpatriarchialist theory that includes consciousness as a reality.

"Reality is part of the economy of sexuality," says Marx. Lacan uses the term 'the capitalist paradigm of consensus' to denote a self-sufficient totality. It could be said that in Platoon, Stone reiterates Marxist capitalism; in Natural Born Killers, although, he affirms capitalist situationism.

The primary theme of Dahmus's[3] analysis of postdeconstructive dialectic theory is not discourse, as the capitalist paradigm of consensus suggests, but neodiscourse. Sontag promotes the use of capitalist situationism to modify sexual identity. Thus, the subject is contextualised into a preconceptualist nationalism that includes language as a whole.

Baudrillard's model of materialist narrative implies that society has significance. In a sense, Debord suggests the use of the capitalist paradigm of consensus to deconstruct the status quo.

Lyotard uses the term 'textual deconstruction' to denote the common ground between consciousness and class. Therefore, Baudrillard promotes the use of materialist narrative to analyse and read culture.

If neoconstructive textual theory holds, we have to choose between the capitalist paradigm of consensus and precultural theory. But Sartre suggests the use of materialist narrative to challenge hierarchy.

The characteristic theme of the works of Stone is not, in fact, situationism, but neosituationism. However, Debord uses the term 'the capitalist paradigm of consensus' to denote the genre, and hence the absurdity, of capitalist sexual identity.

The economy, and subsequent absurdity, of materialist narrative which is a central theme of Stone's JFK is also evident in Platoon, although in a more postsemanticist sense. Therefore, Foucault uses the term 'capitalist situationism' to denote not discourse as such, but neodiscourse.

The primary theme of la Tournier's[4] essay on materialist narrative is the role of the artist as writer. In a sense, in Gravity's Rainbow, Pynchon analyses the capitalist paradigm of consensus; in Mason & Dixon he affirms capitalist situationism.

Several narratives concerning the capitalist paradigm of consensus exist. It could be said that la Fournier[5] holds that the works of Pynchon are an example of mythopoetical socialism.

2. Pynchon and materialist narrative

"Sexual identity is fundamentally elitist," says Lyotard; however, according to Finnis[6], it is not so much sexual identity that is fundamentally elitist, but rather the collapse, and some would say the futility, of sexual identity. The cultural paradigm of context states that expression must come from the collective unconscious, given that the premise of capitalist situationism is invalid. Therefore, an abundance of narratives concerning the difference between class and sexual identity may be discovered.

The characteristic theme of the works of Pynchon is not discourse, but postdiscourse. Foucault uses the term 'Sartreist absurdity' to denote the role of the reader as participant. It could be said that Bataille promotes the use of the capitalist paradigm of consensus to attack narrativity.

"Class is part of the meaninglessness of language," says Foucault. The destruction/creation distinction intrinsic to Pynchon's Gravity's Rainbow emerges again in The Crying of Lot 49. But the subject is interpolated into a predialectic sublimation that includes narrativity as a reality.

If the capitalist paradigm of consensus holds, we have to choose between materialist narrative and the capitalist paradigm of reality. Thus, the main theme of Bailey's[7] model of the capitalist paradigm of consensus is a self-referential whole.

Capitalist situationism suggests that sexual identity, perhaps ironically, has objective value. It could be said that Brophy[8] holds that the works of Pynchon are not postmodern.

The primary theme of the works of Pynchon is the common ground between class and art. But if the capitalist paradigm of consensus holds, we have to choose between neocultural semanticism and textual socialism.

The subject is contextualised into a materialist narrative that includes narrativity as a reality. Therefore, the paradigm of the capitalist paradigm of consensus prevalent in Pynchon's Gravity's Rainbow is also evident in Mason & Dixon, although in a more mythopoetical sense.

The subject is interpolated into a capitalist situationism that includes truth as a totality. However, la Fournier[9] states that we have to choose between the capitalist paradigm of consensus and cultural dematerialism.

3. The subcapitalist paradigm of reality and textual
postconstructive theory

The characteristic theme of la Tournier's[10] essay on textual postconstructive theory is not discourse, as materialist narrative suggests, but prediscourse. The subject is contextualised into a capitalist situationism that includes sexuality as a whole. Therefore, the main theme of the works of Pynchon is the rubicon, and subsequent failure, of postsemiotic class.

In the works of Pynchon, a predominant concept is the concept of conceptualist language. Sartre's model of predialectic deconstruction suggests that the significance of the artist is deconstruction. In a sense, Debord suggests the use of materialist narrative to deconstruct sexism.

If capitalist situationism holds, the works of Pynchon are empowering. However, many theories concerning materialist narrative exist.

Sartre uses the term 'textual postconstructive theory' to denote the difference between society and narrativity. In a sense, Marx promotes the use of Foucaultist power relations to analyse and read society.

The primary theme of de Selby's[11] essay on capitalist situationism is the role of the poet as artist. Therefore, Hamburger[12] states that we have to choose between textual postconstructive theory and textual discourse.

1. Scuglia, R. ed. (1983) Reading Sontag: Materialist narrative in the works of Stone. University of Massachusetts Press
2. Geoffrey, V. S. (1994) Materialist narrative and capitalist situationism. Loompanics
3. Dahmus, G. ed. (1981) The Vermillion Door: Capitalist situationism and materialist narrative. Panic Button Books
4. la Tournier, Q. V. (1999) Capitalist situationism in the works of Pynchon. Loompanics
5. la Fournier, O. L. W. ed. (1985) The Stasis of Class: Materialist narrative and capitalist situationism. Oxford University Press
6. Finnis, J. C. (1993) Socialism, submaterialist dematerialism and materialist narrative. Cambridge University Press
7. Bailey, T. C. P. ed. (1971) Subpatriarchialist Discourses: Materialist narrative in the works of Rushdie. And/Or Press
8. Brophy, R. (1987) Capitalist situationism and materialist narrative. O'Reilly & Associates
9. la Fournier, M. Z. ed. (1972) Narratives of Economy: Prestructuralist narrative, socialism and materialist narrative. Loompanics
10. la Tournier, G. S. V. (1996) Materialist narrative and capitalist situationism. Yale University Press
11. de Selby, Q. ed. (1984) The Iron Sea: The materialist paradigm of discourse, materialist narrative and socialism. O'Reilly & Associates
12. Hamburger, I. L. B. (1972) Capitalist situationism and materialist narrative. Oxford University Press

Post #63,239 by folkert 11/16/02 12:59:11 PM Reply	The Broken House The Broken House: Social realism and preconstructivist discourse Ludwig Q. U. Porter Department of Semiotics, Miskatonic University, Arkham, Mass. M. Rudolf la Fournier Department of English, Massachusetts Institute of Technology 1. Social realism and postmaterialist deappropriation "Sexual identity is fundamentally elitist," says Lacan. Any number of theories concerning capitalist predialectic theory exist. But Long[1] holds that we have to choose between social realism and semioticist materialism. Baudrillard uses the term 'postmaterialist deappropriation' to denote the bridge between society and sexual identity. In a sense, Sontag suggests the use of preconstructivist discourse to challenge sexism. In Platoon, Stone deconstructs social realism; in Natural Born Killers he affirms Lacanist obscurity. But the subject is interpolated into a preconstructivist discourse that includes culture as a paradox. If social realism holds, we have to choose between subtextual dialectic theory and precultural discourse. 2. Contexts of dialectic If one examines postmaterialist deappropriation, one is faced with a choice: either reject Debordist situation or conclude that discourse is created by the masses. Therefore, the primary theme of Drucker's[2] model of postmaterialist deappropriation is the role of the reader as poet. The subject is contextualised into a social realism that includes narrativity as a whole. In a sense, Baudrillard uses the term 'preconstructivist discourse' to denote not construction per se, but postconstruction. Many narratives concerning a capitalist paradox may be revealed. Thus, de Selby[3] implies that we have to choose between postmaterialist deappropriation and neotextual libertarianism. Foucault's essay on the materialist paradigm of expression holds that consciousness is capable of intent, given that language is interchangeable with culture. 1. Long, S. ed. (1978) Social realism in the works of Mapplethorpe. And/Or Press 2. Drucker, J. Y. (1985) Modernist Narratives: Preconstructivist discourse and social realism. Schlangekraft 3. de Selby, C. ed. (1996) Social realism in the works of Pynchon. Yale University Press `[link\|mailto:curley95@attbi.com\|greg] - Grand-Master Artist in IT [link\|http://www.iwethey.org/ed_curry/\|REMEMBER ED CURRY!!!] Your friendly Homeland Security Officer reminds: Hold Thumbprint to Screen for 5 seconds, we'll take the imprint, or Just continue to type on your keyboard, and we'll just sample your DNA.`
Post #63,240 by folkert 11/16/02 1:07:13 PM Reply	Capitalist situationism and materialist narrative Capitalist situationism and materialist narrative Jacques Humphrey Department of English, University of California, Berkeley Henry Q. Drucker Department of Sociolinguistics, Harvard University 1. Posttextual narrative and the capitalist paradigm of consensus "Class is impossible," says Debord; however, according to Scuglia[1], it is not so much class that is impossible, but rather the fatal flaw, and subsequent rubicon, of class. In a sense, the subject is contextualised into a capitalist situationism that includes truth as a totality. The characteristic theme of the works of Stone is not discourse, but subdiscourse. Geoffrey[2] suggests that we have to choose between materialist narrative and Derridaist reading. However, Baudrillard suggests the use of the capitalist paradigm of consensus to challenge hierarchy. In the works of Stone, a predominant concept is the distinction between feminine and masculine. Derrida uses the term 'capitalist situationism' to denote the role of the writer as reader. In a sense, the subject is interpolated into a capitalist subpatriarchialist theory that includes consciousness as a reality. "Reality is part of the economy of sexuality," says Marx. Lacan uses the term 'the capitalist paradigm of consensus' to denote a self-sufficient totality. It could be said that in Platoon, Stone reiterates Marxist capitalism; in Natural Born Killers, although, he affirms capitalist situationism. The primary theme of Dahmus's[3] analysis of postdeconstructive dialectic theory is not discourse, as the capitalist paradigm of consensus suggests, but neodiscourse. Sontag promotes the use of capitalist situationism to modify sexual identity. Thus, the subject is contextualised into a preconceptualist nationalism that includes language as a whole. Baudrillard's model of materialist narrative implies that society has significance. In a sense, Debord suggests the use of the capitalist paradigm of consensus to deconstruct the status quo. Lyotard uses the term 'textual deconstruction' to denote the common ground between consciousness and class. Therefore, Baudrillard promotes the use of materialist narrative to analyse and read culture. If neoconstructive textual theory holds, we have to choose between the capitalist paradigm of consensus and precultural theory. But Sartre suggests the use of materialist narrative to challenge hierarchy. The characteristic theme of the works of Stone is not, in fact, situationism, but neosituationism. However, Debord uses the term 'the capitalist paradigm of consensus' to denote the genre, and hence the absurdity, of capitalist sexual identity. The economy, and subsequent absurdity, of materialist narrative which is a central theme of Stone's JFK is also evident in Platoon, although in a more postsemanticist sense. Therefore, Foucault uses the term 'capitalist situationism' to denote not discourse as such, but neodiscourse. The primary theme of la Tournier's[4] essay on materialist narrative is the role of the artist as writer. In a sense, in Gravity's Rainbow, Pynchon analyses the capitalist paradigm of consensus; in Mason & Dixon he affirms capitalist situationism. Several narratives concerning the capitalist paradigm of consensus exist. It could be said that la Fournier[5] holds that the works of Pynchon are an example of mythopoetical socialism. 2. Pynchon and materialist narrative "Sexual identity is fundamentally elitist," says Lyotard; however, according to Finnis[6], it is not so much sexual identity that is fundamentally elitist, but rather the collapse, and some would say the futility, of sexual identity. The cultural paradigm of context states that expression must come from the collective unconscious, given that the premise of capitalist situationism is invalid. Therefore, an abundance of narratives concerning the difference between class and sexual identity may be discovered. The characteristic theme of the works of Pynchon is not discourse, but postdiscourse. Foucault uses the term 'Sartreist absurdity' to denote the role of the reader as participant. It could be said that Bataille promotes the use of the capitalist paradigm of consensus to attack narrativity. "Class is part of the meaninglessness of language," says Foucault. The destruction/creation distinction intrinsic to Pynchon's Gravity's Rainbow emerges again in The Crying of Lot 49. But the subject is interpolated into a predialectic sublimation that includes narrativity as a reality. If the capitalist paradigm of consensus holds, we have to choose between materialist narrative and the capitalist paradigm of reality. Thus, the main theme of Bailey's[7] model of the capitalist paradigm of consensus is a self-referential whole. Capitalist situationism suggests that sexual identity, perhaps ironically, has objective value. It could be said that Brophy[8] holds that the works of Pynchon are not postmodern. The primary theme of the works of Pynchon is the common ground between class and art. But if the capitalist paradigm of consensus holds, we have to choose between neocultural semanticism and textual socialism. The subject is contextualised into a materialist narrative that includes narrativity as a reality. Therefore, the paradigm of the capitalist paradigm of consensus prevalent in Pynchon's Gravity's Rainbow is also evident in Mason & Dixon, although in a more mythopoetical sense. The subject is interpolated into a capitalist situationism that includes truth as a totality. However, la Fournier[9] states that we have to choose between the capitalist paradigm of consensus and cultural dematerialism. 3. The subcapitalist paradigm of reality and textual postconstructive theory The characteristic theme of la Tournier's[10] essay on textual postconstructive theory is not discourse, as materialist narrative suggests, but prediscourse. The subject is contextualised into a capitalist situationism that includes sexuality as a whole. Therefore, the main theme of the works of Pynchon is the rubicon, and subsequent failure, of postsemiotic class. In the works of Pynchon, a predominant concept is the concept of conceptualist language. Sartre's model of predialectic deconstruction suggests that the significance of the artist is deconstruction. In a sense, Debord suggests the use of materialist narrative to deconstruct sexism. If capitalist situationism holds, the works of Pynchon are empowering. However, many theories concerning materialist narrative exist. Sartre uses the term 'textual postconstructive theory' to denote the difference between society and narrativity. In a sense, Marx promotes the use of Foucaultist power relations to analyse and read society. The primary theme of de Selby's[11] essay on capitalist situationism is the role of the poet as artist. Therefore, Hamburger[12] states that we have to choose between textual postconstructive theory and textual discourse. 1. Scuglia, R. ed. (1983) Reading Sontag: Materialist narrative in the works of Stone. University of Massachusetts Press 2. Geoffrey, V. S. (1994) Materialist narrative and capitalist situationism. Loompanics 3. Dahmus, G. ed. (1981) The Vermillion Door: Capitalist situationism and materialist narrative. Panic Button Books 4. la Tournier, Q. V. (1999) Capitalist situationism in the works of Pynchon. Loompanics 5. la Fournier, O. L. W. ed. (1985) The Stasis of Class: Materialist narrative and capitalist situationism. Oxford University Press 6. Finnis, J. C. (1993) Socialism, submaterialist dematerialism and materialist narrative. Cambridge University Press 7. Bailey, T. C. P. ed. (1971) Subpatriarchialist Discourses: Materialist narrative in the works of Rushdie. And/Or Press 8. Brophy, R. (1987) Capitalist situationism and materialist narrative. O'Reilly & Associates 9. la Fournier, M. Z. ed. (1972) Narratives of Economy: Prestructuralist narrative, socialism and materialist narrative. Loompanics 10. la Tournier, G. S. V. (1996) Materialist narrative and capitalist situationism. Yale University Press 11. de Selby, Q. ed. (1984) The Iron Sea: The materialist paradigm of discourse, materialist narrative and socialism. O'Reilly & Associates 12. Hamburger, I. L. B. (1972) Capitalist situationism and materialist narrative. Oxford University Press `[link\|mailto:curley95@attbi.com\|greg] - Grand-Master Artist in IT [link\|http://www.iwethey.org/ed_curry/\|REMEMBER ED CURRY!!!] Your friendly Homeland Security Officer reminds: Hold Thumbprint to Screen for 5 seconds, we'll take the imprint, or Just continue to type on your keyboard, and we'll just sample your DNA.`
Post #63,242 by folkert 11/16/02 1:13:28 PM Reply	On the Simulation of Postmodernism The essays you have just seen are completely meaningless and were randomly generated by the Postmodernism Generator. To generate another essay, follow [link\|http://www.elsewhere.org/cgi-bin/postmodern\|this link]. The Postmodernism Generator was written by [link\|http://dev.null.org/\|Andrew C. Bulhak] using the [link\|http://dev.null.org/dadaengine/\|Dada Engine], a system for generating random text from recursive grammars, and modified slightly by [link\|http://www.elsewhere.org/\|Josh Larios] (this version, anyway. There are others out there). This installation of the Generator has delivered 649836 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA. Not Australia, New Zealand, or the Null Device, for the record. 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 [link\|http://www.csse.monash.edu.au/cgi-bin/pub_search?104+1996+bulhak+Postmodernism\|from Monash University]. More generated texts are linked to from the [link\|http://www.elsewhere.org/\|Communications from Elsewhere] front page. If you enjoy these, you might also enjoy reading about the [link\|http://www.physics.nyu.edu/faculty/sokal/\|Social Text Affair], where NYU Physics Professor Alan Sokal's brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication. `[link\|mailto:curley95@attbi.com\|greg] - Grand-Master Artist in IT [link\|http://www.iwethey.org/ed_curry/\|REMEMBER ED CURRY!!!] Your friendly Homeland Security Officer reminds: Hold Thumbprint to Screen for 5 seconds, we'll take the imprint, or Just continue to type on your keyboard, and we'll just sample your DNA.`

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The Broken House: Social realism and preconstructivist discourse

Ludwig Q. U. PorterDepartment of Semiotics, Miskatonic University, Arkham, Mass.

M. Rudolf la FournierDepartment of English, Massachusetts Institute of Technology