If one examines realism, one is faced with a choice: either accept Lacanist obscurity or conclude that the collective is capable of significance. Foucault uses the term 'realism' to denote a deconstructivist whole.
"Class is fundamentally elitist," says Sontag; however, according to Buxton[1], it is not so much class that is fundamentally elitist, but rather the futility of class. Thus, if postcapitalist narrative holds, the works of Smith are reminiscent of McLaren. Many discourses concerning realism may be revealed. Therefore, the subject is contextualised into a Lacanist obscurity that includes art as a totality. Several theories concerning the role of the artist as participant exist.
However, Bataille uses the term 'postcapitalist narrative' to denote not situationism per se, but presituationism. Hubbard[2] implies that we have to choose between realism and cultural neosemantic theory.
It could be said that Marx's essay on postcapitalist narrative states that society, surprisingly, has intrinsic meaning, but only if reality is interchangeable with culture; if that is not the case, we can assume that sexuality is capable of truth. Derrida suggests the use of Lacanist obscurity to challenge the status quo.
However, if realism holds, we have to choose between Lacanist obscurity and capitalist narrative. A number of theories concerning realism may be discovered.
2. Lacanist obscurity and poststructural deconstructivist theory
"Sexual identity is meaningless," says Sartre. In a sense, Dietrich[3] implies that we have to choose between the capitalist paradigm of expression and pretextual narrative. In Clerks, Smith denies realism; in Dogma he affirms postcapitalist narrative.
Thus, any number of depatriarchialisms concerning a mythopoetical reality exist. Realism states that culture is used to oppress the underprivileged, given that the premise of capitalist narrative is invalid.
It could be said that if postcapitalist narrative holds, we have to choose between poststructural deconstructivist theory and the neosemioticist paradigm of context. The primary theme of Humphrey's[4] critique of textual theory is the failure, and thus the absurdity, of postdialectic class.
3. Smith and poststructural deconstructivist theory
"Sexual identity is part of the futility of art," says Foucault; however, according to Scuglia[5], it is not so much sexual identity that is part of the futility of art, but rather the stasis, and subsequent genre, of sexual identity. However, the subject is interpolated into a realism that includes consciousness as a paradox. The example of postcapitalist narrative depicted in Madonna's Sex emerges again in Material Girl, although in a more predialectic sense. If one examines realism, one is faced with a choice: either reject poststructural deconstructivist theory or conclude that the task of the writer is deconstruction. Therefore, Lacan uses the term 'realism' to denote the role of the artist as participant. The main theme of the works of Madonna is not, in fact, discourse, but neodiscourse.
Thus, Foucault uses the term 'poststructural deconstructivist theory' to denote a mythopoetical reality. The subject is contextualised into a realism that includes truth as a totality.
Therefore, Derrida uses the term 'the cultural paradigm of consensus' to denote not desituationism as such, but postdesituationism. The subject is interpolated into a realism that includes sexuality as a whole.
Thus, poststructural deconstructivist theory implies that the establishment is responsible for outmoded perceptions of society, but only if reality is equal to truth. Debord uses the term 'realism' to denote the stasis, and therefore the collapse, of neomodernist art.
Therefore, Hubbard[6] holds that we have to choose between poststructural deconstructivist theory and Marxist class. Bataille's essay on realism states that narrative is a product of the collective unconscious.
1. Buxton, C. M. (1971) Narratives of Dialectic: Realism in the works of Gaiman. Panic Button Books
2. Hubbard, T. ed. (1997) Postsemiotic discourse, realism and nihilism. University of Georgia Press
3. Dietrich, Q. Z. V. (1971) The Fatal flaw of Society: Postcapitalist narrative and realism. Yale University Press
4. Humphrey, H. B. ed. (1992) Nihilism, realism and dialectic prepatriarchial theory. And/Or Press
5. Scuglia, K. L. P. (1983) Cultural Narratives: Realism in the works of Madonna. University of Michigan Press
6. Hubbard, U. R. ed. (1974) Postcapitalist narrative in the works of Madonna. O'Reilly & Associates
[Create your own meaningless and randomly generated postmodernist essay here.]
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