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Modernism Essay Generator Essay

Some time ago I would not have found this funny. Fortunately Dr. Wittgenstein and co. were able to cure me of my continentalism. I wonder if admiring the rebellious beards and tobacco is a lifelong symptom (sinthome?).

Generate your own postmodern nonsense here.

Here is a sample of the text that I got:

 

The Circular Key: Socialism, realism and subtextual Marxism

Catherine Finnis
Department of Deconstruction, University of California, Berkeley

1. Semantic desublimation and Marxist capitalism

“Society is unattainable,” says Bataille. Lacan suggests the use of precultural patriarchial theory to deconstruct sexual identity.

In the works of Pynchon, a predominant concept is the distinction between without and within. But in Vineland, Pynchon examines realism; in Mason & Dixon, however, he denies Marxist capitalism. The primary theme of Long’s[1] analysis of postconceptualist appropriation is the role of the writer as reader.

“Class is part of the fatal flaw of language,” says Sartre. Therefore, the subject is interpolated into a Batailleist `powerful communication’ that includes art as a whole. The characteristic theme of the works of Fellini is the bridge between sexual identity and class.

If one examines Batailleist `powerful communication’, one is faced with a choice: either accept realism or conclude that sexual identity, perhaps ironically, has intrinsic meaning, given that consciousness is interchangeable with narrativity. Thus, la Fournier[2] states that we have to choose between the textual paradigm of context and prematerialist narrative. Sontag promotes the use of Marxist capitalism to attack hierarchy.

In the works of Fellini, a predominant concept is the concept of patriarchial consciousness. However, Foucault uses the term ‘Batailleist `powerful communication” to denote not, in fact, materialism, but neomaterialism. The main theme of von Ludwig’s[3] model of realism is the stasis, and some would say the economy, of textual society.

Therefore, if Batailleist `powerful communication’ holds, the works of Fellini are modernistic. Realism holds that discourse must come from the masses.

Thus, Lacan uses the term ‘Marxist capitalism’ to denote a mythopoetical paradox. Foucault suggests the use of realism to read and challenge class.

However, Cameron[4] suggests that we have to choose between Marxist capitalism and subcapitalist modernist theory. In The Island of the Day Before, Eco reiterates realism; in The Aesthetics of Thomas Aquinas he denies Marxist capitalism.

It could be said that if Derridaist reading holds, we have to choose between Batailleist `powerful communication’ and predialectic capitalism. The subject is contextualised into a realism that includes truth as a whole.

Thus, any number of constructions concerning Marxist capitalism may be found. The example of realism which is a central theme of Eco’s The Name of the Rose emerges again inFoucault’s Pendulum, although in a more self-justifying sense.

However, Foucault uses the term ‘Marxist capitalism’ to denote not narrative per se, but subnarrative. The characteristic theme of the works of Eco is the common ground between class and culture.

Thus, Marx promotes the use of the cultural paradigm of consensus to deconstruct capitalism. Several constructivisms concerning a neodialectic reality exist.

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The Reality of Stasis: Cultural neoconstructive theory in the works of
Eco

Anna S. Prinn

Department of Deconstruction, University of Illinois

1. Cultural neoconstructive theory and materialist narrative

The main theme of von Ludwig’s[1] model of cultural
capitalism is the role of the reader as artist. In a sense, the primary theme
of the works of Spelling is a self-supporting paradox. If cultural
neoconstructive theory holds, we have to choose between the submaterialist
paradigm of narrative and textual objectivism.

“Truth is intrinsically unattainable,” says Sontag. Thus, Marx uses the term
‘cultural neoconstructive theory’ to denote the difference between class and
reality. The subject is contextualised into a neoconstructivist deconstruction
that includes art as a totality.

However, Reicher[2] implies that we have to choose
between materialist narrative and Batailleist `powerful communication’.
Cultural capitalism suggests that discourse must come from the collective
unconscious.

But Sartre promotes the use of cultural neoconstructive theory to challenge
sexual identity. If materialist narrative holds, we have to choose between
cultural capitalism and dialectic theory.

Therefore, several desituationisms concerning cultural neoconstructive
theory exist. The premise of cultural capitalism holds that the purpose of the
reader is deconstruction, but only if consciousness is distinct from language;
otherwise, we can assume that narrative is created by communication.

But Lyotard uses the term ‘cultural neoconstructive theory’ to denote not
theory, as materialist narrative suggests, but pretheory. Bailey[3] suggests that the works of Tarantino are postmodern.

2. Discourses of paradigm

If one examines submodernist capitalism, one is faced with a choice: either
reject materialist narrative or conclude that narrativity may be used to
disempower minorities. It could be said that any number of materialisms
concerning the stasis, and therefore the paradigm, of cultural society may be
discovered. Lyotard suggests the use of pretextual patriarchial theory to
attack capitalism.

In the works of Tarantino, a predominant concept is the concept of
neodialectic reality. In a sense, in Jackie Brown, Tarantino reiterates
cultural capitalism; in Four Rooms, although, he affirms materialist
narrative. A number of desublimations concerning cultural neoconstructive
theory exist.

Thus, if capitalist materialism holds, the works of Tarantino are an example
of mythopoetical feminism. The characteristic theme of la Fournier’s[4] analysis of cultural neoconstructive theory is a
subcultural reality.

However, the example of cultural capitalism prevalent in Madonna’s
Material Girl is also evident in Erotica. Materialist narrative
implies that the task of the observer is social comment.

Thus, many desituationisms concerning not, in fact, discourse, but
postdiscourse may be found. Baudrillard uses the term ‘cultural neoconstructive
theory’ to denote the role of the poet as artist.

It could be said that McElwaine[5] suggests that the
works of Madonna are reminiscent of Koons. A number of materialisms concerning
cultural capitalism exist.

3. Derridaist reading and textual theory

“Society is meaningless,” says Sartre; however, according to Brophy[6] , it is not so much society that is meaningless, but rather
the defining characteristic, and some would say the economy, of society.
Therefore, the subject is interpolated into a cultural neoconstructive theory
that includes truth as a paradox. If neocapitalist cultural theory holds, we
have to choose between cultural capitalism and Lyotardist narrative.

“Sexual identity is part of the paradigm of consciousness,” says
Baudrillard. But Sontag uses the term ‘cultural neoconstructive theory’ to
denote a mythopoetical totality. Tilton[7] holds that we
have to choose between cultural capitalism and constructive predialectic
theory.

In the works of Madonna, a predominant concept is the distinction between
within and without. However, Lyotard uses the term ‘semiotic narrative’ to
denote the bridge between class and society. Several desituationisms concerning
the dialectic, and hence the paradigm, of substructuralist sexual identity may
be discovered.

But in Sex, Madonna reiterates textual theory; in Erotica she
deconstructs capitalist preconstructivist theory. If cultural capitalism holds,
we have to choose between textual theory and the dialectic paradigm of
consensus.

Thus, Foucault’s essay on neostructural discourse suggests that context
comes from the collective unconscious, given that cultural capitalism is
invalid. Baudrillard uses the term ‘textual theory’ to denote a cultural whole.

In a sense, the main theme of the works of Madonna is the futility of
precapitalist society. Sartre promotes the use of cultural neoconstructive
theory to analyse and read sexuality.

Thus, Sontag uses the term ‘the constructivist paradigm of consensus’ to
denote a self-sufficient paradox. The subject is contextualised into a textual
theory that includes truth as a whole.

In a sense, the primary theme of von Junz’s[8] critique
of cultural capitalism is the role of the poet as writer. Baudrillard uses the
term ‘cultural neoconstructive theory’ to denote the futility, and eventually
the dialectic, of postdialectic class.

4. Narratives of failure

“Society is unattainable,” says Sontag. Thus, the destruction/creation
distinction depicted in Madonna’s Sex emerges again in Material
Girl
, although in a more capitalist sense. Marx uses the term ‘neosemantic
deconstruction’ to denote not appropriation, but postappropriation.

However, the characteristic theme of the works of Madonna is the common
ground between sexual identity and art. In Sex, Madonna reiterates
cultural capitalism; in Material Girl, however, she analyses cultural
neoconstructive theory.

Therefore, Sartre uses the term ‘cultural capitalism’ to denote the rubicon,
and thus the stasis, of cultural society. An abundance of discourses concerning
neotextual modernism exist.

5. Madonna and cultural capitalism

In the works of Madonna, a predominant concept is the concept of semanticist
truth. It could be said that Sontag suggests the use of cultural
neoconstructive theory to deconstruct hierarchy. Tilton[9]
holds that we have to choose between the constructivist paradigm of expression
and precapitalist desublimation.

The main theme of Scuglia’s[10] essay on cultural
capitalism is the difference between sexual identity and society. Therefore,
the example of cultural neoconstructive theory prevalent in Madonna’s
Erotica is also evident in Sex. If textual theory holds, we have
to choose between cultural neoconstructive theory and subtextual structuralism.

If one examines cultural capitalism, one is faced with a choice: either
accept textual theory or conclude that the significance of the observer is
significant form. In a sense, in Material Girl, Madonna denies cultural
capitalism; in Sex she deconstructs cultural neoconstructive theory.
Drucker[11] states that we have to choose between textual
theory and the material paradigm of narrative.

It could be said that any number of discourses concerning not sublimation,
but presublimation may be found. The primary theme of the works of Stone is a
mythopoetical reality.

However, Derrida promotes the use of cultural capitalism to analyse sexual
identity. The paradigm of postcapitalist narrative which is a central theme of
Stone’s Natural Born Killers emerges again in Heaven and Earth,
although in a more constructivist sense.

In a sense, if cultural capitalism holds, we have to choose between
predialectic nationalism and cultural appropriation. The premise of textual
theory holds that society has significance.

It could be said that the subject is interpolated into a neodeconstructivist
constructive theory that includes reality as a totality. Several narratives
concerning textual theory exist.

Therefore, the main theme of Dietrich’s[12] analysis of
cultural capitalism is not discourse, as pretextual rationalism suggests, but
subdiscourse. Debord suggests the use of textual theory to challenge sexism.


1. von Ludwig, W. A. J. (1987)
Cultural capitalism and cultural neoconstructive theory. Cambridge
University Press

2. Reicher, G. L. ed. (1976) The Dialectic of Context:
Cultural capitalism in the works of Tarantino.
O’Reilly &
Associates

3. Bailey, C. P. J. (1983) Cultural neoconstructive
theory, Lacanist obscurity and nationalism.
Panic Button Books

4. la Fournier, E. G. ed. (1978) The Absurdity of Sexual
identity: Cultural neoconstructive theory in the works of Madonna.
Harvard
University Press

5. McElwaine, U. S. R. (1984) Cultural neoconstructive
theory and cultural capitalism.
And/Or Press

6. Brophy, T. ed. (1998) The Reality of Dialectic:
Cultural neoconstructive theory in the works of Gibson.

Schlangekraft

7. Tilton, S. R. G. (1973) Cultural capitalism and
cultural neoconstructive theory.
Panic Button Books

8. von Junz, T. ed. (1996) The Paradigm of Society:
Foucaultist power relations, nationalism and cultural neoconstructive
theory.
Cambridge University Press

9. Tilton, U. Q. E. (1988) Cultural neoconstructive theory
and cultural capitalism.
Schlangekraft

10. Scuglia, Q. ed. (1995) Deconstructing Baudrillard:
Cultural neoconstructive theory, nationalism and deconstructive capitalism.

And/Or Press

11. Drucker, W. M. (1972) Cultural capitalism in the
works of Stone.
Harvard University Press

12. Dietrich, N. I. U. ed. (1999) The Consensus of
Rubicon: Cultural neoconstructive theory in the works of Mapplethorpe.

Cambridge 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.
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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 17,652,836 essays since 25/Feb/2000 18:43:09 PST, when it became operational.

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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.

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