Oarfish
Prophet
- Joined
- Sep 3, 2005
- Messages
- 2,511
Consensuses of meaninglessness
In the works of Tarantino, a predominant concept is the distinction between creation and destruction. But Sartreist absurdity suggests that culture is used to oppress the proletariat. Derrida suggests the use of Foucaultist power relations to modify sexual identity.
The characteristic theme of the works of Tarantino is the common ground between society and truth. However, Sontag uses the term ’subtextual rationalism’ to denote not construction as such, but preconstruction. If neotextual feminism holds, we have to choose between subtextual rationalism and capitalist nihilism.
“Class is fundamentally impossible,†says Foucault; however, according to Parry[2] , it is not so much class that is fundamentally impossible, but rather the dialectic, and therefore the fatal flaw, of class. It could be said that the subject is contextualised into a Sartreist absurdity that includes art as a totality. Long[3] states that we have to choose between neotextual feminism and precultural appropriation.
Therefore, Lacan uses the term ‘Sartreist absurdity’ to denote a self-supporting whole. The premise of neotextual feminism holds that truth is part of the futility of consciousness.
But the main theme of Buxton’s[4] model of subtextual rationalism is the role of the artist as participant. Sartre’s essay on neotextual feminism states that context is a product of the masses, given that Sartreist absurdity is valid.
However, a number of dematerialisms concerning neotextual feminism may be revealed. Lacan uses the term ‘Sartreist absurdity’ to denote the paradigm, and eventually the stasis, of capitalist sexual identity.
Thus, Debord promotes the use of subtextual rationalism to deconstruct hierarchy. The characteristic theme of the works of Eco is the role of the artist as reader.
More postmodernist fun at http://www.elsewhere.org/pomo
In the works of Tarantino, a predominant concept is the distinction between creation and destruction. But Sartreist absurdity suggests that culture is used to oppress the proletariat. Derrida suggests the use of Foucaultist power relations to modify sexual identity.
The characteristic theme of the works of Tarantino is the common ground between society and truth. However, Sontag uses the term ’subtextual rationalism’ to denote not construction as such, but preconstruction. If neotextual feminism holds, we have to choose between subtextual rationalism and capitalist nihilism.
“Class is fundamentally impossible,†says Foucault; however, according to Parry[2] , it is not so much class that is fundamentally impossible, but rather the dialectic, and therefore the fatal flaw, of class. It could be said that the subject is contextualised into a Sartreist absurdity that includes art as a totality. Long[3] states that we have to choose between neotextual feminism and precultural appropriation.
Therefore, Lacan uses the term ‘Sartreist absurdity’ to denote a self-supporting whole. The premise of neotextual feminism holds that truth is part of the futility of consciousness.
But the main theme of Buxton’s[4] model of subtextual rationalism is the role of the artist as participant. Sartre’s essay on neotextual feminism states that context is a product of the masses, given that Sartreist absurdity is valid.
However, a number of dematerialisms concerning neotextual feminism may be revealed. Lacan uses the term ‘Sartreist absurdity’ to denote the paradigm, and eventually the stasis, of capitalist sexual identity.
Thus, Debord promotes the use of subtextual rationalism to deconstruct hierarchy. The characteristic theme of the works of Eco is the role of the artist as reader.
More postmodernist fun at http://www.elsewhere.org/pomo