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Socialism, capitalism and textual

sublimation

Jane P. K. Humphrey

Department of Gender Politics, Stanford University

1. Expressions of failure

If one examines socialism, one is faced with a choice: either accept

predialectic socialism or conclude that context is a product of
communication.
A number of dematerialisms concerning socialism may be found.

Thus, in Virtual Light, Gibson examines Lacanist obscurity; in

Count Zero he denies socialism. If Lacanist obscurity holds, we have to

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choose between subcapitalist discourse and Foucaultist power relations.

In a sense, the subject is contextualised into a socialism that includes

truth as a totality. The premise of predialectic socialism states that
language
may be used to reinforce outmoded, sexist perceptions of society, but only
if
consciousness is distinct from sexuality.

2. Lacanist obscurity and dialectic rationalism

“Language is intrinsically used in the service of the status quo,” says

Lacan; however, according to Brophy[1] , it is not so much
language that is intrinsically used in the service of the status quo, but
rather the defining characteristic, and some would say the stasis, of
language.
It could be said that the characteristic theme of the works of Gibson is the
role of the reader as observer. La Fournier[2] suggests that
the works of Gibson are modernistic.

Therefore, precultural theory states that reality is meaningless. Several

desituationisms concerning a self-sufficient whole exist.

Thus, in Mona Lisa Overdrive, Gibson reiterates predialectic

socialism; in Virtual Light, although, he analyses dialectic
rationalism. The main theme of Humphrey’s[3] analysis of
socialism is the role of the writer as participant.

But if dialectic rationalism holds, we have to choose between predialectic

socialism and neoconstructivist patriarchialism. The destruction/creation
distinction depicted in Gibson’s Count Zero emerges again in Pattern
Recognition, although in a more cultural sense.

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3. Gibson and dialectic rationalism

“Sexual identity is part of the absurdity of language,” says Baudrillard.

However, the characteristic theme of the works of Gibson is the paradigm
of
postconceptualist class. The subject is interpolated into a predialectic
socialism that includes consciousness as a reality.

In the works of Gibson, a predominant concept is the distinction between

figure and ground. It could be said that la Fournier[4]
implies that we have to choose between socialism and Derridaist reading.
Sartre
promotes the use of dialectic rationalism to modify sexual identity.

The primary theme of Long’s[5] essay on predialectic

socialism is a mythopoetical totality. But an abundance of
desituationisms
concerning dialectic rationalism may be discovered. The characteristic
theme of
the works of Gaiman is the role of the artist as observer.

“Society is fundamentally a legal fiction,” says Foucault; however,

according to de Selby[6] , it is not so much society that is
fundamentally a legal fiction, but rather the stasis, and eventually the
futility, of society. However, if neodialectic semiotic theory holds, we
have
to choose between socialism and the subcapitalist paradigm of narrative.
The
primary theme of Wilson’s[7] critique of predialectic
socialism is not desituationism, but postdesituationism.

If one examines dialectic rationalism, one is faced with a choice: either

reject neocultural objectivism or conclude that the purpose of the writer is
social comment. Thus, Baudrillard uses the term ‘predialectic socialism’

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to
denote the common ground between sexual identity and language. De
Selby[8] states that the works of Gaiman are not postmodern.

But if Sartreist absurdity holds, we have to choose between predialectic

socialism and dialectic patriarchialism. The stasis of dialectic rationalism
intrinsic to Gaiman’s The Books of Magic is also evident in Black
Orchid.

In a sense, a number of theories concerning the rubicon, and eventually

the
paradigm, of neotextual society exist. In Neverwhere, Gaiman
deconstructs deconstructive socialism; in Stardust, however, he analyses
socialism.

But the premise of predialectic socialism holds that the State is capable of
truth. The example of the postdialectic paradigm of consensus which is a
central theme of Gaiman’s Death: The Time of Your Life emerges again in
Black Orchid, although in a more cultural sense.

Thus, Hamburger[9] states that we have to choose between

socialism and Baudrillardist hyperreality. Debord uses the term ‘dialectic
discourse’ to denote the bridge between consciousness and class.

Therefore, in Stardust, Gaiman examines socialism; in Black

Orchid, although, he reiterates predialectic socialism. If dialectic
rationalism holds, we have to choose between socialism and Foucaultist
power
relations.

In a sense, neomodern materialism holds that context comes from the

masses,
given that the premise of socialism is invalid. Sontag uses the term

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‘dialectic
rationalism’ to denote not discourse as such, but postdiscourse.

4. Realities of genre

In the works of Gaiman, a predominant concept is the concept of dialectic

culture. However, the subject is contextualised into a socialism that
includes
narrativity as a paradox. Baudrillard uses the term ‘predialectic socialism’
to
denote a self-supporting totality.

The characteristic theme of the works of Gaiman is the role of the artist as
participant. It could be said that Debord suggests the use of dialectic
rationalism to challenge outdated perceptions of sexual identity. Several
narratives concerning socialism may be found.

“Art is responsible for class divisions,” says Baudrillard. Thus, Wilson[10]

suggests that we have to choose between the
subpatriarchialist paradigm of context and textual theory. If dialectic
rationalism holds, the works of Burroughs are modernistic.

Therefore, Sontag uses the term ‘postdialectic objectivism’ to denote not,

in fact, desublimation, but subdesublimation. The primary theme of
Parry’s[11] essay on dialectic rationalism is a mythopoetical
paradox.

Thus, the subject is interpolated into a socialism that includes sexuality

as a whole. Lyotard promotes the use of dialectic rationalism to
deconstruct
and modify culture.

But predialectic socialism states that sexuality is used to exploit the

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Other. Bailey[12] suggests that we have to choose between

socialism and neosemiotic materialism.

Thus, Bataille suggests the use of dialectic rationalism to challenge

capitalism. If socialism holds, we have to choose between capitalist
objectivism and postdialectic demodernism.

However, Derrida uses the term ‘socialism’ to denote the absurdity, and
hence the meaninglessness, of deconstructive class. Dietrich[13] holds
that we have to choose between Foucaultist power
relations and postmaterialist structural theory.

1. Brophy, S. (1995) The

Forgotten Sea: Socialism and predialectic socialism. Loompanics

2. la Fournier, Q. E. ed. (1979) Socialism in the works of

Cage. University of North Carolina Press

3. Humphrey, T. (1988) The Meaninglessness of Class:

Predialectic socialism and socialism. Loompanics

4. la Fournier, Y. C. O. ed. (1995) Socialism in the works

of Rushdie. Schlangekraft

5. Long, L. Y. (1981) Reading Baudrillard: Socialism in

the works of Gaiman. And/Or Press

6. de Selby, C. ed. (1973) Socialism and predialectic

socialism. Loompanics

7. Wilson, P. I. (1981) Constructive Appropriations:

Capitalism, precultural semanticist theory and socialism. University of

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California Press

8. de Selby, W. O. Z. ed. (1973) Predialectic socialism

and socialism. O’Reilly & Associates

9. Hamburger, T. N. (1981) Forgetting Bataille: Socialism,

subcapitalist libertarianism and capitalism. Schlangekraft

10. Wilson, O. D. P. ed. (1996) Predialectic socialism in

the works of Burroughs. Yale University Press

11. Parry, A. (1973) The Dialectic of Society: Socialism,

capitalism and textual theory. O’Reilly & Associates

12. Bailey, N. V. I. ed. (1984) Socialism and

predialectic socialism. Harvard University Press

13. Dietrich, E. (1998) Neoconceptualist Theories:

Predialectic socialism and socialism. Schlangekraft

The essay you have just seen is completely meaningless and was
randomly generated by the Postmodernism Generator. To generate
another essay, follow this link.

The Postmodernism Generator was written by Andrew C. Bulhak using the

Dada Engine, a system for generating random text from recursive
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This installation of the Generator has delivered 17,885,794 essays since

25/Feb/2000 18:43:09 PST, when it became operational.

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More detailed technical information may be found in Monash University

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Simulation of Postmodernism and Mental Debility Using Recursive Transition
Networks“.

More generated texts are linked to from the sidebar to the right.

If you enjoy this, you might also enjoy reading about the Social Text Affair,
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