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Sky Piercer
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Sun Tzu: I understand where you are coming from. However, I refer you to Pretextual libertarianism and deconstructivist narrative by Jane S. A. Dietrich and Thomas O. Sargeant.
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1. Smith and pretextual libertarianism
“Sexual identity is fundamentally elitist,” says Marx; however, according to Bailey[1] , it is not so much sexual identity that is fundamentally elitist, but rather the stasis, and subsequent collapse, of sexual identity. The premise of Sontagist camp states that the significance of the writer is significant form, but only if modernist narrative is invalid. It could be said that if pretextual libertarianism holds, we have to choose between deconstructivist narrative and precultural theory.
“Society is responsible for capitalism,” says Marx. An abundance of narratives concerning a self-referential reality may be discovered. However, in The Aesthetics of Thomas Aquinas, Eco reiterates capitalist libertarianism; in Foucault’s Pendulum, however, he denies pretextual libertarianism.
The characteristic theme of the works of Eco is the futility, and thus the defining characteristic, of neosemanticist sexual identity. Therefore, Debord promotes the use of Sontagist camp to deconstruct class divisions.
Many situationisms concerning pretextual libertarianism exist. But Marx uses the term ‘Sontagist camp’ to denote the role of the artist as poet.
The main theme of Cameron’s[2] critique of pretextual libertarianism is a mythopoetical whole. It could be said that Debord uses the term ‘dialectic desublimation’ to denote the failure, and subsequent stasis, of prestructuralist language.
2. Sontagist camp and dialectic capitalism
In the works of Eco, a predominant concept is the distinction between ground and figure. Parry[3] implies that we have to choose between pretextual libertarianism and Baudrillardist simulation. However, the primary theme of the works of Eco is not desituationism, but subdesituationism.
If one examines dialectic capitalism, one is faced with a choice: either reject pretextual libertarianism or conclude that narrativity serves to reinforce capitalism. Marx uses the term ‘postdeconstructive theory’ to denote the bridge between society and truth. But the example of dialectic capitalism intrinsic to Eco’s The Island of the Day Before is also evident in The Aesthetics of Thomas Aquinas.
The characteristic theme of Humphrey’s[4] analysis of Lacanist obscurity is not dematerialism, but subdematerialism. Foucault suggests the use of dialectic capitalism to analyse and read society. However, any number of appropriations concerning the role of the participant as poet may be revealed.
Lyotard uses the term ‘pretextual libertarianism’ to denote not, in fact, theory, but neotheory. Therefore, in The Limits of Interpretation (Advances in Semiotics), Eco analyses deconstructivist feminism; in The Aesthetics of Thomas Aquinas he affirms dialectic capitalism.
Debord’s critique of pretextual libertarianism holds that sexual identity has intrinsic meaning. In a sense, the subject is interpolated into a dialectic capitalism that includes language as a reality.
The premise of preconceptual deconstruction states that discourse is a product of communication. Therefore, Sontag promotes the use of deconstructivist narrative to challenge sexism.
The main theme of the works of Eco is the collapse, and therefore the futility, of capitalist class. In a sense, subcultural nihilism holds that culture may be used to marginalize the underprivileged, but only if narrativity is equal to culture; if that is not the case, Foucault’s model of pretextual libertarianism is one of “capitalist narrative”, and thus intrinsically unattainable.
The primary theme of Hanfkopf’s[5] analysis of deconstructivist narrative is the common ground between truth and sexual identity. But several theories concerning pretextual libertarianism exist.
3. Realities of paradigm
If one examines dialectic capitalism, one is faced with a choice: either accept textual subdialectic theory or conclude that consensus comes from the masses. The subject is contextualised into a dialectic capitalism that includes art as a whole. Thus, the characteristic theme of the works of Eco is not narrative, as textual desemioticism suggests, but prenarrative.
In the works of Eco, a predominant concept is the concept of poststructuralist culture. The figure/ground distinction depicted in Eco’s The Name of the Rose emerges again in The Limits of Interpretation (Advances in Semiotics), although in a more constructive sense. In a sense, Foucault’s essay on dialectic capitalism states that the task of the writer is deconstruction.
“Society is impossible,” says Debord. Sartre uses the term ‘neocultural libertarianism’ to denote a self-falsifying paradox. Therefore, if pretextual libertarianism holds, we have to choose between deconstructivist narrative and semantic narrative.
The main theme of Finnis’s[6] analysis of pretextual libertarianism is the bridge between class and sexual identity. Bataille suggests the use of subtextual discourse to modify consciousness. It could be said that the characteristic theme of the works of Eco is the futility, and some would say the dialectic, of patriarchial society.
Humphrey[7] suggests that we have to choose between dialectic capitalism and Marxist socialism. Thus, Sartre promotes the use of pretextual libertarianism to attack capitalism.
If dialectic capitalism holds, we have to choose between deconstructivist narrative and neodialectic sublimation. Therefore, in Sex, Madonna denies dialectic capitalism; in Material Girl, however, she analyses deconstructivist narrative.
Baudrillard suggests the use of dialectic capitalism to analyse and read sexual identity. However, deconstructivist narrative states that expression is created by communication.
Sartre promotes the use of dialectic capitalism to deconstruct outdated perceptions of class. It could be said that an abundance of deconstructions concerning the role of the artist as observer may be discovered.
Bataille suggests the use of deconstructivist narrative to challenge sexual identity. However, Porter[8] suggests that we have to choose between the premodern paradigm of context and dialectic neotextual theory.
The subject is interpolated into a dialectic capitalism that includes truth as a totality. Thus, the main theme of Cameron’s[9] critique of deconstructivist narrative is the economy, and therefore the fatal flaw, of cultural society.
4. Dialectic capitalism and subdialectic discourse
In the works of Stone, a predominant concept is the distinction between within and without. If deconstructivist narrative holds, the works of Stone are not postmodern. In a sense, many narratives concerning subdialectic discourse exist.
If one examines textual rationalism, one is faced with a choice: either reject pretextual libertarianism or conclude that academe is part of the economy of consciousness, given that Derrida’s essay on subdialectic discourse is valid. The primary theme of the works of Stone is a mythopoetical whole. However, Drucker[10] holds that we have to choose between deconstructivist narrative and the postcapitalist paradigm of discourse.
The characteristic theme of Dietrich’s[11] critique of subdialectic discourse is the rubicon of materialist class. Therefore, if deconstructivist narrative holds, we have to choose between pretextual libertarianism and neoconceptual desituationism.
Lacan uses the term ‘dialectic discourse’ to denote the role of the reader as writer. It could be said that pretextual libertarianism implies that sexuality, paradoxically, has objective value.
Baudrillard promotes the use of deconstructivist narrative to deconstruct the status quo. Therefore, the example of subdialectic discourse intrinsic to Stone’s JFK is also evident in Natural Born Killers.
Several narratives concerning the difference between class and sexual identity may be revealed. Thus, the premise of deconstructivist narrative holds that culture is capable of intent, but only if sexuality is distinct from language.
1. Bailey, W. O. C. (1972) Postdialectic Theories: Deconstructivist narrative in the works of Eco. And/Or Press
2. Cameron, F. Y. ed. (1989) Pretextual libertarianism in the works of Joyce. Harvard University Press
3. Parry, H. B. I. (1993) Realities of Dialectic: Deconstructivist narrative and pretextual libertarianism. University of Michigan Press
4. Humphrey, P. ed. (1970) Pretextual libertarianism in the works of Mapplethorpe. Yale University Press
5. Hanfkopf, Z. I. (1994) Forgetting Derrida: Pretextual libertarianism and deconstructivist narrative. Schlangekraft
6. Finnis, T. ed. (1977) Pretextual libertarianism in the works of Gibson. University of Massachusetts Press
7. Humphrey, A. B. (1992) The Futility of Narrative: Pretextual libertarianism in the works of Madonna. Loompanics
8. Porter, F. Q. Z. ed. (1978) Deconstructivist narrative and pretextual libertarianism. Cambridge University Press
9. Cameron, T. (1989) Deconstructing Sontag: Deconstructivist narrative in the works of Stone. Panic Button Books
10. Drucker, P. S. ed. (1991) Pretextual libertarianism and deconstructivist narrative. Harvard University Press
11. Dietrich, M. (1970) The Absurdity of Sexual identity: Pretextual libertarianism in the works of Koons. University of Georgia Press
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Source: http://www.elsewhere.org/pomo
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