Have you ever heard of this site? Or of the hoax it memorializes? Check out http://www.elsewhere.org/pomo Here's a sample of a randomly generated postmodern essay. Remember, for postmodernism, language is all there is, and it just combines in random ways. It's up to you, the reader, to impose your meaning upon it. Good luck!
______________________
Rationalism and patriarchialist rationalism
Barbara N. Bailey
Department of Sociolinguistics, University of Oregon
1. Neotextual objectivism and dialectic theory
The characteristic theme of the works of Rushdie is the role of the reader as participant. However, the subject is interpolated into a rationalism that includes truth as a reality.“Society is used in the service of archaic perceptions of class,” says Sontag; however, according to Long[1] , it is not so much society that is used in the service of archaic perceptions of class, but rather the economy, and some would say the rubicon, of society. In Vineland, Pynchon denies Foucaultist power relations; in Mason & Dixon, although, he analyses patriarchialist rationalism. But the primary theme of von Ludwig’s[2] critique of rationalism is the bridge between sexual identity and society.“Consciousness is part of the collapse of culture,” says Lacan. Subsemantic capitalism holds that the task of the writer is significant form. Thus, the subject is contextualised into a rationalism that includes language as a paradox.“Society is unattainable,” says Foucault; however, according to Wilson[3] , it is not so much society that is unattainable, but rather the defining characteristic, and hence the stasis, of society. Baudrillard uses the term ‘dialectic materialism’ to denote the role of the poet as participant. However, Derrida suggests the use of patriarchialist rationalism to challenge hierarchy.The characteristic theme of the works of Tarantino is a precultural reality. Thus, Marx uses the term ‘textual postsemioticist theory’ to denote the role of the observer as reader.The subject is interpolated into a patriarchialist rationalism that includes narrativity as a whole. However, McElwaine[4] suggests that we have to choose between rationalism and Sartreist absurdity.The premise of patriarchialist rationalism implies that class, somewhat paradoxically, has objective value, but only if truth is distinct from art. Therefore, the main theme of la Tournier’s[5] analysis of neocultural desemioticism is a mythopoetical totality.Lyotard uses the term ‘dialectic theory’ to denote the collapse, and eventually the fatal flaw, of structural reality. Thus, Marx promotes the use of Derridaist reading to modify society.The subject is contextualised into a rationalism that includes culture as a paradox. However, the primary theme of the works of Tarantino is the role of the artist as writer.
2. Tarantino and dialectic theory
The characteristic theme of Prinn’s[6] model of rationalism is a deconstructivist whole. Foucault’s analysis of patriarchialist rationalism suggests that the raison d’etre of the observer is deconstruction. Thus, Baudrillard uses the term ‘dialectic theory’ to denote not narrative, as Derrida would have it, but postnarrative.Baudrillardist simulation implies that narrativity is capable of intent, given that the premise of rationalism is valid. It could be said that if dialectic theory holds, the works of Tarantino are reminiscent of Eco.Foucault suggests the use of patriarchialist rationalism to deconstruct outdated, colonialist perceptions of reality. In a sense, in Reservoir Dogs, Tarantino examines rationalism; in Pulp Fiction, however, he deconstructs patriarchialist rationalism.The main theme of the works of Tarantino is the common ground between sexual identity and language. Thus, Debord promotes the use of dialectic theory to analyse and read sexual identity.
3. Narratives of failure
“Narrativity is part of the defining characteristic of culture,” says Lacan. The subject is interpolated into a patriarchialist rationalism that includes narrativity as a reality. Therefore, several discourses concerning the role of the poet as participant may be discovered.The characteristic theme of Dietrich’s[7] essay on Batailleist `powerful communication’ is not construction, but preconstruction. The subject is contextualised into a dialectic theory that includes art as a paradox. In a sense, Sontag’s model of patriarchialist rationalism holds that expression comes from communication.“Society is intrinsically a legal fiction,” says Lacan; however, according to Reicher[8] , it is not so much society that is intrinsically a legal fiction, but rather the genre, and subsequent meaninglessness, of society. Marx uses the term ‘dialectic theory’ to denote the dialectic of subtextual sexual identity. Therefore, many dematerialisms concerning rationalism exist.“Narrativity is part of the futility of language,” says Foucault. The primary theme of the works of Burroughs is the difference between sexual identity and sexuality. In a sense, the subject is interpolated into a patriarchialist rationalism that includes culture as a reality.If one examines modernist narrative, one is faced with a choice: either reject rationalism or conclude that the media is capable of social comment. Several sublimations concerning a self-justifying whole may be found. Thus, Debord uses the term ‘patriarchialist rationalism’ to denote the paradigm, and thus the defining characteristic, of neocapitalist sexual identity.Humphrey[9] suggests that we have to choose between rationalism and posttextual dialectic theory. Therefore, the subject is contextualised into a subcultural objectivism that includes consciousness as a paradox.If rationalism holds, the works of Burroughs are postmodern. It could be said that the subject is interpolated into a dialectic theory that includes culture as a reality.A number of deconstructions concerning patriarchialist rationalism exist. In a sense, the absurdity, and some would say the paradigm, of rationalism intrinsic to Burroughs’s The Ticket that Exploded emerges again in Naked Lunch, although in a more materialist sense.Derrida suggests the use of patriarchialist rationalism to challenge the status quo. However, Humphrey[10] states that we have to choose between rationalism and deconstructivist nihilism.The characteristic theme of de Selby’s[11] critique of patriarchialist rationalism is the role of the artist as writer. It could be said that several desublimations concerning the meaninglessness, and eventually the failure, of subcapitalist class may be revealed.The premise of cultural postdialectic theory holds that narrativity is used to marginalize the underprivileged. Therefore, Lyotard uses the term ‘dialectic theory’ to denote not appropriation, as patriarchialist rationalism suggests, but neoappropriation.
4. Rationalism and Sartreist existentialism
In the works of Fellini, a predominant concept is the distinction between destruction and creation. If patriarchialist rationalism holds, we have to choose between rationalism and capitalist socialism. It could be said that the primary theme of the works of Fellini is the common ground between society and class.Bataille’s model of Sartreist existentialism states that sexuality is fundamentally unattainable, but only if language is interchangeable with reality; otherwise, Sartre’s model of rationalism is one of “subcultural theory”, and therefore part of the defining characteristic of language. But many discourses concerning patriarchialist rationalism exist.The premise of Sartreist existentialism implies that narrativity may be used to reinforce capitalism. In a sense, an abundance of dematerialisms concerning the role of the participant as writer may be discovered.Von Ludwig[12] suggests that we have to choose between rationalism and prepatriarchial semanticist theory. Thus, the main theme of Sargeant’s[13] analysis of patriarchialist rationalism is not, in fact, situationism, but subsituationism.
5. Realities of economy
“Sexuality is intrinsically a legal fiction,” says Debord; however, according to Brophy[14] , it is not so much sexuality that is intrinsically a legal fiction, but rather the futility, and thus the meaninglessness, of sexuality. Dialectic narrative holds that the task of the poet is deconstruction, given that Derrida’s critique of rationalism is invalid. In a sense, if patriarchialist rationalism holds, the works of Fellini are empowering.“Sexual identity is part of the rubicon of art,” says Baudrillard. La Fournier[15] states that we have to choose between rationalism and postcapitalist patriarchial theory. However, the subject is contextualised into a patriarchialist rationalism that includes consciousness as a totality.In the works of Joyce, a predominant concept is the concept of neoconstructivist art. Lyotard uses the term ‘dialectic socialism’ to denote the fatal flaw, and subsequent collapse, of subcapitalist class. But the premise of Sartreist existentialism implies that narrativity has significance.“Class is fundamentally impossible,” says Derrida. If Batailleist `powerful communication’ holds, we have to choose between patriarchialist rationalism and textual discourse. Therefore, a number of narratives concerning rationalism exist.In the works of Joyce, a predominant concept is the distinction between within and without. The primary theme of the works of Joyce is the bridge between sexual identity and class. Thus, several theories concerning the defining characteristic of postcapitalist sexual identity may be found.The main theme of de Selby’s[16] analysis of neopatriarchial objectivism is the difference between class and art. Finnis[17] suggests that we have to choose between patriarchialist rationalism and modernist presemantic theory. But Debord promotes the use of Sartreist existentialism to deconstruct sexual identity.An abundance of dematerialisms concerning Lacanist obscurity exist. However, Derrida uses the term ‘rationalism’ to denote the failure, and therefore the fatal flaw, of textual society.In Natural Born Killers, Stone affirms Sartreist existentialism; in Heaven and Earth he reiterates rationalism. But Debord suggests the use of the postmodern paradigm of reality to attack sexism.If Sartreist existentialism holds, we have to choose between rationalism and textual precapitalist theory. Therefore, the subject is interpolated into a Sartreist existentialism that includes sexuality as a whole.La Tournier[18] implies that the works of Stone are reminiscent of Madonna. However, Lyotard’s critique of rationalism holds that the purpose of the writer is social comment, but only if art is equal to reality.The destruction/creation distinction prevalent in Stone’s JFK is also evident in Platoon. But the subject is contextualised into a patriarchialist rationalism that includes language as a paradox.In Heaven and Earth, Stone deconstructs Sartreist existentialism; in Natural Born Killers, although, he affirms patriarchialist rationalism. However, the characteristic theme of the works of Stone is the bridge between sexual identity and sexuality.Subpatriarchialist semiotic theory suggests that society, surprisingly, has intrinsic meaning. But the subject is interpolated into a patriarchialist rationalism that includes art as a whole.
6. Sartreist existentialism and neodialectic Marxism
In the works of Stone, a predominant concept is the concept of conceptualist narrativity. If patriarchialist rationalism holds, we have to choose between rationalism and the precapitalist paradigm of discourse. Thus, the subject is contextualised into a semioticist neodeconstructive theory that includes culture as a paradox.Several narratives concerning a self-falsifying whole may be revealed. It could be said that McElwaine[19] states that the works of Stone are an example of mythopoetical feminism.The subject is interpolated into a rationalism that includes language as a totality. However, the premise of neodialectic Marxism holds that the Constitution is part of the dialectic of consciousness, given that cultural discourse is valid.Lacan promotes the use of neodialectic Marxism to read and analyse narrativity. But if patriarchialist rationalism holds, we have to choose between neodialectic Marxism and postdialectic cultural theory
.--------------------------------------------------------------------------------
1. Long, B. ed. (1977) The Iron House: Patriarchialist rationalism in the works of Pynchon. Harvard University Press
2. von Ludwig, Y. V. C. (1983) Rationalism in the works of Spelling. O’Reilly & Associates
3. Wilson, G. W. ed. (1998) Consensuses of Rubicon: Patriarchialist rationalism in the works of Tarantino. Oxford University Press
4. McElwaine, Q. O. P. (1981) Rationalism in the works of Mapplethorpe. University of Massachusetts Press
5. la Tournier, N. T. ed. (1970) The Circular Door: Patriarchialist rationalism and rationalism. Loompanics
6. Prinn, Q. B. E. (1981) Nationalism, predialectic libertarianism and rationalism. Cambridge University Press
7. Dietrich, O. R. ed. (1977) Deconstructing Realism: Rationalism and patriarchialist rationalism. University of Georgia Press
8. Reicher, Q. T. M. (1991) Patriarchialist rationalism in the works of Burroughs. Loompanics
9. Humphrey, Q. K. ed. (1974) The Economy of Reality: Patriarchialist rationalism and rationalism. Schlangekraft
10. Humphrey, T. K. J. (1983) Rationalism and patriarchialist rationalism. O’Reilly & Associates
11. de Selby, U. ed. (1975) The Defining characteristic of Society: Patriarchialist rationalism in the works of Fellini. Schlangekraft
12. von Ludwig, A. G. (1991) Patriarchialist rationalism and rationalism. Harvard University Press
13. Sargeant, M. ed. (1972) The Context of Fatal flaw: Rationalism in the works of Glass. O’Reilly & Associates
14. Brophy, L. Y. R. (1991) Rationalism and patriarchialist rationalism. University of Illinois Press
15. la Fournier, I. ed. (1988) Reassessing Modernism: Rationalism in the works of Joyce. Schlangekraft
16. de Selby, Z. O. (1993) The textual paradigm of expression, nationalism and rationalism. Loompanics
17. Finnis, U. T. I. ed. (1974) Forgetting Marx: Patriarchialist rationalism in the works of Stone. Cambridge University Press
18. la Tournier, C. (1982) Patriarchialist rationalism and rationalism. And/Or Press
19. McElwaine, P. L. Q. ed. (1991) The Failure of Reality: Rationalism in the works of Joyce. O’Reilly & Associates
-------------------------------------------------------
The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link. If you liked this particular essay and would like to return to it, follow this link for a bookmarkable page.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 2022001 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA.
More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: “On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks”. An on-line copy is available from Monash University.
If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal’s brilliant ( but totally meaningless) hoax article was accepted by a cultural criticism publication. See http://www.physics.nyu.edu/faculty/sokal/
No comments:
Post a Comment