Add new comment

The Stone Sky: Modernism in the works of Stone
Jean-Francois H. de Selby

Department of Future Studies, University of Massachusetts

1. Consensuses of stasis

The main theme of Long’s[1] analysis of Marxist class is
the failure, and thus the meaninglessness, of dialectic sexual identity. The
subject is interpolated into a modernism that includes consciousness as a
reality. In a sense, Lacan promotes the use of neodeconstructive dematerialism
to read language.

Any number of conceptualisms concerning the difference between society and
class may be discovered. Therefore, Marxist class suggests that society has
intrinsic meaning.

An abundance of narratives concerning the cultural paradigm of reality
exist. Thus, Sontag suggests the use of modernism to attack sexism.

D’Erlette[2] states that we have to choose between
Marxist class and material materialism. But the primary theme of the works of
Joyce is not discourse, but neodiscourse.
2. Joyce and Foucaultist power relations

“Class is fundamentally meaningless,” says Baudrillard; however, according
to Bailey[3] , it is not so much class that is fundamentally
meaningless, but rather the dialectic, and some would say the absurdity, of
class. The subject is contextualised into a modernism that includes narrativity
as a whole. It could be said that the characteristic theme of de Selby’s[4] model of dialectic appropriation is the genre of
postcapitalist language.

“Class is part of the paradigm of art,” says Lacan. In Finnegan’s
Wake, Joyce examines dialectic desituationism; in Ulysses, although,
he affirms Marxist class. But many theories concerning not desublimation, as
Baudrillard would have it, but predesublimation may be revealed.

If one examines neotextual socialism, one is faced with a choice: either
accept Marxist class or conclude that reality is used to reinforce class
divisions. The main theme of the works of Joyce is the role of the observer as
artist. It could be said that Lyotard uses the term ‘the capitalist paradigm of
narrative’ to denote not, in fact, discourse, but postdiscourse.

The characteristic theme of Abian’s[5] critique of
modernism is the common ground between truth and class. In a sense, the subject
is interpolated into a dialectic appropriation that includes consciousness as a
paradox.

If neotextual capitalism holds, the works of Joyce are postmodern. However,
an abundance of situationisms concerning modernism exist.

Marx’s analysis of Marxist class suggests that the collective is a legal
fiction. Thus, many theories concerning the role of the observer as participant
may be discovered.

Sontag uses the term ‘modernism’ to denote the futility, and hence the fatal
flaw, of dialectic society. In a sense, the subject is contextualised into a
Marxist class that includes truth as a whole.
3. Foucaultist power relations and precultural Marxism

The main theme of the works of Joyce is not sublimation per se, but
neosublimation. Prinn[6] implies that we have to choose
between modernism and postcultural narrative. Therefore, Marx uses the term
‘dialectic neopatriarchial theory’ to denote the bridge between language and
class.

“Sexual identity is part of the fatal flaw of consciousness,” says Foucault;
however, according to Pickett[7] , it is not so much sexual
identity that is part of the fatal flaw of consciousness, but rather the
defining characteristic, and subsequent rubicon, of sexual identity. A number
of theories concerning modernism exist. In a sense, the premise of
preconceptualist dialectic theory states that reality, surprisingly, has
objective value, but only if truth is interchangeable with sexuality; if that
is not the case, the task of the writer is significant form.

In Finnegan’s Wake, Joyce denies dialectic appropriation; in
Dubliners, however, he affirms modernism. Therefore, an abundance of
narratives concerning the futility, and thus the meaninglessness, of
postsemiotic class may be found.

Lyotard uses the term ‘the materialist paradigm of context’ to denote the
role of the artist as observer. Thus, a number of constructions concerning
dialectic appropriation exist.

The characteristic theme of Prinn’s[8] critique of
precultural objectivism is the difference between consciousness and society. It
could be said that any number of dematerialisms concerning not narrative, but
subnarrative may be revealed.
4. Consensuses of dialectic

In the works of Joyce, a predominant concept is the distinction between
opening and closing. Derrida uses the term ‘precultural Marxism’ to denote a
self-sufficient totality. Therefore, the main theme of the works of Joyce is
the role of the writer as poet.

If one examines dialectic appropriation, one is faced with a choice: either
reject precultural Marxism or conclude that narrativity may be used to
marginalize the proletariat. Lyotard uses the term ‘dialectic appropriation’ to
denote the defining characteristic, and eventually the rubicon, of
constructivist sexual identity. In a sense, the example of precultural Marxism
intrinsic to Joyce’s Finnegan’s Wake is also evident in
Dubliners.

The subject is interpolated into a neodialectic paradigm of reality that
includes culture as a paradox. But many discourses concerning modernism exist.

Baudrillard promotes the use of textual precapitalist theory to analyse and
read society. In a sense, the characteristic theme of la Fournier’s[9] analysis of dialectic appropriation is not narrative, as
Foucault would have it, but postnarrative.

If modernism holds, we have to choose between prepatriarchial Marxism and
Marxist capitalism. Thus, Sontag suggests the use of precultural Marxism to
challenge sexism.

1. Long, Q. (1996) Dialectic
appropriation and modernism. Loompanics

2. d’Erlette, G. C. ed. (1975) Subdialectic Theories:
Dialectic appropriation in the works of Joyce. University of Illinois
Press

3. Bailey, R. (1981) Modernism and dialectic
appropriation. Cambridge University Press

4. de Selby, Z. I. ed. (1977) The Meaninglessness of
Sexual identity: Dialectic appropriation and modernism. Panic Button
Books

5. Abian, Q. F. O. (1984) Modernism in the works of
McLaren. Schlangekraft

6. Prinn, K. ed. (1990) The Expression of Paradigm:
Modernism and dialectic appropriation. And/Or Press

7. Pickett, I. G. I. (1978) Marxism, capitalist feminism
and modernism. Panic Button Books

8. Prinn, H. N. ed. (1999) The Genre of Reality: Dialectic
appropriation and modernism. Harvard University Press

9. la Fournier, E. (1971) Modernism and dialectic
appropriation. 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.
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 20,133,094 essays since 25/Feb/2000 18:43:09 PST, when it became operational.

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“.

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, where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.