The off-topic topic
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Obviousman
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Isn't this rather useless as every HL topic goes off-topic anyway? 
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Badlander
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This must be some kind of postmodern joke.Obviousman wrote:Isn't this rather useless as every HL topic goes off-topic anyway?
I'd end this moment to be with you
Through morphic oceans I'd lay here with you
Through morphic oceans I'd lay here with you
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eastmidswhizzkid
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to get to the other side.
Well I was handsome and I was strong
And I knew the words to every song.
"Did my singing please you?"
"No! The words you sang were wrong!"
And I knew the words to every song.
"Did my singing please you?"
"No! The words you sang were wrong!"
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markfiend
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Foucaultist power relations and modernism
Wilhelm K. I. Long
Department of English, University of California
Henry Parry
Department of Literature, University of Massachusetts, Amherst
1. Spelling and modernism
“Sexuality is part of the dialectic of language,� says Derrida. However, if Foucaultist power relations holds, we have to choose between modernism and textual submodern theory. Sontag suggests the use of Foucaultist power relations to deconstruct elitist perceptions of class.
The primary theme of the works of Spelling is the role of the artist as reader. But modernism suggests that the Constitution is used in the service of sexism. Bataille uses the term ‘Foucaultist power relations’ to denote the common ground between sexual identity and society.
Thus, many narratives concerning the rubicon of cultural class exist. La Tournier[1] states that we have to choose between predialectic cultural theory and neoconceptualist libertarianism.
In a sense, the subject is contextualised into a Foucaultist power relations that includes consciousness as a totality. If dialectic destructuralism holds, the works of Spelling are not postmodern.
It could be said that Buxton[2] implies that we have to choose between predialectic cultural theory and textual postcultural theory. Lacan uses the term ‘the material paradigm of reality’ to denote a neotextual paradox.
2. Expressions of absurdity
If one examines modernism, one is faced with a choice: either reject predialectic cultural theory or conclude that language serves to reinforce the status quo. In a sense, in Robin’s Hoods, Spelling examines capitalist sublimation; in Melrose Place he affirms Foucaultist power relations. Bataille uses the term ‘predialectic cultural theory’ to denote the rubicon, and subsequent meaninglessness, of subdialectic consciousness.
Therefore, if structuralist deappropriation holds, we have to choose between modernism and the neotextual paradigm of narrative. The characteristic theme of Hamburger’s[3] analysis of dialectic premodern theory is not theory, as predialectic cultural theory suggests, but subtheory.
But Debord promotes the use of textual desublimation to attack class. A number of materialisms concerning predialectic cultural theory may be revealed.
However, Sontag suggests the use of Foucaultist power relations to challenge class divisions. The primary theme of the works of Tarantino is the role of the artist as participant.
3. Tarantino and postconceptualist capitalism
The main theme of Humphrey’s[4] model of predialectic cultural theory is a self-justifying whole. But the subject is interpolated into a Lacanist obscurity that includes culture as a reality. Lyotard uses the term ‘Foucaultist power relations’ to denote not deappropriation, but predeappropriation.
“Sexual identity is fundamentally dead,� says Baudrillard. It could be said that the subject is contextualised into a constructive feminism that includes consciousness as a whole. Hanfkopf[5] states that we have to choose between predialectic cultural theory and subdialectic theory.
In the works of Burroughs, a predominant concept is the concept of materialist art. Thus, Sartre promotes the use of modernism to modify and deconstruct class. If predialectic socialism holds, we have to choose between Foucaultist power relations and modern structuralism.
“Sexual identity is unattainable,� says Derrida. In a sense, Debord’s critique of predialectic cultural theory suggests that consensus comes from the masses, given that culture is distinct from reality. Porter[6] states that we have to choose between Derridaist reading and cultural narrative.
It could be said that the characteristic theme of the works of Burroughs is a postdialectic reality. Any number of theories concerning the role of the observer as writer exist.
Therefore, the subject is interpolated into a predialectic cultural theory that includes narrativity as a whole. The main theme of Werther’s[7] model of the cultural paradigm of context is not discourse, as Lacan would have it, but neodiscourse.
However, Baudrillard uses the term ‘predialectic cultural theory’ to denote the difference between sexual identity and society. Foucault suggests the use of Baudrillardist simulacra to attack archaic, sexist perceptions of sexual identity.
But if predialectic cultural theory holds, the works of Burroughs are empowering. Many desublimations concerning subcapitalist libertarianism may be found.
In a sense, the premise of modernism suggests that language is part of the fatal flaw of art. An abundance of theories concerning the rubicon of modern society exist.
4. Predialectic cultural theory and Sontagist camp
The primary theme of the works of Burroughs is the role of the poet as observer. However, the subject is contextualised into a modernism that includes sexuality as a paradox. Bataille promotes the use of Foucaultist power relations to modify class.
If one examines modernism, one is faced with a choice: either accept Foucaultist power relations or conclude that the collective is capable of intention, but only if Sontagist camp is invalid. Therefore, the subject is interpolated into a neotextual objectivism that includes narrativity as a whole. Parry[8] states that we have to choose between Sontagist camp and poststructuralist deappropriation.
But the premise of modernism suggests that society has significance. The main theme of Cameron’s[9] critique of Sontagist camp is not, in fact, narrative, but neonarrative.
However, many theories concerning dialectic rationalism may be discovered. The example of Foucaultist power relations intrinsic to Fellini’s 8 1/2 emerges again in La Dolce Vita, although in a more mythopoetical sense.
It could be said that Sontagist camp states that reality is capable of truth, given that sexuality is equal to art. Bataille uses the term ‘Foucaultist power relations’ to denote the role of the writer as observer.
Thus, Baudrillard suggests the use of modernism to deconstruct hierarchy. An abundance of materialisms concerning not narrative per se, but subnarrative exist.
1. la Tournier, B. P. B. (1982) Postmaterial Theories: Nihilism, modernism and capitalist libertarianism. University of Oregon Press
2. Buxton, D. ed. (1997) Modernism and Foucaultist power relations. University of California Press
3. Hamburger, V. J. M. (1981) Consensuses of Dialectic: Foucaultist power relations in the works of Tarantino. Yale University Press
4. Humphrey, W. E. ed. (1996) Modernism in the works of Burroughs. University of Massachusetts Press
5. Hanfkopf, K. E. S. (1983) The Rubicon of Expression: Modernism in the works of Koons. And/Or Press
6. Porter, O. T. ed. (1995) Modernism, nihilism and neocapitalist theory. O’Reilly & Associates
7. Werther, O. J. Z. (1976) The Collapse of Society: Modernism in the works of Fellini. And/Or Press
8. Parry, S. ed. (1983) Foucaultist power relations and modernism. University of Michigan Press
9. Cameron, N. H. F. (1977) The Broken Door: Modernism in the works of Fellini. Loompanics
The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link.
Wilhelm K. I. Long
Department of English, University of California
Henry Parry
Department of Literature, University of Massachusetts, Amherst
1. Spelling and modernism
“Sexuality is part of the dialectic of language,� says Derrida. However, if Foucaultist power relations holds, we have to choose between modernism and textual submodern theory. Sontag suggests the use of Foucaultist power relations to deconstruct elitist perceptions of class.
The primary theme of the works of Spelling is the role of the artist as reader. But modernism suggests that the Constitution is used in the service of sexism. Bataille uses the term ‘Foucaultist power relations’ to denote the common ground between sexual identity and society.
Thus, many narratives concerning the rubicon of cultural class exist. La Tournier[1] states that we have to choose between predialectic cultural theory and neoconceptualist libertarianism.
In a sense, the subject is contextualised into a Foucaultist power relations that includes consciousness as a totality. If dialectic destructuralism holds, the works of Spelling are not postmodern.
It could be said that Buxton[2] implies that we have to choose between predialectic cultural theory and textual postcultural theory. Lacan uses the term ‘the material paradigm of reality’ to denote a neotextual paradox.
2. Expressions of absurdity
If one examines modernism, one is faced with a choice: either reject predialectic cultural theory or conclude that language serves to reinforce the status quo. In a sense, in Robin’s Hoods, Spelling examines capitalist sublimation; in Melrose Place he affirms Foucaultist power relations. Bataille uses the term ‘predialectic cultural theory’ to denote the rubicon, and subsequent meaninglessness, of subdialectic consciousness.
Therefore, if structuralist deappropriation holds, we have to choose between modernism and the neotextual paradigm of narrative. The characteristic theme of Hamburger’s[3] analysis of dialectic premodern theory is not theory, as predialectic cultural theory suggests, but subtheory.
But Debord promotes the use of textual desublimation to attack class. A number of materialisms concerning predialectic cultural theory may be revealed.
However, Sontag suggests the use of Foucaultist power relations to challenge class divisions. The primary theme of the works of Tarantino is the role of the artist as participant.
3. Tarantino and postconceptualist capitalism
The main theme of Humphrey’s[4] model of predialectic cultural theory is a self-justifying whole. But the subject is interpolated into a Lacanist obscurity that includes culture as a reality. Lyotard uses the term ‘Foucaultist power relations’ to denote not deappropriation, but predeappropriation.
“Sexual identity is fundamentally dead,� says Baudrillard. It could be said that the subject is contextualised into a constructive feminism that includes consciousness as a whole. Hanfkopf[5] states that we have to choose between predialectic cultural theory and subdialectic theory.
In the works of Burroughs, a predominant concept is the concept of materialist art. Thus, Sartre promotes the use of modernism to modify and deconstruct class. If predialectic socialism holds, we have to choose between Foucaultist power relations and modern structuralism.
“Sexual identity is unattainable,� says Derrida. In a sense, Debord’s critique of predialectic cultural theory suggests that consensus comes from the masses, given that culture is distinct from reality. Porter[6] states that we have to choose between Derridaist reading and cultural narrative.
It could be said that the characteristic theme of the works of Burroughs is a postdialectic reality. Any number of theories concerning the role of the observer as writer exist.
Therefore, the subject is interpolated into a predialectic cultural theory that includes narrativity as a whole. The main theme of Werther’s[7] model of the cultural paradigm of context is not discourse, as Lacan would have it, but neodiscourse.
However, Baudrillard uses the term ‘predialectic cultural theory’ to denote the difference between sexual identity and society. Foucault suggests the use of Baudrillardist simulacra to attack archaic, sexist perceptions of sexual identity.
But if predialectic cultural theory holds, the works of Burroughs are empowering. Many desublimations concerning subcapitalist libertarianism may be found.
In a sense, the premise of modernism suggests that language is part of the fatal flaw of art. An abundance of theories concerning the rubicon of modern society exist.
4. Predialectic cultural theory and Sontagist camp
The primary theme of the works of Burroughs is the role of the poet as observer. However, the subject is contextualised into a modernism that includes sexuality as a paradox. Bataille promotes the use of Foucaultist power relations to modify class.
If one examines modernism, one is faced with a choice: either accept Foucaultist power relations or conclude that the collective is capable of intention, but only if Sontagist camp is invalid. Therefore, the subject is interpolated into a neotextual objectivism that includes narrativity as a whole. Parry[8] states that we have to choose between Sontagist camp and poststructuralist deappropriation.
But the premise of modernism suggests that society has significance. The main theme of Cameron’s[9] critique of Sontagist camp is not, in fact, narrative, but neonarrative.
However, many theories concerning dialectic rationalism may be discovered. The example of Foucaultist power relations intrinsic to Fellini’s 8 1/2 emerges again in La Dolce Vita, although in a more mythopoetical sense.
It could be said that Sontagist camp states that reality is capable of truth, given that sexuality is equal to art. Bataille uses the term ‘Foucaultist power relations’ to denote the role of the writer as observer.
Thus, Baudrillard suggests the use of modernism to deconstruct hierarchy. An abundance of materialisms concerning not narrative per se, but subnarrative exist.
1. la Tournier, B. P. B. (1982) Postmaterial Theories: Nihilism, modernism and capitalist libertarianism. University of Oregon Press
2. Buxton, D. ed. (1997) Modernism and Foucaultist power relations. University of California Press
3. Hamburger, V. J. M. (1981) Consensuses of Dialectic: Foucaultist power relations in the works of Tarantino. Yale University Press
4. Humphrey, W. E. ed. (1996) Modernism in the works of Burroughs. University of Massachusetts Press
5. Hanfkopf, K. E. S. (1983) The Rubicon of Expression: Modernism in the works of Koons. And/Or Press
6. Porter, O. T. ed. (1995) Modernism, nihilism and neocapitalist theory. O’Reilly & Associates
7. Werther, O. J. Z. (1976) The Collapse of Society: Modernism in the works of Fellini. And/Or Press
8. Parry, S. ed. (1983) Foucaultist power relations and modernism. University of Michigan Press
9. Cameron, N. H. F. (1977) The Broken Door: Modernism in the works of Fellini. Loompanics
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 fundamental cause of the trouble is that in the modern world the stupid are cocksure while the intelligent are full of doubt.
—Bertrand Russell
—Bertrand Russell
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James Blast
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It's alive! It's alive! It's alive!
"And when you start to think about death, you start to think about what's after it. And then you start hoping there is a God. For me, it's a frightening thought to go nowhere".
~ Peter Steele
~ Peter Steele
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9while9
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James Blast wrote:It's alive! It's alive! It's alive!
"An artist is a creature driven by demons. He doesn't know why they choose him and he's usually too busy to wonder why." - William Faulkner
-Me, I'm inspired by my DarkAngel.
-Me, I'm inspired by my DarkAngel.
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Brideoffrankenstein
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eotunun wrote:<- Yup! I hear my master call?James Blast wrote:It's alive! It's alive! It's alive!
What about me?
Do I serve a mistress?Brideoffrankenstein wrote:eotunun wrote:<- Yup! I hear my master call?James Blast wrote:It's alive! It's alive! It's alive!
What about me?
"These are my principles! And if you don't like the just says so, I have others, too!"
~Rufus T. Firefly
~Rufus T. Firefly
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Brideoffrankenstein
- Overbomber
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eotunun wrote:Do I serve a mistress?Brideoffrankenstein wrote:eotunun wrote: <- Yup! I hear my master call?
What about me?
Brideoffrankenstein wrote:eotunun wrote:Do I serve a mistress?Brideoffrankenstein wrote:
What about me?
Can I get you any fresh brains or macinery for your secret lab? "These are my principles! And if you don't like the just says so, I have others, too!"
~Rufus T. Firefly
~Rufus T. Firefly
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canon docre
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HL dating agency strikes again. Good catch, eotunun.
Put their heads on f*cking pikes in front of the venue for all I care.
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James Blast
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this has all gone horrendously on-topic 
"And when you start to think about death, you start to think about what's after it. And then you start hoping there is a God. For me, it's a frightening thought to go nowhere".
~ Peter Steele
~ Peter Steele
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paint it black
- Black, black, black & even blacker
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wtf is 'backboard' it's been annoying me for days, well not as much as reading that everyone's a fud, but still..eotunun wrote:She hasn´t seen a photo of me yet. My avatar looks good..
Because you think that poor is cool.
Goths have feelings too
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weebleswobble
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A Fud?paint it black wrote: wtf is 'backboard' it's been annoying me for days, well not as much as reading that everyone's a fud, but still..
On this site??
With it's reputation???
‎"We will wear some very loud shirts. We will wear some very wrong trousers."
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James Blast
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shrimper
"And when you start to think about death, you start to think about what's after it. And then you start hoping there is a God. For me, it's a frightening thought to go nowhere".
~ Peter Steele
~ Peter Steele
Um-That is, errr, well,paint it black wrote: wtf is 'backboard' it's been annoying me for days,
actually it is an error in translation..Thanks for notifying, I was sure it was correct..
Actually the german nautical term Backbord means port in english, while Starboard is Steuerbord in german.. I got it as wrong as it was possible to do. Boy, I feel silly now.
Edit: Is that better now?
"These are my principles! And if you don't like the just says so, I have others, too!"
~Rufus T. Firefly
~Rufus T. Firefly
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James Blast
- Banned
- Posts: 24699
- Joined: 11 Jun 2003, 18:58
- Location: back from some place else
rotary?eotunun wrote:Is that better now?
"And when you start to think about death, you start to think about what's after it. And then you start hoping there is a God. For me, it's a frightening thought to go nowhere".
~ Peter Steele
~ Peter Steele