h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

The primary theme of my essay on postcapitalist theory is not narrative, but neonarrative. If textual subconceptual theory holds, we have to choose between cultural rationalism and postdialectic theory. In a sense, the subject is interpolated into a textual subconceptual theory that includes truth as a reality.

For instance, in the works of Gibson, a predominant concept is the distinction between without and within. The creation/destruction distinction intrinsic to Gibson’s All Tomorrow’s Parties is also evident in Virtual Light, although in a more mythopoetical sense. But Foucault uses the term ‘modernism’ to denote a capitalist totality.

If one examines neotextual socialism, one is faced with a choice: either accept modernism or conclude that the goal of the reader is significant form. The characteristic theme of the works of Gibson is the role of the observer as poet. Therefore, Marx uses the term ‘cultural narrative’ to denote the bridge between society and culture.

In the works of Gibson, a predominant concept is the concept of capitalist narrativity. The primary theme of McElwaine’s critique of textual subconceptual theory is not narrative as such, but prenarrative. Thus, in All Tomorrow’s Parties, Gibson denies modernism; in Count Zero he affirms textual subconceptual theory.

The main theme of the works of Korzybski is the common ground between sexual identity and society. The characteristic theme of Spelling’s model of cultural narrative is the role of the reader as artist. In a sense, the subject is contextualised into a textual subconceptual theory that includes consciousness as a paradox.

An abundance of materialisms concerning modernism exist. Thus, cultural narrative states that sexuality may be used to reinforce outmoded perceptions of sexual identity, given that the premise of modernism is valid.

Many theories concerning not, in fact, deconceptualism, but neodeconceptualism may be discovered. Therefore, Drucker holds that we have to choose between cultural narrative and cultural nihilism.

The primary theme of the works of Spelling is the stasis, and eventually the futility, of precapitalist society. But Baudrillard uses the term ‘modernism’ to denote the difference between sexual identity and culture.

Sartre’s essay on cultural narrative states that the law is capable of truth. However, Derrida uses the term ‘the cultural paradigm of narrative’ to denote a mythopoetical totality.

The paradigm of cultural narrative depicted in Spelling’s The Heights emerges again in Charmed. But modernism suggests that consciousness is fundamentally dead, but only if culture is equal to narrativity.

If cultural narrative holds, we have to choose between textual subconceptual theory and subtextual narrative. Thus, Humphrey holds that the works of Spelling are not postmodern, but tending toward non-Aristotilianism.

But perhaps this notion is too anti-discordian to fit in with the post-modern perception of post-capitalistic chaos theory

I think that you have missed a whole squad of modernists in your discussion of Spelling, not to mention the Angelae Caroli.

Well, I find your tone quite insulting, and I'm now conflicted between flouncing off or merely pouting.


I may be on Mars soon; it is quite likely what I will have to do if I am denied a brain transplant and Latvia and an ox-cart seems less palatable


But first...

http://www.elsewhere.org/pomo/

Also -- http://trecento.com/misc/new_musicology.pl

I remember (vaguely) when I was a graduate student as the "theorists" were taking over literary studies. What a nightmare!

Actually, I had an article rejected once, a bit of a rambling CompLit appreciation of some Old English poem in relation to Arnold's Dover Beech. One reviewer's comment began with "This is a shockingly under-theorized paper . . ."

At that moment I knew it was time for me to leave.


End with a totally irrelevant song: http://www.youtube.com/watch?v=EeecRrhnCZk&feature=related