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Agnes C. B. Geoffrey
/Department of Peace Studies, Cambridge University/
David Sargeant
/Department of Semiotics, Oxford University/
2. Narratives of dialectic
Sexual identity is part of the absurdity of narrativity, says Bataille;
however, according to Wilson[4] <#fn4> , it is not so much sexual
identity that is part of the absurdity of narrativity, but rather the
defining
characteristic, and some would say the meaninglessness, of sexual identity.
Sartre uses the term patriarchialist deconstruction to denote the bridge
between class and society. Therefore, a number of theories concerning
constructivist discourse exist.
The primary theme of the works of Eco is not theory, but subtheory. In
/Foucaults Pendulum/, Eco denies dialectic theory; in /The Name of the
Rose/ he reiterates patriarchialist deconstruction. However, if the
capitalist paradigm of expression holds, we have to choose between
neocultural
appropriation and dialectic discourse.
If one examines patriarchialist deconstruction, one is faced with a choice:
either reject dialectic theory or conclude that consciousness is used in the
service of the status quo, but only if the premise of the capitalist
paradigm
of expression is invalid; if that is not the case, Lacans model of the
precapitalist paradigm of discourse is one of textual rationalism, and
therefore intrinsically a legal fiction. The subject is contextualised
into a
dialectic theory that includes art as a reality. It could be said that many
narratives concerning a self-sufficient totality may be revealed.
The main theme of Longs[5] <#fn5> essay on patriarchial
feminism is the economy, and hence the rubicon, of subcapitalist class. The
subject is interpolated into a dialectic theory that includes culture as a
whole. However, Lacan uses the term Baudrillardist simulacra to denote
not,
in fact, narrative, but neonarrative.
The subject is contextualised into a capitalist paradigm of expression that
includes language as a paradox. Therefore, Marx uses the term semioticist
Marxism to denote the collapse, and eventually the genre, of precultural
sexual identity.
The subject is interpolated into a dialectic theory that includes truth as a
whole. In a sense, a number of situationisms concerning Derridaist reading
exist.
Baudrillard uses the term dialectic theory to denote the role of the
participant as artist. It could be said that Wilson[6] <#fn6>
suggests that we have to choose between Debordist image and
subdeconstructivist
theory.
If dialectic theory holds, the works of Eco are an example of mythopoetical
capitalism. Thus, Lyotard suggests the use of patriarchialist
deconstruction to
attack and analyse language.
The subject is contextualised into a dialectic theory that includes
narrativity as a totality. But many narratives concerning not
desituationism,
as Debord would have it, but postdesituationism may be found.
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If you enjoy this, you might also enjoy reading about the /Social Text/
Affair <http://www.physics.nyu.edu/faculty/sokal/>, where NYU Physics
Professor Alan Sokals brilliant(ly meaningless) hoax article was
accepted by a cultural criticism publication.
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