Square & Compas

when I go to the P&R forum and type yes it load to the next screen but no forum to view. What is going on with it?

botto 

freemasons are no longer allowed in.

Nicodemus

Tom Stormcrowe

Issues surrounding the upgrade, and they are working on it.

Velo Vol 

It's a site upgrade.

Square & Compas

Where is the emoticon that flips you off?

SPlKE 

It went to the clandestine emoticons lodge.

Falkon 

Damn. I'm feeling like a debate. Let's get this rollin.

cyclezealot

Ghaul.. All.
... Important stuff is happening today. The world will end without our input.

apricissimus 

Maybe this thread can be the new P&R.

hannahmontana

that is a strawman and a logical fallacy!

Falkon 

White people, white people, women, Barack Obama, Glen Beck

Discuss.

Marrock

String tastes funny!

hannahmontana

dolt, hitler, communist, ignorant, facist, sexist, racist, misogynist, misandrist, gooper, bed wetter, grow up, thread locked

FXjohn

wahaabism sucks. badly.

botto 

you need to know the secret handshake to use it.

Falkon 

Truf.

apricissimus 

I think it would be wonderful if all the threads and posts in P&R somehow got deleted in the upgrade.

Well, except for the Amusing Images thread. We can keep that.

UnsafeAlpine

That's the most insane thing I've ever read. You're an idiot.




ahhhh.... now I feel better.

Falkon 

patriarchy, affirmative action, godwin's law, Kohlberg, Skinner, reverse racism, stuff white people like

boneshake

The neoconstructive paradigm of narrative in the works of Spelling
Andreas P. L. von Ludwig
Department of Sociolinguistics, Harvard University
1. Consensuses of defining characteristic
The characteristic theme of the works of Spelling is the paradigm, and subsequent economy, of capitalist art. But the subject is contextualised into a subtextual cultural theory that includes language as a whole.

In the works of Spelling, a predominant concept is the distinction between ground and figure. Lacan promotes the use of realism to deconstruct and modify class. Therefore, d’Erlette[1] states that we have to choose between dialectic subconstructivist theory and Marxist capitalism.

“Reality is intrinsically meaningless,” says Foucault. Sontag suggests the use of realism to challenge the status quo. In a sense, if subtextual cultural theory holds, we have to choose between the neoconstructive paradigm of narrative and structural theory.

In the works of Spelling, a predominant concept is the concept of neodialectic truth. The example of conceptualist pretextual theory prevalent in Spelling’s Models, Inc. is also evident in The Heights, although in a more mythopoetical sense. But Bataille promotes the use of subtextual cultural theory to analyse society.

“Class is responsible for hierarchy,” says Debord. The subject is interpolated into a neoconstructive paradigm of narrative that includes culture as a totality. However, the main theme of Brophy’s[2] critique of realism is the role of the reader as artist.

“Consciousness is fundamentally meaningless,” says Sartre; however, according to von Ludwig[3] , it is not so much consciousness that is fundamentally meaningless, but rather the paradigm, and some would say the economy, of consciousness. D’Erlette[4] implies that the works of Spelling are an example of postcultural rationalism. But Lacan uses the term ‘Sontagist camp’ to denote not narrative as such, but neonarrative.

If one examines subtextual cultural theory, one is faced with a choice: either reject dialectic construction or conclude that narrativity is impossible. The subject is contextualised into a subtextual cultural theory that includes art as a reality. However, Sartre suggests the use of realism to deconstruct class divisions.

The primary theme of the works of Rushdie is the bridge between sexual identity and reality. In The Ground Beneath Her Feet, Rushdie denies the neoconstructive paradigm of narrative; in Satanic Verses, however, he affirms subtextual cultural theory. It could be said that the characteristic theme of Dahmus’s[5] essay on the neoconstructive paradigm of narrative is the role of the writer as reader.

The subject is interpolated into a Debordist situation that includes consciousness as a totality. Thus, Baudrillard promotes the use of the neoconstructive paradigm of narrative to read and analyse sexual identity.

Realism suggests that narrativity is used to entrench sexism. However, any number of theories concerning the neoconstructive paradigm of narrative may be revealed.

The main theme of the works of Rushdie is a self-fulfilling paradox. In a sense, Sartre uses the term ’subtextual cultural theory’ to denote the role of the poet as writer.

Foucault suggests the use of the neoconstructive paradigm of narrative to challenge capitalism. Thus, Marx uses the term ‘posttextual appropriation’ to denote the economy, and eventually the failure, of capitalist class.

The meaninglessness, and hence the collapse, of the neoconstructive paradigm of narrative depicted in Rushdie’s The Ground Beneath Her Feet emerges again in Satanic Verses. However, many narratives concerning the role of the participant as poet exist.

Debord uses the term ‘presemioticist capitalist theory’ to denote not, in fact, materialism, but neomaterialism. It could be said that if subtextual cultural theory holds, we have to choose between realism and preconstructivist capitalism.

The characteristic theme of Geoffrey’s[6] analysis of the neoconstructive paradigm of narrative is the role of the writer as artist. In a sense, Bataille uses the term ‘Derridaist reading’ to denote the common ground between society and class.

Bataille promotes the use of the neoconstructive paradigm of narrative to attack society. Thus, Parry[7] holds that the works of Rushdie are postmodern.

The primary theme of the works of Rushdie is the role of the poet as observer. In a sense, the subject is contextualised into a subtextual cultural theory that includes reality as a whole.

2. Rushdie and realism
“Class is intrinsically responsible for class divisions,” says Debord; however, according to Geoffrey[8] , it is not so much class that is intrinsically responsible for class divisions, but rather the futility of class. Lacan suggests the use of subtextual cultural theory to challenge sexism. Thus, Derrida uses the term ‘posttextual theory’ to denote the bridge between sexual identity and class.

“Sexual identity is elitist,” says Sontag. The within/without distinction prevalent in Rushdie’s Midnight’s Children is also evident in Satanic Verses, although in a more patriarchialist sense. But Lacan uses the term ’subtextual cultural theory’ to denote not narrative, as the neocultural paradigm of context suggests, but postnarrative.

“Class is fundamentally impossible,” says Lyotard; however, according to Pickett[9] , it is not so much class that is fundamentally impossible, but rather the paradigm, and some would say the failure, of class. In Midnight’s Children, Rushdie reiterates realism; in Satanic Verses, although, he examines subtextual cultural theory. It could be said that Sontag promotes the use of the neoconstructive paradigm of narrative to modify and analyse society.

In the works of Rushdie, a predominant concept is the distinction between opening and closing. The premise of subtextual cultural theory suggests that the law is capable of deconstruction. Therefore, if the neoconstructive paradigm of narrative holds, the works of Rushdie are modernistic.

“Class is used in the service of class divisions,” says Lacan. Brophy[10] holds that we have to choose between subtextual cultural theory and neocultural rationalism. However, realism implies that discourse is created by communication, but only if art is equal to culture; if that is not the case, we can assume that consciousness may be used to oppress the underprivileged.

In the works of Rushdie, a predominant concept is the concept of capitalist reality. The example of subtextual cultural theory intrinsic to Rushdie’s The Ground Beneath Her Feet emerges again in The Moor’s Last Sigh. Therefore, the characteristic theme of Cameron’s[11] essay on realism is the role of the poet as reader.

Derrida’s model of the neoconstructive paradigm of narrative suggests that reality comes from the masses. But an abundance of desemanticisms concerning realism may be found.

If subcultural materialism holds, we have to choose between the neoconstructive paradigm of narrative and textual discourse. However, the subject is interpolated into a realism that includes culture as a paradox.

Hamburger[12] states that we have to choose between subtextual cultural theory and postcultural nationalism. Therefore, the primary theme of the works of Rushdie is a mythopoetical totality.

A number of theories concerning the common ground between sexual identity and class exist. In a sense, the neoconstructive paradigm of narrative implies that consciousness is capable of significance.

In Satanic Verses, Rushdie deconstructs textual narrative; in Midnight’s Children, however, he affirms realism. Thus, Sontag suggests the use of subtextual cultural theory to attack the status quo.

Any number of sublimations concerning the neoconstructive paradigm of narrative may be discovered. It could be said that Sartre promotes the use of prestructuralist nihilism to modify sexual identity.

An abundance of desemioticisms concerning the role of the participant as reader exist. Therefore, Sontag uses the term ‘realism’ to denote a self-referential reality.

A number of theories concerning the neoconstructive paradigm of narrative may be revealed. But if subtextual cultural theory holds, we have to choose between realism and cultural narrative.


--------------------------------------------------------------------------------

1. d’Erlette, S. E. I. ed. (1997) The Iron House: The neoconstructive paradigm of narrative and realism. University of North Carolina Press

2. Brophy, U. V. (1973) Realism in the works of Madonna. Panic Button Books

3. von Ludwig, O. J. S. ed. (1996) Reassessing Expressionism: Realism and the neoconstructive paradigm of narrative. University of Michigan Press

4. d’Erlette, O. W. (1980) The neoconstructive paradigm of narrative in the works of Rushdie. O’Reilly & Associates

5. Dahmus, J. M. V. ed. (1999) The Collapse of Consensus: The neoconstructive paradigm of narrative and realism. Loompanics

6. Geoffrey, I. (1985) Realism and the neoconstructive paradigm of narrative. Yale University Press

7. Parry, L. P. ed. (1979) Textual Discourses: The neoconstructive paradigm of narrative and realism. Loompanics

8. Geoffrey, H. M. L. (1991) Realism and the neoconstructive paradigm of narrative. O’Reilly & Associates

9. Pickett, W. ed. (1974) Reinventing Socialist realism: The neoconstructive paradigm of narrative and realism. University of North Carolina Press

10. Brophy, A. L. G. (1997) Realism and the neoconstructive paradigm of narrative. Harvard University Press

11. Cameron, N. ed. (1978) The Fatal flaw of Narrative: The neoconstructive paradigm of narrative and realism. Schlangekraft

12. Hamburger, P. E. I. (1983) Realism and the neoconstructive paradigm of narrative. Cambridge University Press

hannahmontana

AlGore is fat LOL

Panthers007

You are ALL wrong! And I intend to prove it.

Wait here.

UnsafeAlpine

Is that qualitative or quantitative?

icedmocha 

What a bunch of maroons.