The precultural paradigm of discourse in the works of Rushdie

W. Henry McElwaine Department of Gender Politics, University of North Carolina

1. Structural discourse and subtextual appropriation

Sexual identity is part of the failure of art, says Derrida. But the subject is interpolated into a precultural paradigm of discourse that includes reality as a whole. Von Junz[1] implies that the works of Rushdie are modernistic.

However, the main theme of Tiltons[2] model of pretextual capitalism is the economy, and subsequent absurdity, of capitalist society. Foucault suggests the use of subtextual appropriation to analyse and deconstruct art.

Therefore, the subject is contextualised into a precultural paradigm of discourse that includes sexuality as a reality. If pretextual capitalism holds, we have to choose between the precultural paradigm of expression and semiotic rationalism.

It could be said that Debord promotes the use of pretextual capitalism to challenge sexism. Several theories concerning the neodialectic paradigm of discourse exist.

2. Narratives of futility

If one examines subtextual appropriation, one is faced with a choice: either accept pretextual capitalism or conclude that reality is fundamentally elitist. But subtextual appropriation suggests that art may be used to disempower the underprivileged. Marx uses the term constructive subtextual theory to denote a self-sufficient totality.

In the works of Rushdie, a predominant concept is the concept of cultural truth. Therefore, Derrida suggests the use of the precultural paradigm of discourse to modify society. De Selby[3] holds that we have to choose between pretextual capitalism and Baudrillardist simulacra.

It could be said that the primary theme of the works of Madonna is not, in fact, construction, but preconstruction. Sontag uses the term postmaterial socialism to denote the common ground between sexuality and sexual identity.

Therefore, the main theme of Hubbards[4] critique of the precultural paradigm of discourse is a mythopoetical reality. The without/within distinction which is a central theme of Madonnas Erotica is also evident in Material Girl.

But the subject is interpolated into a subtextual appropriation that includes art as a whole. Sontag promotes the use of pretextual capitalism to attack archaic, sexist perceptions of society.

1. von Junz, J. N. H. (1974) Forgetting Sartre: The precultural paradigm of discourse and pretextual capitalism. Yale University Press

2. Tilton, F. ed. (1993) Pretextual capitalism and the precultural paradigm of discourse. Harvard University Press

3. de Selby, Q. J. (1976) The Discourse of Dialectic: Pretextual capitalism in the works of Madonna. Loompanics

4. Hubbard, P. ed. (1990) The precultural paradigm of discourse and pretextual capitalism. And/Or Press

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 9665070 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. An on-line copy is available from Monash University.

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 Sokals brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.