Ever wonder what that illusive postmodernism is about? Sorry, but this post will not be helpful in figuring that out.
I found this website that generates meaningless essays with a postmodernistic twist. I generated the following bollocks (please note references are for real and the grammar is flawless!):
The Meaninglessness of Reality: Modernism in the works of Rushdie
Jane A. Finnis Department of Gender Politics, Massachusetts Institute of Technology
Catherine la Tournier Department of English, Stanford University
1. Narratives of economy
In the works of Rushdie, a predominant concept is the distinction between masculine and feminine. Marx uses the term ‘modernism’ to denote not narrative, as Debordist situation suggests, but neonarrative. However, any number of materialisms concerning a mythopoetical whole exist. If subtextual nationalism holds, the works of Rushdie are modernistic. Therefore, Sontag’s critique of conceptual neocultural theory implies that art has significance. The main theme of Long’s analysis of Debordist situation is the collapse, and some would say the paradigm, of modern society. However, the subject is interpolated into a modernism that includes truth as a reality. Many discourses concerning Debordist situation may be found.
2. Subtextual nationalism and predialectic theory
The characteristic theme of the works of Smith is not, in fact, construction, but neoconstruction. It could be said that the rubicon, and therefore the defining characteristic, of predialectic theory which is a central theme of Smith’s Clerks emerges again in Mallrats, although in a more capitalist sense. The subject is contextualised into a modernism that includes culture as a totality. However, Lacan uses the term ’subtextual nationalism’ to denote the collapse, and some would say the economy, of predeconstructive sexual identity. Derrida promotes the use of modernism to deconstruct and analyse society. In a sense, the subject is interpolated into a predialectic theory that includes sexuality as a reality. Dahmus holds that we have to choose between neomaterial dialectic theory and subcapitalist discourse.
3. Consensuses of dialectic
“Culture is meaningless,” says Sontag; however, according to Porter , it is not so much culture that is meaningless, but rather the economy, and eventually the futility, of culture. However, in Dogma, Smith affirms subtextual nationalism; in Mallrats, however, he denies modernism. The subject is contextualised into a deconstructivist theory that includes consciousness as a paradox. In a sense, Lyotard suggests the use of modernism to attack colonialist perceptions of class. If premodern textual theory holds, we have to choose between modernism and subcapitalist structuralism. But Bataille uses the term ‘predialectic theory’ to denote a self-sufficient whole. Pickett states that we have to choose between modernism and the textual paradigm of discourse. Thus, the subject is interpolated into a subtextual nationalism that includes art as a totality. The primary theme of Pickett’s essay on Sontagist camp is not theory, but posttheory.
1. Long, N. V. ed. (1991) Subtextual nationalism in the works of Smith. University of California Press
2. Dahmus, G. (1976) Expressions of Genre: Subtextual nationalism and modernism. University of Massachusetts Press
3. Porter, Y. Q. G. ed. (1993) Modernism in the works of Cage. Harvard University Press
4. Pickett, B. (1977) The Forgotten Sea: Subtextual nationalism in the works of Joyce. Oxford University Press
5. Pickett, V. P. C. ed. (1984) Capitalism, modernism and precapitalist Marxism. O’Reilly & Associates