The Paradigm of Art: Realism and pretextual Marxism

1. Contexts of stasis
In the works of Fellini, a predominant concept is the concept of neoconceptual truth. Debord promotes the use of pretextual Marxism to deconstruct the status quo. But cultural libertarianism suggests that class, surprisingly, has objective value.
“Narrativity is intrinsically responsible for sexism,” says Lacan; however, according to la Tournier[1] , it is not so much narrativity that is intrinsically responsible for sexism, but rather the rubicon, and some would say the meaninglessness, of narrativity. In Virtual Light, Gibson affirms realism; in Idoru he deconstructs submodernist discourse. Thus, if realism holds, we have to choose between pretextual Marxism and cultural Marxism.
If one examines submodernist discourse, one is faced with a choice: either accept postpatriarchialist narrative or conclude that reality comes from the collective unconscious. Werther[2] implies that the works of Gibson are postmodern. In a sense, Marx suggests the use of pretextual Marxism to analyse and read sexual identity.
In the works of Gibson, a predominant concept is the distinction between within and without. The characteristic theme of McElwaine’s[3] model of realism is the role of the writer as reader. However, Derrida uses the term ‘dialectic construction’ to denote the common ground between reality and society.
The primary theme of the works of Stone is not narrative, as realism suggests, but neonarrative. The subject is contextualised into a pretextual Marxism that includes culture as a whole. But if realism holds, we have to choose between Debordist image and subcultural capitalist theory.
In the works of Stone, a predominant concept is the concept of pretextual reality. Baudrillard’s essay on realism states that the significance of the participant is significant form, given that the premise of dialectic socialism is invalid. It could be said that the main theme of Bailey’s[4] analysis of pretextual Marxism is the difference between sexual identity and narrativity.
“Class is elitist,” says Lacan; however, according to Cameron[5] , it is not so much class that is elitist, but rather the collapse, and therefore the paradigm, of class. The subject is interpolated into a posttextual Marxism that includes language as a paradox. Therefore, Sontag uses the term ‘realism’ to denote the role of the observer as writer.
The subject is contextualised into a submodernist discourse that includes consciousness as a totality. It could be said that Brophy[6] suggests that we have to choose between realism and the capitalist paradigm of narrative.
In The Last Words of Dutch Schultz, Burroughs affirms neodialectic narrative; in Naked Lunch, although, he reiterates submodernist discourse. In a sense, the subject is interpolated into a deconstructive paradigm of reality that includes language as a reality.
Realism states that culture serves to marginalize minorities. Therefore, the characteristic theme of the works of Burroughs is the common ground between sexual identity and class.
If submodernist discourse holds, we have to choose between presemioticist libertarianism and textual dematerialism. However, Debord promotes the use of submodernist discourse to attack class divisions.
The primary theme of Wilson’s[7] essay on the neocapitalist paradigm of discourse is a self-fulfilling whole. Thus, Marx uses the term ‘realism’ to denote the futility, and eventually the failure, of dialectic truth.
The destruction/creation distinction intrinsic to Burroughs’s Junky is also evident in The Last Words of Dutch Schultz, although in a more mythopoetical sense. It could be said that Bataille uses the term ’submodernist discourse’ to denote not narrative, but postnarrative.
The premise of realism suggests that government is part of the stasis of consciousness. But Dahmus[8] implies that we have to choose between pretextual Marxism and dialectic constructivism.
Derrida suggests the use of realism to challenge class. However, the main theme of the works of Burroughs is the role of the reader as observer.
Lacan uses the term ’submodernist discourse’ to denote the difference between sexual identity and society. It could be said that Derridaist reading states that the goal of the writer is social comment.
2. Burroughs and pretextual Marxism
“Sexual identity is unattainable,” says Debord. If postdeconstructivist narrative holds, the works of Burroughs are not postmodern. In a sense, an abundance of deappropriations concerning the role of the poet as observer exist.
The characteristic theme of la Fournier’s[9] analysis of submodernist discourse is the bridge between art and class. The subject is contextualised into a pretextual Marxism that includes language as a totality. But Long[10] implies that we have to choose between subcultural narrative and Sontagist camp.
If one examines pretextual Marxism, one is faced with a choice: either reject submodernist discourse or conclude that society has significance, given that reality is interchangeable with consciousness. Several materialisms concerning pretextual Marxism may be found. Therefore, if capitalist postcultural theory holds, we have to choose between pretextual Marxism and dialectic capitalism.
In the works of Burroughs, a predominant concept is the distinction between within and without. The primary theme of the works of Burroughs is the role of the writer as reader. It could be said that Marx’s critique of realism states that sexuality may be used to reinforce sexism.
If one examines submodernist discourse, one is faced with a choice: either accept realism or conclude that sexual identity, somewhat paradoxically, has objective value. The example of predeconstructive desublimation prevalent in Burroughs’s The Ticket that Exploded emerges again in Port of Saints. Therefore, a number of situationisms concerning not narrative, but postnarrative exist.
D’Erlette[11] suggests that the works of Burroughs are modernistic. It could be said that Sartre uses the term ‘realism’ to denote the rubicon, and hence the genre, of cultural narrativity.
The subject is interpolated into a submodernist discourse that includes culture as a whole. Thus, Derrida uses the term ‘realism’ to denote the difference between society and class.
In Queer, Burroughs examines submodernist discourse; in Port of Saints, however, he deconstructs pretextual Marxism. Therefore, the subject is contextualised into a Baudrillardist simulacra that includes reality as a reality.
The premise of pretextual Marxism states that the purpose of the observer is significant form. Thus, the subject is interpolated into a submodernist discourse that includes culture as a whole.
Realism holds that reality is created by the masses, but only if Derrida’s model of postmodern capitalism is valid; otherwise, Bataille’s model of submodernist discourse is one of “Lyotardist narrative”, and thus fundamentally dead. But the subject is contextualised into a realism that includes reality as a paradox.
Foucault promotes the use of cultural socialism to attack capitalism. Thus, if pretextual Marxism holds, we have to choose between Sontagist camp and preconstructivist dematerialism.
3. Narratives of fatal flaw
“Sexual identity is used in the service of class divisions,” says Foucault. Many situationisms concerning pretextual Marxism may be discovered. It could be said that the subject is interpolated into a submodernist discourse that includes culture as a totality.
The main theme of Buxton’s[12] critique of realism is a self-justifying whole. The paradigm, and eventually the futility, of the textual paradigm of context which is a central theme of Spelling’s Melrose Place is also evident in Robin’s Hoods, although in a more mythopoetical sense. Therefore, several theories concerning the role of the writer as observer exist.
“Class is part of the rubicon of consciousness,” says Lyotard. Submodernist discourse states that culture is intrinsically responsible for sexism. It could be said that Bataille suggests the use of neomaterialist narrative to modify and read reality.
Foucault uses the term ‘pretextual Marxism’ to denote a deconstructive totality. Therefore, the subject is contextualised into a Sontagist camp that includes art as a reality.
Brophy[13] suggests that we have to choose between realism and the precapitalist paradigm of reality. Thus, the subject is interpolated into a structural neomodernist theory that includes reality as a whole.
The primary theme of the works of Spelling is not, in fact, discourse, but prediscourse. But Lacan uses the term ‘pretextual Marxism’ to denote a self-fulfilling totality.
If dialectic desublimation holds, we have to choose between realism and neoconceptualist socialism. It could be said that the premise of pretextual Marxism holds that the State is capable of significance.
4. Spelling and submodernist discourse
“Sexual identity is part of the paradigm of truth,” says Debord; however, according to Prinn[14] , it is not so much sexual identity that is part of the paradigm of truth, but rather the dialectic of sexual identity. The subject is contextualised into a realism that includes sexuality as a paradox. In a sense, many materialisms concerning submodernist discourse may be found.
Baudrillard’s analysis of realism states that art is impossible. But Reicher[15] suggests that the works of Spelling are postmodern.
Sontag promotes the use of pretextual Marxism to challenge the status quo. It could be said that the main theme of Porter’s[16] essay on realism is the defining characteristic, and therefore the meaninglessness, of predeconstructivist society.
The subject is interpolated into a submodernist discourse that includes truth as a whole. In a sense, the primary theme of the works of Madonna is the role of the reader as writer.

1. la Tournier, Q. P. F. ed. (1998) Realism in the works of Gibson. Harvard University Press
2. Werther, A. E. (1971) The Forgotten Key: Pretextual Marxism and realism. University of Illinois Press
3. McElwaine, P. B. S. ed. (1984) Realism in the works of Stone. And/Or Press
4. Bailey, R. C. (1973) Deconstructing Expressionism: Realism and pretextual Marxism. University of North Carolina Press
5. Cameron, S. ed. (1991) Pretextual Marxism and realism. O’Reilly & Associates
6. Brophy, L. M. (1983) The Iron Fruit: Realism in the works of Burroughs. And/Or Press
7. Wilson, R. ed. (1974) Realism in the works of Gibson. Loompanics
8. Dahmus, F. N. (1991) The Expression of Dialectic: Nihilism, realism and premodern desituationism. Panic Button Books
9. la Fournier, D. ed. (1988) Realism and pretextual Marxism. Oxford University Press
10. Long, G. A. O. (1976) Deconstructing Debord: Realism in the works of Mapplethorpe. University of Michigan Press
11. d’Erlette, Z. B. ed. (1980) Pretextual Marxism and realism. Schlangekraft
12. Buxton, V. (1975) The Circular Door: Realism in the works of Spelling. Loompanics
13. Brophy, S. D. ed. (1989) Realism and pretextual Marxism. University of North Carolina Press
14. Prinn, E. (1992) Reassessing Socialist realism: Pretextual Marxism and realism. Cambridge University Press
15. Reicher, J. R. M. ed. (1987) Realism and pretextual Marxism. And/Or Press
16. Porter, S. (1992) The Vermillion Key: Realism in the works of Madonna. University of Michigan Press

nb: this is a hoax if you think i wrote this you must be freaking kidding me lol. this essay has been randomnly generated by the postmoderngenerator . All the sentences are grammatically correct and all the references are true. but its all crap and bullshit, it dsnt make any sense.