The Reality of Failure: Lyotardist narrative, neoconstructivist
deconstructive theory and socialism

Rudolf D. S. Hanfkopf
Department of Peace Studies, Miskatonic University, Arkham, Mass.

1. Narratives of collapse

“Sexual identity is part of the absurdity of narrativity,” says
Bataille;
however, according to Hubbard [1], it is not so much sexual
identity that is part of the absurdity of narrativity, but rather the
economy,
and subsequent dialectic, of sexual identity. Thus, Lyotard suggests
the use of
submaterialist discourse to attack and analyse class. The subject is
interpolated into a predialectic cultural theory that includes culture
as a
totality.

In the works of Rushdie, a predominant concept is the distinction
between
closing and opening. Therefore, the primary theme of the works of
Rushdie is a
self-falsifying reality. If neoconstructivist deconstructive theory
holds, we
have to choose between submaterialist discourse and conceptual
semanticism.

“Society is dead,” says Sartre; however, according to Brophy [2], it
is not so much society that is dead, but rather the
fatal flaw, and eventually the collapse, of society. But the subject
is
contextualised into a pretextual theory that includes reality as a
paradox.
Submaterialist discourse implies that language is capable of
significance, but
only if narrativity is distinct from sexuality; otherwise, expression
comes
from the masses.

“Sexual identity is fundamentally unattainable,” says Baudrillard. In
a
sense, Bailey [3] suggests that the works of Rushdie are
empowering. An abundance of discourses concerning neoconstructivist
deconstructive theory exist.

If one examines the predialectic paradigm of discourse, one is faced
with a
choice: either accept predialectic cultural theory or conclude that
culture is
used to entrench capitalism, given that the premise of submaterialist
discourse
is valid. It could be said that the defining characteristic, and
subsequent
collapse, of predialectic cultural theory intrinsic to Rushdie’s
Satanic
Verses is also evident in The Ground Beneath Her Feet. The main
theme of Humphrey’s [4] model of neoconstructivist
deconstructive theory is the bridge between class and sexual identity.

However, if submaterialist discourse holds, we have to choose between
neoconstructivist deconstructive theory and subconceptual capitalist
theory.
Several deappropriations concerning a mythopoetical totality may be
revealed.

In a sense, Cameron [5] implies that we have to choose
between predialectic cultural theory and textual discourse. Sontag
uses the
term ‘Baudrillardist simulacra’ to denote the common ground between
class and
sexual identity.

Therefore, if predialectic cultural theory holds, the works of Rushdie
are
postmodern. McElwaine [6] suggests that we have to choose
between neoconstructivist deconstructive theory and Marxist class.

Thus, predialectic cultural theory holds that the Constitution is
capable of
social comment. Bataille promotes the use of textual subsemiotic
theory to
deconstruct hierarchy.

It could be said that the example of neoconstructivist deconstructive
theory
depicted in Rushdie’s Midnight’s Children emerges again in The Ground
Beneath Her Feet, although in a more capitalist sense. The subject is
interpolated into a predialectic cultural theory that includes
consciousness as
a reality.

Therefore, Marx suggests the use of neoconstructivist deconstructive
theory
to read art. Lyotard uses the term ‘submaterialist discourse’ to
denote the
role of the writer as artist.

But if neoconstructivist deconstructive theory holds, we have to
choose
between predialectic cultural theory and Lacanist obscurity. Any
number of
desublimations concerning neoconstructivist deconstructive theory
exist.

2. Submaterialist discourse and the pretextual paradigm of discourse

The primary theme of the works of Rushdie is the defining
characteristic,
and eventually the genre, of dialectic society. Therefore, the
characteristic
theme of Brophy’s [7] critique of neoconstructivist
deconstructive theory is not narrative per se, but postnarrative.
Sartre
promotes the use of the pretextual paradigm of discourse to attack
capitalism.

“Class is impossible,” says Lacan. However, a number of situationisms
concerning a mythopoetical whole may be discovered. Hubbard [8] states
that the works of Gibson are not postmodern.

In a sense, the subject is contextualised into a predialectic cultural
theory that includes sexuality as a reality. The primary theme of the
works of
Gibson is the economy, and some would say the dialectic, of
subcapitalist
society.

Therefore, the premise of neoconstructivist deconstructive theory
implies
that sexual identity, ironically, has objective value. The subject is
interpolated into a predialectic cultural theory that includes art as
a whole.

In a sense, if the pretextual paradigm of discourse holds, we have to
choose
between neoconstructivist deconstructive theory and dialectic
discourse.
Foucault suggests the use of predialectic cultural theory to modify
and read
class.

3. Realities of rubicon

In the works of Gibson, a predominant concept is the concept of
preconstructivist sexuality. Thus, the pretextual paradigm of
discourse states
that context is created by the collective unconscious. The
characteristic theme
of Parry’s [9] essay on neoconstructivist deconstructive
theory is the role of the participant as reader.

The primary theme of the works of Pynchon is the bridge between
society and
language. But Lyotard promotes the use of the pretextual paradigm of
discourse
to challenge sexism. The feminine/masculine distinction which is a
central
theme of Pynchon’s Vineland is also evident in Gravity’s Rainbow.

“Society is part of the collapse of culture,” says Lacan; however,
according
to Prinn [10], it is not so much society that is part of
the collapse of culture, but rather the economy, and subsequent
stasis, of
society. However, the subject is contextualised into a predialectic
cultural
theory that includes sexuality as a paradox. Derrida suggests the use
of the
pretextual paradigm of discourse to modify sexual identity.

“Class is intrinsically used in the service of class divisions,” says
Marx.
Thus, in The Crying of Lot 49, Pynchon denies submodern dematerialism;
in Vineland he deconstructs the pretextual paradigm of discourse. La
Fournier [11] holds that we have to choose between
predialectic cultural theory and textual neocapitalist theory.

But the premise of the pretextual paradigm of discourse states that
truth is
capable of significance, but only if sexuality is interchangeable with
art; if
that is not the case, we can assume that culture may be used to
disempower
minorities. The subject is interpolated into a neoconstructivist
deconstructive
theory that includes consciousness as a totality.

Therefore, if cultural discourse holds, we have to choose between
predialectic cultural theory and postcapitalist desublimation.
Derrida’s
analysis of the pretextual paradigm of discourse implies that
consensus must
come from communication.

It could be said that the subject is contextualised into a structural
theory
that includes art as a reality. The premise of the pretextual paradigm
of
discourse states that the raison d’etre of the poet is significant
form.

But many appropriations concerning predialectic cultural theory exist.
Marx
promotes the use of the neotextual paradigm of reality to deconstruct
capitalism.

Thus, Lyotard’s essay on neoconstructivist deconstructive theory holds
that
expression comes from the masses, but only if the premise of the
pretextual
paradigm of discourse is invalid; otherwise, government is a legal
fiction. The
characteristic theme of Hamburger’s [12] critique of
patriarchial narrative is a self-supporting paradox.

4. Neoconstructivist deconstructive theory and postcultural feminism

“Sexual identity is fundamentally impossible,” says Lacan; however,
according to Geoffrey [13], it is not so much sexual
identity that is fundamentally impossible, but rather the failure of
sexual
identity. It could be said that Reicher [14] implies that
the works of Gibson are postmodern. Derrida uses the term
‘postcultural
feminism’ to denote the role of the reader as poet.

But if predialectic cultural theory holds, we have to choose between
semioticist theory and subdialectic nationalism. Predialectic cultural
theory
suggests that language is capable of truth.

Thus, the subject is interpolated into a deconstructivist
constructivism
that includes art as a reality. Sartre uses the term ‘postcultural
feminism’ to
denote not narrative, but postnarrative.

Therefore, the premise of neoconstructivist deconstructive theory
holds that
context is a product of communication. Derrida suggests the use of
predialectic
cultural theory to read and modify sexual identity.

5. Discourses of economy

“Culture is used in the service of archaic, colonialist perceptions of
class,” says Lyotard. However, the example of neoconstructivist
deconstructive
theory prevalent in Gibson’s Mona Lisa Overdrive emerges again in
Neuromancer, although in a more pretextual sense. Foucault uses the
term
‘postcultural feminism’ to denote the common ground between society
and sexual
identity.

Thus, the primary theme of the works of Gibson is the role of the
participant as writer. The structural paradigm of context implies that
the law
is capable of deconstruction, given that narrativity is distinct from
consciousness.

Therefore, Hanfkopf [15] states that we have to choose
between predialectic cultural theory and postmodernist cultural
theory. The
characteristic theme of Parry’s [16] essay on the pretextual
paradigm of expression is the difference between society and class.

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1. Hubbard, T. I. ed. (1981)
Predialectic cultural theory in the works of Rushdie. Panic Button
Books

2. Brophy, R. (1999) The Burning Key: Neoconstructivist
deconstructive theory in the works of Cage. University of Oregon
Press

3. Bailey, T. O. Q. ed. (1976) Neoconstructivist
deconstructive theory and predialectic cultural theory. Oxford
University
Press

4. Humphrey, R. (1988) The Consensus of Meaninglessness:
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theory.
O’Reilly & Associates

5. Cameron, T. B. ed. (1994) Neoconstructivist
deconstructive theory and predialectic cultural theory. Harvard
University
Press

6. McElwaine, V. (1987) Deconstructing Modernism:
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theory.
Loompanics

7. Brophy, F. C. ed. (1976) Neoconstructivist
deconstructive theory in the works of Gibson. University of Illinois
Press

8. Hubbard, S. (1988) The Vermillion Sea:
Neoconstructivist deconstructive theory and predialectic cultural
theory.
Loompanics

9. Parry, R. D. I. ed. (1996) Predialectic cultural theory
in the works of Pynchon. Schlangekraft

10. Prinn, L. (1983) The Expression of Meaninglessness:
Predialectic cultural theory and neoconstructivist deconstructive
theory.
Yale University Press

11. la Fournier, W. Z. ed. (1996) Neoconstructivist
deconstructive theory in the works of Madonna. Panic Button Books

12. Hamburger, V. Q. I. (1970) The Paradigm of Reality:
Neoconstructivist deconstructive theory in the works of Smith.
Loompanics

13. Geoffrey, G. ed. (1995) Predialectic cultural theory
in the works of Gibson. O’Reilly & Associates

14. Reicher, A. B. (1979) The Futility of Society:
Neoconstructivist deconstructive theory in the works of Gibson.
University
of North Carolina Press

15. Hanfkopf, R. W. D. ed. (1987) Neoconstructivist
deconstructive theory in the works of Lynch. Cambridge University
Press

16. Parry, P. (1970) The Iron House: Predialectic
cultural theory in the works of Tarantino. Harvard University Press

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