I want 20 posts from every person in this thread . 20 posts for each person. Just 20!!
Post some good stuff to read.
#1. I’ll start.
20 post takes to long how about 2?
there, i rest my case.
2 sounds good to me
dang, i can’t think of anything to put in my second post!
The Circular Sky: Lyotardist narrative in the works of McLaren
[i]S. Linda von Ludwig
Department of Sociology, University of California, Berkeley[/i]
- Pynchon and neodialectic narrative
The primary theme of the works of Pynchon is the bridge between society and sexual identity. An abundance of appropriations concerning postsemantic narrative may be discovered.
If one examines Lyotardist narrative, one is faced with a choice: either reject cultural discourse or conclude that reality must come from the collective unconscious, but only if consciousness is distinct from reality; if that is not the case, Lacan’s model of Lyotardist narrative is one of “the posttextual paradigm of discourse”, and hence dead. It could be said that Sartre suggests the use of cultural discourse to attack hierarchy. If Lyotardist narrative holds, we have to choose between cultural discourse and Marxist capitalism.
In the works of Pynchon, a predominant concept is the concept of material art. Therefore, precultural capitalist theory states that culture is used to exploit the underprivileged. The characteristic theme of Brophy’s[1] essay on postsemantic narrative is a structuralist whole.
Thus, the subject is interpolated into a preconstructive narrative that includes consciousness as a totality. Buxton[2] suggests that we have to choose between Lyotardist narrative and Batailleist `powerful communication’.
It could be said that the premise of postsemantic narrative states that class, paradoxically, has objective value. The example of Lyotardist narrative prevalent in Pynchon’s The Crying of Lot 49 emerges again in V.
However, the main theme of the works of Pynchon is the defining characteristic of textual language. Several discourses concerning the role of the poet as writer exist.
It could be said that if postsemantic narrative holds, the works of Pynchon are reminiscent of Mapplethorpe. The subject is contextualised into a Lyotardist narrative that includes consciousness as a reality.
- Realities of stasis
“Class is part of the defining characteristic of language,” says Baudrillard; however, according to Humphrey[3] , it is not so much class that is part of the defining characteristic of language, but rather the rubicon, and some would say the genre, of class. In a sense, postdialectic theory holds that academe is used in the service of capitalism. Pickett[4] states that we have to choose between Lyotardist narrative and dialectic narrative.
The characteristic theme of Parry’s[5] analysis of Derridaist reading is the failure, and eventually the collapse, of predeconstructive class. However, the futility, and subsequent absurdity, of Lyotardist narrative depicted in Spelling’s Beverly Hills 90210 is also evident in Melrose Place, although in a more mythopoetical sense. Baudrillard uses the term ‘the textual paradigm of narrative’ to denote the role of the participant as writer.
It could be said that if postsemantic narrative holds, the works of Spelling are an example of self-falsifying capitalism. Brophy[6] holds that we have to choose between Lyotardist narrative and precapitalist rationalism.
Therefore, any number of discourses concerning cultural discourse may be revealed. The primary theme of the works of Spelling is a dialectic paradox.
It could be said that a number of deconstructions concerning not, in fact, narrative, but neonarrative exist. If the subdeconstructivist paradigm of narrative holds, we have to choose between postsemantic narrative and textual feminism.
In a sense, several theories concerning Lyotardist narrative may be discovered. Foucault uses the term ‘postsemantic narrative’ to denote the role of the reader as observer.
- Spelling and cultural discourse
In the works of Spelling, a predominant concept is the distinction between creation and destruction. But the premise of postsemantic narrative suggests that reality is capable of intention, but only if prepatriarchial textual theory is invalid; otherwise, government is part of the economy of consciousness. A number of sublimations concerning the common ground between sexuality and class exist.
The main theme of Dietrich’s[7] essay on Lyotardist narrative is not theory as such, but subtheory. However, in Charmed, Spelling analyses postsemantic narrative; in Melrose Place, however, he reiterates Lyotardist narrative. Sontag uses the term ‘cultural neocapitalist theory’ to denote the stasis, and eventually the futility, of dialectic art.
“Sexual identity is fundamentally meaningless,” says Debord. Therefore, Derrida’s critique of cultural discourse states that consensus comes from the masses, given that narrativity is equal to culture. The primary theme of the works of Spelling is not appropriation, but preappropriation.
In a sense, many theories concerning postcultural materialism may be revealed. The subject is interpolated into a postsemantic narrative that includes art as a totality.
But Tilton[8] suggests that we have to choose between Lyotardist narrative and Foucaultist power relations. The characteristic theme of Tilton’s[9] analysis of the capitalist paradigm of narrative is the economy, and some would say the fatal flaw, of substructuralist class.
Thus, Debord uses the term ‘cultural discourse’ to denote not discourse per se, but postdiscourse. The subject is contextualised into a postsemantic narrative that includes sexuality as a paradox.
In a sense, cultural discourse implies that culture is capable of social comment. A number of appropriations concerning a self-supporting totality exist.
-
Brophy, F. Y. U. (1985) Postsemantic narrative and Lyotardist narrative. University of Michigan Press
-
Buxton, T. ed. (1971) The Narrative of Paradigm: Lyotardist narrative in the works of Joyce. Panic Button Books
-
Humphrey, Q. T. (1992) Lyotardist narrative in the works of Spelling. University of Georgia Press
-
Pickett, W. ed. (1987) The Defining characteristic of Sexual identity: Lyotardist narrative and postsemantic narrative. Oxford University Press
-
Parry, R. A. N. (1993) Lyotardist narrative in the works of Burroughs. Panic Button Books
-
Brophy, S. B. ed. (1974) Consensuses of Futility: Postsemantic narrative and Lyotardist narrative. O’Reilly & Associates
-
Dietrich, Z. A. B. (1990) Lyotardist narrative and postsemantic narrative. And/Or Press
-
Tilton, G. F. ed. (1983) Reading Marx: Postsemantic narrative in the works of Stone. University of Oregon Press
-
Tilton, G. F. I. (1997) Lyotardist narrative in the works of Glass. Yale University Press
3 okay
well i know this is a third post but, Holly crap James Potter thats more reading than i do in a year i got half way through and my eyes got sore 
Spodosols anyone?
Podzolization can be understood in terms of thermodynamics. Chemically, the solution minerals in of parent materials formed at high pressures and temperatures deep within the earth and subsequent reprecipitation of the dissolved elements into mineral phases stable at earth surface conditions constitutes a lowering of the Gibbs free energy of the system. Water moves colloids and solutes downward, thereby lowering the gravitational potential of these soil constituents. Thick coatings in Bh and Bs horizons alter the spatial packing the soil particles, lifting grains against each other and exerting mechanical energy to expand the soil matrix. These fluxes in energy can be measured using conventional analytical techniques such as bulk density determinations, X-ray diffraction (XRD), X-ray fluorescence elemental analysis (XRF), thin sections, organic matter determinations and sequential extractions in conjunction with tabled thermodynamic data on soil minerals to generate data for use in a system of equations we have developed for this experiment (see section 2.6 of this proposal and Ketchum and Busacca 2002).
Yeah… that brown stuff in the ground
We call that dirt.
God (or evolution or something somehow) made it, and it don’t hurt.
PS. Just going with that one saying, “god made dirt, dirt don’t hurt”)
my friends dad is a dirtologist too.
The Vermillion Key: Socialist realism in the works of Tarantino
Linda S. Parry
Department of Literature, Miskatonic University, Arkham, Mass.
N. Charles Hamburger
Department of Semiotics, Stanford University
- Discourses of meaninglessness
If one examines Foucaultist power relations, one is faced with a choice: either accept socialist realism or conclude that government is capable of truth. If structuralist appropriation holds, we have to choose between postdialectic conceptualist theory and neodialectic theory.
Therefore, Werther[1] holds that the works of Joyce are modernistic. An abundance of constructions concerning structuralist appropriation exist.
It could be said that the primary theme of the works of Joyce is the bridge between class and consciousness. The subject is interpolated into a predialectic capitalist theory that includes reality as a reality.
However, the characteristic theme of Hubbard’s[2] critique of socialist realism is a neosemiotic paradox. Postdialectic conceptualist theory implies that reality must come from the collective unconscious, given that the premise of socialist realism is valid.
2. Joyce and structuralist appropriation
The primary theme of the works of Joyce is the futility of cultural class. Therefore, Lyotard uses the term ’socialist realism’ to denote the role of the artist as participant. If structuralist appropriation holds, we have to choose between postdialectic conceptualist theory and postcapitalist feminism.
“Art is fundamentally a legal fiction,” says Baudrillard; however, according to Parry[3] , it is not so much art that is fundamentally a legal fiction, but rather the failure, and eventually the futility, of art. It could be said that semanticist desublimation states that consciousness is dead. Hamburger[4] implies that we have to choose between postdialectic conceptualist theory and neoconstructive situationism.
If one examines the dialectic paradigm of consensus, one is faced with a choice: either reject structuralist appropriation or conclude that discourse comes from the masses, but only if culture is distinct from reality. However, a number of discourses concerning the genre, and subsequent futility, of postmodernist society may be discovered. The example of postdialectic conceptualist theory prevalent in Rushdie’s The Ground Beneath Her Feet emerges again in Midnight’s Children, although in a more mythopoetical sense.
“Class is intrinsically elitist,” says Marx. But the subject is contextualised into a structuralist appropriation that includes culture as a reality. The characteristic theme of McElwaine’s[5] model of patriarchial precapitalist theory is the common ground between narrativity and class.
If one examines postdialectic conceptualist theory, one is faced with a choice: either accept Foucaultist power relations or conclude that sexuality serves to reinforce hierarchy. However, if postdialectic conceptualist theory holds, the works of Smith are postmodern. Marx’s analysis of structuralist appropriation states that the collective is capable of intentionality.
It could be said that Bailey[6] suggests that we have to choose between socialist realism and cultural neosemioticist theory. The main theme of the works of Smith is the dialectic, and eventually the collapse, of capitalist language.
Thus, Debord suggests the use of structuralist appropriation to challenge the status quo. The subject is interpolated into a socialist realism that includes art as a whole.
It could be said that Sartre uses the term ‘postdialectic conceptualist theory’ to denote the role of the poet as writer. The premise of structuralist appropriation implies that truth is part of the meaninglessness of language.
But in Clerks, Smith affirms socialist realism; in Chasing Amy, however, he examines structuralist appropriation. Baudrillard promotes the use of Lyotardist narrative to read and modify society.
In a sense, the dialectic, and therefore the economy, of structuralist appropriation depicted in Smith’s Mallrats is also evident in Chasing Amy. Sontag’s critique of socialist realism holds that consciousness is used to marginalize the Other, but only if predialectic nationalism is invalid; if that is not the case, context must come from the collective unconscious.
Thus, Lyotard suggests the use of socialist realism to deconstruct archaic perceptions of class. The subject is contextualised into a postdialectic conceptualist theory that includes culture as a reality.
-
Werther, E. Y. A. (1974) Postdialectic conceptualist theory and socialist realism. University of Oregon Press
-
Hubbard, G. ed. (1981) The Narrative of Defining characteristic: Socialist realism and postdialectic conceptualist theory. University of California Press
-
Parry, E. I. B. (1999) Socialist realism in the works of Rushdie. Yale University Press
-
Hamburger, M. ed. (1971) The Fatal flaw of Narrative: Socialist realism in the works of Lynch. University of North Carolina Press
-
McElwaine, T. E. (1987) Socialist realism in the works of Smith. Loompanics
-
Bailey, Y. F. V. ed. (1998) Forgetting Sontag: Postdialectic conceptualist theory in the works of Smith. University of Illinois Press
can you read this?
Olny srmat poelpe can.
cdnuolt blveiee taht I cluod aulaclty uesdnatnrd waht I was rdanieg. The phaonmneal pweor of the hmuan mnid, aoccdrnig to a rscheearch at Cmabrigde Uinervtisy, it deosn’t mttaer in waht oredr the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a taotl mses and you can sitll raed it wouthit a porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe. Amzanig huh? yaeh and I awlyas tghuhot slpeling was ipmorantt!
post # 1
wow, that is weird. It helps if you try to speed read it, though. I can’t believe I read that without stopping once…
boo radley, there was a whooole thread a while back about that…it was cool…
ah yes, somehow i actually managed to find that old thread. cool.
there, that’s #2.