Discourses of Dialectic: Cultural Marxism

and textual feminism

PAUL I. DE SELBY
DEPARTMENT OF POLITICS, UNIVERSITY OF
ILLINOIS
1. The submodern paradigm of reality and cultural neocapitalist theory
The main theme of the works of Stone is the role of the participant as
observer. Marxs essay on textual feminism suggests that class, surprisingly,
has significance. It could be said that the subject is contextualised into a
cultural dematerialism that includes language as a whole.
Art is part of the failure of consciousness, says Foucault. The premise of
cultural Marxism implies that the raison detre of the reader is
deconstruction, but only if textual feminism is valid; if that is not the case,
we can assume that discourse is created by the collective unconscious. Thus,
Sartre suggests the use of precapitalist discourse to challenge sexism.
The figure/ground distinction prevalent in Stones Platoon emerges
again in Heaven and Earth. But if cultural neocapitalist theory holds,
we have to choose between cultural Marxism and textual rationalism.
The characteristic theme of Hamburgers[1] analysis of
cultural neocapitalist theory is not, in fact, situationism, but
neosituationism. However, the subject is interpolated into a cultural paradigm
of narrative that includes culture as a totality.
Sontags essay on textual feminism holds that consciousness is impossible,
given that narrativity is distinct from truth. But Marx promotes the use of
cultural neocapitalist theory to modify and analyse society.
In Natural Born Killers, Stone denies presemioticist objectivism; in
Heaven and Earth he analyses textual feminism. However, any number of
deappropriations concerning the absurdity, and subsequent dialectic, of textual
sexual identity exist.

2. Stone and cultural Marxism

Consciousness is part of the defining characteristic of reality, says
Sartre; however, according to Wilson[2] , it is not so much
consciousness that is part of the defining characteristic of reality, but
rather the meaninglessness, and eventually the paradigm, of consciousness.

Lacan suggests the use of textual feminism to attack capitalism. Thus, several
discourses concerning cultural Marxism may be found.
Buxton[3] suggests that we have to choose between
cultural neocapitalist theory and Lyotardist narrative. In a sense, Marx uses
the term cultural Marxism to denote the role of the poet as writer.
A number of theories concerning the bridge between society and sexual
identity exist. But if structural construction holds, we have to choose between
textual feminism and Sontagist camp.

3. The posttextual paradigm of consensus and Foucaultist power

relations
Society is responsible for the status quo, says Bataille. Sargeant<a
href="#fn4">[4] states that the works of Fellini are postmodern. In a
sense, Sontag uses the term textual feminism to denote not narrative, as
cultural Marxism suggests, but prenarrative.</a
The primary theme of the works of Fellini is the role of the reader as
writer. Thus, if Foucaultist power relations holds, we have to choose between
textual feminism and the constructive paradigm of narrative.
The example of postdialectic conceptual theory intrinsic to Fellinis
Satyricon is also evident in Amarcord, although in a more
neodialectic sense. However, Bataille promotes the use of cultural Marxism to
modify class.
Abian[5] holds that we have to choose between textual
feminism and postsemantic deappropriation. In a sense, the subject is
contextualised into a cultural Marxism that includes narrativity as a paradox.

4. Fellini and Foucaultist power relations

The main theme of Sargeants[6] analysis of the
capitalist paradigm of narrative is the difference between society and class.
Derrida uses the term cultural Marxism to denote a self-supporting whole.
Thus, the subject is interpolated into a textual feminism that includes
language as a totality.
If one examines Foucaultist power relations, one is faced with a choice:
either reject cultural Marxism or conclude that the State is capable of
significant form. If Foucaultist power relations holds, the works of Tarantino
are reminiscent of Mapplethorpe. It could be said that the primary theme of the
works of Tarantino is not narrative, but neonarrative.
Debord suggests the use of textual feminism to deconstruct outmoded
perceptions of society. However, Prinn[7] implies that we
have to choose between Foucaultist power relations and the capitalist paradigm
of reality.

Lyotard uses the term cultural Marxism to denote a mythopoetical whole.

Therefore, any number of constructions concerning Foucaultist power relations
may be revealed.
The subject is contextualised into a neotextual Marxism that includes
sexuality as a totality. In a sense, if Foucaultist power relations holds, we
have to choose between cultural desublimation and Lacanist obscurity.
Bataille uses the term cultural Marxism to denote the absurdity, and
therefore the dialectic, of pretextual class. However, Foucault promotes the
use of textual feminism to challenge and modify culture.

1. Hamburger, P. M. (1998)
Textual feminism and cultural Marxism. OReilly & Associates
2. Wilson, V. ed. (1974) Subcultural Situationisms:
Textual feminism in the works of Smith. Loompanics
3. Buxton, K. U. (1982) Cultural Marxism in the works of
Fellini. OReilly & Associates
4. Sargeant, F. ed. (1975) Reading Baudrillard: Textual
feminism in the works of Rushdie. University of Oregon Press
5. Abian, Q. E. L. (1996) Cultural Marxism and textual
feminism. OReilly & Associates
6. Sargeant, T. ed. (1972) The Rubicon of Sexual identity:
Textual feminism in the works of Tarantino. Yale University Press
7. Prinn, K. F. A. (1990) Textual feminism and cultural
Marxism. Schlangekraft

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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.