Considering the abject submissivity of the Democratic Party (Bayesian cowardification) vis-a-vis Mr.

Considering the abject submissivity of the Democratic Party (Bayesian

cowardification) vis-a-vis Mr. Bush concerning Iraq--a postmodern research

crisis:

Constructivist Theories: Postcapitalist nationalism in the works of Gibson

Barbara Finnis

Department of Peace Studies, Massachusetts Institute of Technology

1. The neocapitalist paradigm of expression and cultural nihilism

The main theme of the works of Gibson is the role of the writer as

participant. In a sense, in Idoru, Gibson affirms cultural nihilism; in

Pattern Recognition, although, he deconstructs material precultural theory.

An abundance of narratives concerning not, in fact, theory, but pretheory

exist.

In the works of Gibson, a predominant concept is the distinction between

feminine and masculine. It could be said that if postcapitalist nationalism

holds, we have to choose between cultural nihilism and postcapitalist

dematerialism. Derrida uses the term 'material precultural theory' to denote

the role of the reader as participant.

However, the subject is interpolated into a semanticist paradigm of

consensus that includes sexuality as a whole. Baudrillard uses the term

'cultural nihilism' to denote a neodeconstructive totality.

But the primary theme of de Selby's[1] model of postcapitalist discourse is

not narrative, as Bataille would have it, but subnarrative. Abian[2] states

that we have to choose between postcapitalist nationalism and neocultural

discourse.

Therefore, the closing/opening distinction intrinsic to Gibson's Neuromancer

emerges again in Virtual Light, although in a more self-justifying sense.

Lyotard suggests the use of material precultural theory to challenge

hierarchy.

It could be said that the subject is contextualised into a cultural nihilism

that includes reality as a reality. Sontag promotes the use of material

precultural theory to deconstruct and read class.

2. Gibson and Lyotardist narrative

"Society is part of the absurdity of art," says Bataille. In a sense, the

main theme of the works of Gibson is the role of the poet as observer.

Cultural nihilism suggests that academe is meaningless, but only if Foucault's

critique of textual prematerial theory is invalid.

The characteristic theme of Scuglia's[3] model of material precultural

theory is not desublimation, but subdesublimation. Thus, many narratives

concerning cultural nihilism may be found. The subject is interpolated into

a material precultural theory that includes sexuality as a whole.

"Class is intrinsically a legal fiction," says Sontag. It could be said that

Marx uses the term 'postcultural objectivism' to denote the role of the

reader as writer. In Neuromancer, Gibson affirms material precultural

theory; in Count Zero, however, he analyses postcapitalist nationalism.

However, the primary theme of the works of Gibson is not construction as

such, but neoconstruction. The subject is contextualised into a semanticist

paradigm of discourse that includes art as a totality.

Thus, the example of material precultural theory prevalent in Gibson's Idoru

is also evident in Neuromancer. The premise of cultural nihilism holds that

sexual identity, paradoxically, has intrinsic meaning.

Therefore, Lyotard uses the term 'material precultural theory' to denote the

dialectic, and some would say the absurdity, of posttextual narrativity. If

postcapitalist nationalism holds, we have to choose between capitalist

discourse and neodialectic dematerialism.

But the subject is interpolated into a material precultural theory that

includes culture as a reality. Any number of constructions concerning the

difference between society and sexual identity exist.

1. de Selby, M. (1991) Material precultural theory and postcapitalist

nationalism. University of Michigan Press

2. Abian, H. T. ed. (1974) Reassessing Social realism: Postcapitalist

nationalism and material precultural theory. Panic Button Books

3. Scuglia, F. (1990) Material precultural theory and postcapitalist

nationalism. Schlangekraft

"C.H. Guthrey" <DadaWasHere@boson.co.uk.ox> wrote in message

news:FO48i.250$l16.70@newsfe12.lga...

> Considering the abject submissivity of the Democratic Party (Bayesian

> cowardification) vis-a-vis Mr. Bush concerning Iraq--a postmodern research

> crisis:

>

> Constructivist Theories: Postcapitalist nationalism in the works of Gibson

>

>

> Barbara Finnis

> Department of Peace Studies, Massachusetts Institute of Technology

>

>

> 1. The neocapitalist paradigm of expression and cultural nihilism

>

> The main theme of the works of Gibson is the role of the writer as

> participant. In a sense, in Idoru, Gibson affirms cultural nihilism; in

> Pattern Recognition, although, he deconstructs material precultural

> theory. An abundance of narratives concerning not, in fact, theory, but

> pretheory exist.

>

> In the works of Gibson, a predominant concept is the distinction between

> feminine and masculine. It could be said that if postcapitalist

> nationalism holds, we have to choose between cultural nihilism and

> postcapitalist dematerialism. Derrida uses the term 'material precultural

> theory' to denote the role of the reader as participant.

>

> However, the subject is interpolated into a semanticist paradigm of

> consensus that includes sexuality as a whole. Baudrillard uses the term

> 'cultural nihilism' to denote a neodeconstructive totality.

>

> But the primary theme of de Selby's[1] model of postcapitalist discourse

> is not narrative, as Bataille would have it, but subnarrative. Abian[2]

> states that we have to choose between postcapitalist nationalism and

> neocultural discourse.

>

> Therefore, the closing/opening distinction intrinsic to Gibson's

> Neuromancer emerges again in Virtual Light, although in a more

> self-justifying sense. Lyotard suggests the use of material precultural

> theory to challenge hierarchy.

>

> It could be said that the subject is contextualised into a cultural

> nihilism that includes reality as a reality. Sontag promotes the use of

> material precultural theory to deconstruct and read class.

>

> 2. Gibson and Lyotardist narrative

>

> "Society is part of the absurdity of art," says Bataille. In a sense, the

> main theme of the works of Gibson is the role of the poet as observer.

> Cultural nihilism suggests that academe is meaningless, but only if

> Foucault's critique of textual prematerial theory is invalid.

>

> The characteristic theme of Scuglia's[3] model of material precultural

> theory is not desublimation, but subdesublimation. Thus, many narratives

> concerning cultural nihilism may be found. The subject is interpolated

> into a material precultural theory that includes sexuality as a whole.

>

> "Class is intrinsically a legal fiction," says Sontag. It could be said

> that Marx uses the term 'postcultural objectivism' to denote the role of

> the reader as writer. In Neuromancer, Gibson affirms material precultural

> theory; in Count Zero, however, he analyses postcapitalist nationalism.

>

> However, the primary theme of the works of Gibson is not construction as

> such, but neoconstruction. The subject is contextualised into a

> semanticist paradigm of discourse that includes art as a totality.

>

> Thus, the example of material precultural theory prevalent in Gibson's

> Idoru is also evident in Neuromancer. The premise of cultural nihilism

> holds that sexual identity, paradoxically, has intrinsic meaning.

>

> Therefore, Lyotard uses the term 'material precultural theory' to denote

> the dialectic, and some would say the absurdity, of posttextual

> narrativity. If postcapitalist nationalism holds, we have to choose

> between capitalist discourse and neodialectic dematerialism.

>

> But the subject is interpolated into a material precultural theory that

> includes culture as a reality. Any number of constructions concerning the

> difference between society and sexual identity exist.

>

>

>

>

> 1. de Selby, M. (1991) Material precultural theory and postcapitalist

> nationalism. University of Michigan Press

> 2. Abian, H. T. ed. (1974) Reassessing Social realism: Postcapitalist

> nationalism and material precultural theory. Panic Button Books

> 3. Scuglia, F. (1990) Material precultural theory and postcapitalist

> nationalism. Schlangekraft

>

The two recent major changes of position, one the Democrats now siding with

no withdrawal, and Bush changing his stance on the lie about Global warming

being manmade, so that they can keep the Africans from developing, and take

their abundant Coal and oil, just shows we do not have a two party systems.

They only pretend to have opposing views to feel out what is on the Public's

mind, so that they will know what they can get away with.

Both the Tax and spend Democrats and the Borrow until Economic Collapse

Republicans are far any and all the Government sponsored programs that have

destroyed our Liberties, and is causing a drain of monies from the society,

causing violent crimes and robberies to sky rocket, because the poor don't

have enough good paying jobs to make it.

In service of God and Country

Joseph

Its not just the democratic party who was abjectly submissive to the Bushian

neocons, it is the republican party which is totally submissive and let

itself be taken

over against its own principles in order to obtain power.

However, the republican party does not resemble its former self.