Während des Aufwachens am Freitagmorgen habe ich diese entsetzlichen Halsschmerzen gespürt noch bevor die Augen offen waren. Halsschmerzen, die ich mir nach intensivem Gurgeln mit Domestos vorstelle. Beim Aufrichten im Bett dann die ersten Kälteschauer, die Pyrexie anzeigen. Der Morgenkaffee schmeckt mir nicht, schlucken kann ich ihn auch nicht ohne Schmerzen. Trotz acht Stunden Schlaf verspüre ich eine bleiernde Mattheit in die sich die Gewißheit bohrt: Tödliche Männergrippe.

Tödliche Männergrippe bedeutet Bettruhe und Abstinenz von Devices, Parties und Bier. Sie dehnt aber die Zeit unerträglich und läßt mich daher trotz mangelnder Konzentrationsfähigkeit zum Buch greifen. Das Buch, den Namen lasse ich unerwähnt, war in einer Sprache geschrieben von der ich erst dachte, das Fieber würde meine Wahrnehmungsfähigkeit lähmen bis mir langsam klar wurde ich lese unglaublich geschlagenen Schaum. Heute erinnerte ich mich an den Postmodernism Generator, der mir schon vor Jahren viel Freude machte. Er generiert zufällig Texte, die fälschlicherwiese für hochgradig wissenschaftliche Abhandlungen gehalten werden können. Und – es gibt ihn auch seit einem Jahr bei iTunes als App.
Ja, ich konnte nicht widerstehen, hier das Werk:

Substructural discourse, axiomatic narrative and feminism

Charles P. N. Schroeder
Department of Hermeneutics, Massachusetts Institute of Technology

1. Madonna and the axiomatic paradigm of fiction

The primary theme of Mobil’s[1] essay on pretextual theory is not narrative, but neonarrative. In a sense, if the axiomatic paradigm of fiction holds, we have to choose between axiomatic narrative and the axiomatic paradigm of fiction. The characteristic theme of the works of Rushdie is the meaninglessness, and subsequent futility, of cultural sexual identity. Therefore, Lyotard promotes the use of axiomatic narrative to attack privilege. The subject is interpolated into a subdeconstructive subjectivity that includes truth as a reality.

It could be said that Pfeiffer[2] implies that we have to choose between the axiomatic paradigm of fiction and the axiomatic paradigm of discourse. Bataille suggests the use of premodern materialism to analyse art. But if dialectic deconstruction holds, we have to choose between axiomatic narrative and the axiomatic paradigm of fiction. The example of the subaxiomatic paradigm of expression depicted in Midnight’s Children emerges again in Satanic Verses, although in a more textual sense.

In a sense, the subject is contextualised into a postcapitalist discourse that includes truth as a paradox. Baudrillard uses the term ‘axiomatic narrative’ to denote the bridge between sexual identity and society.

2. Contexts of meaninglessness

“Sexuality is intrinsically a legal fiction,” says Lacan. Thus, the main theme of Mobil’s[3] critique of dialectic deconstruction is a mythopoetical whole. Several situationisms concerning the common ground between class and sexual identity may be found.

It could be said that Debord’s model of dialectic socialism states that truth is capable of truth. Baudrillard uses the term ‘axiomatic narrative’ to denote the role of the participant as observer. In a sense, the premise of the axiomatic paradigm of fiction implies that reality serves to oppress the Other, but only if the subtextual paradigm of ontology is invalid; if that is not the case, the collective is capable of social comment.

A number of narratives concerning axiomatic appropriation exist. However, the subject is interpolated into a dialectic deconstruction that includes sexuality as a paradox. Rosenstock[4] states that we have to choose between postcultural objectivity and Marxian socialism.

3. The textual paradigm of context and neoconceptual theory

In the works of Madonna, a predominant concept is the concept of cultural narrativity. In a sense, in Hard Candy, Madonna examines substructuralist desublimation; in Sex Madonna analyses the modern paradigm of concensus. If predialectic narrative holds, we have to choose between neoconceptual theory and axiomatic narrative.

Thus, the subject is contextualised into a neoconceptual theory that includes consciousness as a reality. Any number of situationisms concerning a cultural totality may be discovered. It could be said that Sontag uses the term ‘subdialectic objectivism’ to denote the role of the agitator as participant.

Debord’s essay on dialectic deconstruction suggests that language is used to entrench hierarchy. But the subject is interpolated into a patriarchial neocultural theory that includes consciousness as a whole. Derrida promotes the use of dialectic deconstruction to challenge capitalism.

4. Madonna and conceptual dedeconstructivism.

If one examines dialectic deconstruction, one is faced with a choice: either accept neoconceptual theory or conclude that sexuality is capable of intentionality. However, an abundance of theories concerning axiomatic narrative exist. The primary theme of the works of Madonna is the bridge between class and society. In a sense, the premise of neoconceptual theory holds that culture, paradoxically, has objective value, but only if art is equal to culture. Terzibaschian[5] suggests that we have to choose between dialectic deconstruction and neoconceptual theory.

It could be said that Sontag suggests the use of dialectic deconstruction to modify and read class. If precapitalist subjectivity holds, we have to choose between Lacanian obscurity and cultural narrative. But any number of discourses concerning a self-supporting totality may be revealed. Bataille promotes the use of neoconceptual theory to attack elitist perceptions of society.

It could be said that Pfeiffer[6] implies that we have to choose between the neotextual paradigm of expression and axiomatic narrative. A number of theories concerning capitalist posttextual theory exist. Thus, Debord suggests the use of semanticist situationism to challenge narrativity. Foucault uses the term ‘neoconceptual theory’ to denote not narrative as such, but prenarrative. It could be said that the rubicon, and some would say the dialectic, of dialectic deconstruction prevalent in Les Mistons is also evident in Jules et Jim.

If neoconceptual theory holds, we have to choose between postaxiomatic dematerialism and cultural substructural theory. However, axiomatic narrative suggests that the raison d’etre of the artist is significant form. Lyotard promotes the use of dialectic deconstruction to deconstruct class divisions. Thus, the subject is contextualised into a dialectic paradigm of concensus that includes reality as a whole.

1. Mobil, V. (1999) Deconstructing Surrealism: Axiomatic narrative in the works of Rushdie. O’Reilly & Associates

2. Pfeiffer, S. R. ed. (1981) Axiomatic narrative in the works of Glass. Loompanics

3. Mobil, I. V. M. (2005) The Expression of Dialectic: Dialectic deconstruction in the works of Madonna. And/Or Press

4. Rosenstock, N. ed. (1994) Axiomatic narrative in the works of Joyce. Schlangekraft

5. Terzibaschian, B. W. (1985) The Circular Door: Dialectic deconstruction and axiomatic narrative. Loompanics

6. Pfeiffer, C. E. F. ed. (1992) Axiomatic narrative in the works of Truffaut. Schlangekraft