the meaningless of narrative:

postcapitalist cultural theory and

neoconstructivist theory*

Wilhelm Z. Porter
Department of Politics, Oxford University

1. Neoconstructivist theory
and the prestructural
paradigm of expression

In the works of Eco, a predominant concept is the concept of 'cultural-culture'. Thus, Bataille uses the term 'the prestructural paradigm of expression' to denote a subcapitalist reality.

The characteristic theme of the works of Eco is the role of the writer as poet. But several deconstructions concerning Lacanist obscurity exist.

If neoconstructivist theory holds, we have to choose between the modern paradigm of consensus and neocultural rationalism. In a sense, in The Aesthetics of Thomas Aquinas, Eco analyses the prestructural paradigm of expression; in The Limits of Interpretation (Advances in Semiotics) he affirms material predialectic theory. Derrida's essay on the prestructural paradigm of expression suggests that narrative comes from the masses, but only if constructive socialism is valid. But many sublimations concerning the futility, and eventually the rubicon, of neotextual sexual identity may be found.

2. Contexts
of genre

If one examines neoconstructivist theory, one is faced with a choice: either reject the prestructural paradigm of expression or conclude that the task of the observer is deconstruction. Lyotard uses the term 'Debordist image' to denote not, in fact, discourse, but subdiscourse. It could be said that a number of semanticisms concerning neoconstructivist theory exist.

"Sexuality is dead," says Sartre. The dialectic, and subsequent failure, of constructivist precultural theory intrinsic to Eco's The Aesthetics of Thomas Aquinas is also evident in The Limits of Interpretation (Advances in Semiotics). But the subject is contextualised into a prestructural paradigm of expression that includes art as a totality.

Many discourses concerning the fatal flaw, and thus the defining characteristic, of structural class may be revealed. It could be said that Brophy[1] implies that the works of Eco are an example of self-sufficient nationalism.

The premise of subcultural situationism states that society, perhaps surprisingly, has significance. Thus, the main theme of Wilson's[2] model of the prestructural paradigm of expression is the role of the poet as participant.

The ground/figure distinction prevalent in Eco's The Name of the Rose emerges again in The Limits of Interpretation (Advances in Semiotics), although in a more mythopoetical sense. But the subject is interpolated into a postcapitalist cultural theory that includes reality as a paradox.

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1. Brophy, J. A. Q. (1992) Neoconstructivist theory and postcapitalist cultural theory. Panic Button Books.

2. Wilson, W. ed. (1985) Realities of Rubicon: Postcapitalist cultural theory and neoconstructivist theory. Loompanics.



*Este ensayo, carente de todo sentido --como se habrán dado pronto cuenta-- fue generado enteramente al azar por el Postmodernism Generator. En realidad no difiere mucho de bastantes ensayos académicos que de pronto me he topado por ahí. Incluso se pueden encontrar algunos de menor lucidez y más bajo nivel argumentativo... ¡Ja!