How to write a postmodernist piece for academic journals

[Vanguard1917]

This site (http://www.elsewhere.org/pomo/)automatically generates an entirely original postmodernist article by a made-up academic every time you refresh the page, complete with references and footnotes. It's all computer-generated gibberish, though the resemblance to the real stuff can be quite uncanny ;)

[Jimmie Higgins]

God I hate that kind of jargon. The legal profession hides itself behind a ton of antiquated language and technical jargon to insulate itself from regular people and I think PoMo and academic writing in general does the same thing with its jargon - it might as well be in Latin.

[Thirsty Crow]

God I hate that kind of jargon. The legal profession hides itself behind a ton of antiquated language and technical jargon to insulate itself from regular people and I think PoMo and academic writing in general does the same thing with its jargon - it might as well be in Latin.
I think PoMo does it from a different angle. It seems to me that theory here takes a great cue from literature and adapts itself to accomodate one of the basic ways literature operates. We might call it the "magic of language" whereby language isn't used for communicative purposes, but for association, metaphor, connotation etc.

Anyway, I think this holds for post-structuralism, especially for Roland Barthes who even voiced a very similar opinion as that I put forward above.

And the generator, what I got was: "Marx uses the term ‘subtextual feminism’ to denote not desublimation, but neodesublimation."

Talk about coincidence :laugh::laugh:

So it's not so similar after all in every generated article :lol: (or I hope so; would any crazed pomo state that Marx uses the term "subtextual feminism"??).

Oh yeah, and this: "In a sense, Baudrillard’s model of subtextual feminism states that consciousness is dead. The main theme of the works of Tarantino is not theory, but posttheory."

[Vanguard1917]

Spot the fake sentences:

"... the subject is interpolated into a neostructuralist paradigm of consensus that includes sexuality as a reality."

"If textual capitalism holds, we have to choose between predialectic deconstruction and the cultural paradigm of consensus."

"The lure of imaginary totality is momentarily frozen before the dialectic of desire hastens on within symbolic chains."

"Since thought is seen to be 'rhizomatic' rather than 'arboreal', the movement of differentiation and becoming is already imbued with its own positive trajectory."

[Paul Cockshott]

my guess number 3

[Vanguard1917]

my guess number 3

Nope. That one's the real McCoy.

The top two are fake. The bottom two are both runners up in a 'Bad Writing Contest': http://denisdutton.com/bad_writing.htm

But who could really be blamed for confusing real mumbo jumbo with fake mumbo jumbo? :cool:

[Aurora]

"Deconstructing Socialist realism: Realism and dialectic narrative"

Deconstructing Socialist realism: Realism and dialectic narrative

Barbara Prinn
Department of Literature, Stanford University



1. Precapitalist rationalism and the patriarchialist paradigm of reality

If one examines dialectic narrative, one is faced with a choice: either reject realism or conclude that the goal of the artist is significant form, given that the patriarchialist paradigm of reality is invalid. Marx uses the term ‘dialectic narrative’ to denote a mythopoetical whole.

In the works of Fellini, a predominant concept is the concept of subdialectic culture. Thus, Foucault promotes the use of realism to modify and analyse sexual identity. The subject is contextualised into a cultural pretextual theory that includes sexuality as a paradox.

If one examines dialectic narrative, one is faced with a choice: either accept realism or conclude that the media is capable of truth. It could be said that the main theme of Buxton’s[1] model of dialectic narrative is the dialectic, and hence the collapse, of subsemantic society. If the patriarchialist paradigm of reality holds, we have to choose between dialectic narrative and dialectic deconstruction.

Thus, the primary theme of the works of Fellini is not narrative, as neocapitalist textual theory suggests, but postnarrative. The subject is interpolated into a patriarchialist paradigm of reality that includes truth as a reality.

Therefore, in 8 1/2, Fellini reiterates realism; in La Dolce Vita, although, he examines the patriarchialist paradigm of reality. The subject is contextualised into a dialectic narrative that includes consciousness as a whole.

Thus, Sontag uses the term ‘Sartreist absurdity’ to denote the role of the reader as writer. Bataille suggests the use of the patriarchialist paradigm of reality to deconstruct sexism.

In a sense, the subject is interpolated into a dialectic narrative that includes sexuality as a reality. Foucault’s essay on realism holds that reality is a product of the collective unconscious.

It could be said that Baudrillard promotes the use of the neocapitalist paradigm of context to read class. Realism suggests that sexual identity, surprisingly, has intrinsic meaning.

2. Fellini and textual postdialectic theory

The characteristic theme of Hanfkopf’s[2] critique of the patriarchialist paradigm of reality is a self-falsifying paradox. In a sense, Derrida uses the term ‘realism’ to denote the role of the participant as reader. The meaninglessness, and eventually the dialectic, of the patriarchialist paradigm of reality depicted in Fellini’s 8 1/2 is also evident in La Dolce Vita.

If one examines preconstructivist theory, one is faced with a choice: either reject dialectic narrative or conclude that narrativity is capable of significance, but only if art is equal to sexuality; otherwise, government is intrinsically unattainable. But Sartre suggests the use of the patriarchialist paradigm of reality to attack capitalism. Bataille uses the term ‘textual neosemioticist theory’ to denote the failure, and subsequent stasis, of capitalist society.

However, the subject is contextualised into a dialectic narrative that includes consciousness as a totality. Buxton[3] states that we have to choose between the patriarchialist paradigm of reality and deconstructive narrative.

Therefore, the subject is interpolated into a realism that includes narrativity as a reality. Any number of theories concerning not, in fact, situationism, but neosituationism may be revealed.

In a sense, in Amarcord, Fellini affirms dialectic narrative; in 8 1/2, however, he examines Marxist capitalism. If the patriarchialist paradigm of reality holds, we have to choose between dialectic narrative and subtextual discourse.

Therefore, the primary theme of the works of Fellini is the dialectic, and therefore the futility, of capitalist class. Debord uses the term ‘precultural narrative’ to denote not desublimation as such, but postdesublimation.

3. Consensuses of collapse

“Sexual identity is responsible for class divisions,” says Bataille. It could be said that many narratives concerning dialectic narrative exist. Marx uses the term ‘the textual paradigm of discourse’ to denote a precultural totality.

In a sense, Brophy[4] holds that the works of Fellini are not postmodern. The characteristic theme of Hanfkopf’s[5] analysis of the patriarchialist paradigm of reality is the defining characteristic, and eventually the failure, of dialectic class.

But an abundance of materialisms concerning not deappropriation, but neodeappropriation may be discovered. If realism holds, we have to choose between dialectic narrative and Lacanist obscurity.

4. Realism and subtextual capitalist theory

If one examines dialectic narrative, one is faced with a choice: either accept neodialectic nihilism or conclude that sexuality may be used to reinforce outmoded perceptions of society, given that Foucault’s model of subtextual capitalist theory is valid. It could be said that the premise of dialectic narrative suggests that reality is created by communication. Lacan promotes the use of material narrative to analyse and read sexual identity.

“Society is fundamentally elitist,” says Bataille; however, according to Parry[6] , it is not so much society that is fundamentally elitist, but rather the defining characteristic, and some would say the futility, of society. Thus, Foucault’s critique of realism implies that culture is capable of social comment, but only if art is interchangeable with language; if that is not the case, we can assume that consensus must come from the collective unconscious. The example of dialectic narrative intrinsic to Gibson’s All Tomorrow’s Parties emerges again in Count Zero, although in a more self-justifying sense.

The primary theme of the works of Gibson is the role of the poet as writer. However, the characteristic theme of Sargeant’s[7] essay on realism is the bridge between class and narrativity. The subject is contextualised into a dialectic narrative that includes reality as a whole.

In the works of Gibson, a predominant concept is the distinction between figure and ground. Therefore, the main theme of the works of Gibson is a postmaterial totality. The premise of the structuralist paradigm of context holds that the task of the reader is significant form, given that subtextual capitalist theory is invalid.

“Class is part of the stasis of art,” says Marx; however, according to Pickett[8] , it is not so much class that is part of the stasis of art, but rather the rubicon, and subsequent defining characteristic, of class. In a sense, Sargeant[9] states that the works of Gibson are postmodern. Lyotard uses the term ‘dialectic narrative’ to denote the absurdity, and eventually the failure, of textual sexual identity.

In the works of Gibson, a predominant concept is the concept of subcapitalist culture. It could be said that the characteristic theme of de Selby’s[10] analysis of realism is the common ground between society and truth. Sontag suggests the use of dialectic postsemanticist theory to deconstruct capitalism.

Thus, in Satyricon, Fellini affirms dialectic narrative; in Amarcord he deconstructs subtextual capitalist theory. Debord’s model of dialectic narrative holds that the Constitution is capable of intention.

But if realism holds, we have to choose between cultural theory and Foucaultist power relations. The main theme of the works of Fellini is not narrative, as Baudrillard would have it, but prenarrative.

It could be said that the premise of subtextual capitalist theory implies that class has significance, but only if narrativity is distinct from consciousness. Sontag uses the term ‘realism’ to denote the bridge between society and class.

Thus, Werther[11] states that we have to choose between subtextual capitalist theory and conceptual neodialectic theory. The primary theme of von Junz’s[12] essay on realism is not, in fact, construction, but preconstruction.

In a sense, Bataille’s analysis of dialectic narrative implies that the raison d’etre of the poet is social comment. Sontag promotes the use of realism to modify society.

It could be said that Baudrillard uses the term ‘subtextual capitalist theory’ to denote the common ground between reality and sexual identity. Foucault suggests the use of neodialectic discourse to challenge sexism.

But the main theme of the works of Fellini is not narrative, as dialectic narrative suggests, but postnarrative. Sartre promotes the use of Marxist socialism to deconstruct and analyse society.

1. Buxton, C. ed. (1972) Nationalism, the cultural paradigm of expression and realism. Schlangekraft

2. Hanfkopf, Z. Y. (1983) The Futility of Culture: Dialectic narrative and realism. O’Reilly & Associates

3. Buxton, R. C. A. ed. (1998) Postdialectic nihilism, realism and nationalism. Oxford University Press

4. Brophy, E. H. (1980) Reassessing Realism: Realism in the works of Eco. University of Georgia Press

5. Hanfkopf, N. ed. (1976) Realism and dialectic narrative. And/Or Press

6. Parry, S. B. Q. (1989) The Broken Fruit: Realism in the works of Gibson. University of Illinois Press

7. Sargeant, D. ed. (1994) Realism, nationalism and subconstructivist textual theory. Schlangekraft

8. Pickett, T. Z. I. (1981) The Futility of Reality: Dialectic narrative and realism. University of North Carolina Press

9. Sargeant, M. Q. ed. (1990) Realism in the works of Gibson. Panic Button Books

10. de Selby, A. R. Z. (1974) Reinventing Realism: Dialectic narrative in the works of Fellini. And/Or Press

11. Werther, B. E. ed. (1992) Realism and dialectic narrative. University of Oregon Press

12. von Junz, A. L. G. (1970) The Fatal flaw of Discourse: Dialectic narrative and realism. University of Michigan Press

[Vanguard1917]

http://denisdutton.com/calvin_hobbes_writing.jpg

http://denisdutton.com/bad_writing.htm

[L.A.P.]

this is fun

"The premise of substructuralist discourse suggests that the State is part of the meaninglessness of culture. However, Foucault suggests the use of capitalist nihilism to modify and attack sexual identity."

[bricolage]

insurrectionist generator - http://objectivechance.com/automatic_insurrection
write your own academic sentence - http://writing-program.uchicago.edu/toys/randomsentence/write-sentence.htm

[MEGAMANTROTSKY]

God I hate that kind of jargon. The legal profession hides itself behind a ton of antiquated language and technical jargon to insulate itself from regular people and I think PoMo and academic writing in general does the same thing with its jargon - it might as well be in Latin.
At least you can translate Latin. It's quite fun, actually...once your defenses are broken down after five years of classes in middle and high school.

Seriously though, Latin is fun once you get the hang of it.

[cantwealljustgetalong]

"Sontag promotes the use of Sartreist existentialism to attack outdated, sexist perceptions of sexual identity. Therefore, if structuralist theory holds, the works of Gaiman are an example of self-falsifying Marxism."

win.

although as a 'veteran' of Occupy, the insurrectionist generator is especially ultra-win:
"To those who deride the inoperative joy in a smashed window or a barricaded hallway, we propose nothing less than to reject their compulsive absence, without looking back."

[Rusty Shackleford]

lolmygod what the fuck am i reading.

[KurtFF8]

I used the PoMo generator alone to respond to a strange user over at Politics Forum a few times and he kept responding to it.

Needless to say we all had a little laugh about that