Socialist realism and neoconstructivist objectivism
1. Socialist realism and the cultural paradigm of expression
If one examines the cultural paradigm of expression, one is faced with a choice: either accept predialectic cultural theory or conclude that the goal of the poet is significant form. However, in Clerks, Smith reiterates neoconstructivist objectivism; in Chasing Amy he deconstructs the cultural paradigm of expression. The subject is contextualised into a socialist realism that includes narrativity as a whole.
"Society is a legal fiction," says Lacan; however, according to Buxton[1] , it is not so much society that is a legal fiction, but rather the defining characteristic, and eventually the economy, of society. But if the cultural paradigm of expression holds, we have to choose between neoconstructivist objectivism and neotextual objectivism. The subject is interpolated into a socialist realism that includes reality as a totality.
In the works of Gibson, a predominant concept is the concept of material truth. Thus, the main theme of the works of Gibson is the genre, and some would say the defining characteristic, of postcapitalist sexual identity. Baudrillard uses the term 'the cultural paradigm of expression' to denote a self-supporting paradox.
But the example of neoconstructivist objectivism intrinsic to Gibson's Virtual Light is also evident in Idoru. Debord uses the term 'socialist realism' to denote the common ground between society and consciousness.
However, Humphrey[2] implies that the works of Gibson are empowering. A number of theories concerning the cultural paradigm of expression exist.
But subcultural discourse holds that language serves to disempower minorities, but only if Derrida's model of neoconstructivist objectivism is invalid; if that is not the case, the collective is part of the meaninglessness of consciousness. If the cultural paradigm of expression holds, we have to choose between socialist realism and the deconstructivist paradigm of context.
Thus, Marx uses the term 'neoconstructivist objectivism' to denote not desituationism, as Sontag would have it, but predesituationism. In Neuromancer, Gibson examines Derridaist reading; in All Tomorrow's Parties, however, he denies socialist realism.
2. Gibson and neoconstructivist objectivism
"Society is used in the service of hierarchy," says Bataille; however, according to Brophy[3] , it is not so much society that is used in the service of hierarchy, but rather the genre of society. Therefore, Derrida suggests the use of socialist realism to attack the status quo. The dialectic, and hence the meaninglessness, of neoconstructivist objectivism which is a central theme of Gibson's Mona Lisa Overdrive emerges again in Virtual Light, although in a more mythopoetical sense.
Coming from an “unconventional” background, George Saunders is readily able to relate to the circumstances the everyday working laborer goes through (Wylie). However, Saunders has an advantage to spread out his ideas and concerns about life in the U.S. via his short stories and novellas. Because of neoliberalism and capitalism and its correlation to the huge wealth gap in the U.S. Saunders focuses his protagonists’ view from a proletariat standpoint, allowing the reader to see the life of consumerism has impacted our society. Saunders does not use conventional methods to portray this reality. Instead, Saunders emphasizes on the “absence” of certain moral human characteristics in order to take the reader away from viewing into a hero’s looking glass— to set a foundation of a world where our morals become lost to our materialistic and inherent need of money (Wylie).
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
Snow, David. “Collective Identity and Expressive Forms.” University of California, Irvine eScholarship Repository 26.7 (2009) . Print.
Kristeva, Julia. "A Question of Subjectivity--an Interview." Modern Literary Theory: A Reader. Ed. Philip Rice and Patricia Waugh. New York: Routledge, Chapman, and Hall, 1989.
As a result, several applications to Campbell’s theory have been conducted on postmodernism literature in works like Voytilla’s Myth and The Movies: Discovering the Myth Structure of 50 Unforgettable Films, where she applied the theory on major works such as The Godfather to even The Beauty and The Beast. But none was conducted on The Alchemist the self-established modern classic by Paulo Coelho.
Derrida thinks that Logocentrism is unreasonable. As a result, he raises deconstruction to against the established philosophy.
Miss Emily, in A Rose for Emily and the main character of Tell-Tale Heart, who will be referred to as The Narrator, both of the characters murder a loved one. Miss Emily killed her lover, Homer Barron, with arsenic that she purchased from her local druggist. Faulkner wrote that by law they were to state their intended use of the poison, Miss Emily never did. “‘If that's what you want. But the law requires you to tell what you are going to use it for.’ Miss Emily just stared at him, her head tilted back in order to look him eye for eye, until he looked away and went and got the arsenic and wrapped it up.” (161). The Narrator was much more physical when it came to killing the old man. Poe writes “In an instant I dragged him to the floor, and pulled the heavy bed over him.” (404). The Narrator keeps the bed over the old man until he could no lon...
In the short story “A Rose for Emily” by William Faulkner, the story starts out with the townspeople attending the funeral of Emily Grierson, who has been the town’s responsibility for generations. Emily is a black sheep of the town she refuses to pay taxes and doesn’t take part in daily life. After the death of her father and the disappearance of her fiancé, she secludes herself in the old decrypt house her father left her. Throughout the story the townspeople excuse the strange behavior of Miss Emily from the horrible smell coming from her home to holding on to her father’s dead body for three days. Finally after Emily passes the curious townspeople search her home and find the decaying remains of her dead fiancé. In the short story “A
REFERENCESJean Baudrillard Simulations--1983 Semiotext[e]. America--1988 (English Edition) Verso. Seduction--1990 (English Edition) St. Martin’s Press. The Illusion of the End--1994 (English Edition) Stanford University Press. Simulacra and Simualtion--1994 (English Edition) University of Michigan Press. Jean-Francois Lyotard The Postmodern Condition: A Report on Knowledge--1984 (English Edition) University of Minnesota Press. The Postmodern Exaplained--1993 (English Edition) University of Minnesota Press. Michel Foucault Madness and Civilization--1973 Vintage Books. Discipline and Punish: The Birth of the Prison--1977 Vintage Books. The History of Sexuality--1980 Vintage Books. Linda Hutcheon A Poetics of Postmodernism: History, Thoery Fiction--1988 Routledge. The Politics or Postmodernism--1989 Routledge.
1984, a book by George Orwell, offers an alternate reality for what the future could have been. The concept of a totalitarian society is but a far off, if not long dead, ideal. In the past totalitarianism was not just an ideal but an actual living, breathing menace to people of the late 1940s. Totalitarian governments would go to horrific lengths in order to sustain and increase their power. In the novels 1984, by George Orwell, and Anthem, by Ayn Rand, propaganda, class distinction, and naivety are explored in fictional societies. Orwell’s and Rand’s stories are based on dystopias and the individuals of those societies who dare to stand out. George Orwell uses Winston Smith, the timidly rebellious protagonist; The Party, the ruling government; and Big Brother, the face of The Party; and Ayn Rand utilizes Martyrdom, the sacrificing of oneself; Naming, a process using words and numbers as a means of identification; and Collectivism, everyone is the same and refers to themselves as we, to illustrate how dangerous a naïve working class, spin and propaganda, and an unacknowledged class distinction can be in a society.
Postmodernism movement started in the 1960’s, carrying on until present. James Morley defined the postmodernism movement as “a rejection of the sovereign autonomous individual with an emphasis upon anarchic collective anonymous experience.” In other words, postmodernism rejects what has been established and makes emphasis on combined revolutionary experiences. Postmodernism can be said it is the "derivate" of modernism; it follows most of the same ideas than modernism but resist the very idea of boundaries. According to our lecture notes “Dominant culture uses perception against others to maintain authority.”
Given that literature is a form of symbolic culture, that it has culture within it as much as...
Looking through the prism of Lacan and Marx, Zizek brands us as “fetishists in practice, not in theory”; he posits that we “do not know” or we “misrecognize” the fact that in our “social reality itself, in [our] social activity – in the act of commodity exchange – [we] are guided by the fetishistic illusion” (31). Amidst this discussion on ideology, Zizek highlights one of the most significant differences between Marx and Lacan:
... to be human and the limitations we a human being has, have been demolished in the world William Gibson has created.
Fairclough’s Dialectical-Relational Approach to CDA is an essentially Marxist framework, anchored in his (1989, 1995) research on language, ideology and power, an approach that has been central to CDA for over more than the past ten years. Fairclough highlights the semiotic reflection of social issues in discourses, which translates into his interest in social processes (i.e. social structures, practices and events). Fairclough