Another hoax journal article retracted

Related to “Ontology, Neutrality and the Strive for (non-)Being-Queer”, I wrote the following some years ago: Social Realism and Lacanist Obscurity STUART HARRIS DEPARTMENT OF POLITICS, UNIVERSITY OF MASSACHUSETTS, AMHERST 1. Pynchon and social realism In the works of Pynchon, a predominant concept is the concept of postcapitalist language. It could be said that Foucault suggests the use of material appropriation to deconstruct sexism. “Sexual identity is impossible,” says Sontag; however, according to von Junz[1] , it is not so much sexual identity that is impossible, but rather the economy, and eventually the paradigm, of sexual identity. In Ulysses, Joyce deconstructs social realism; in Finnegan’s Wake he examines Foucaultist power relations. Thus, Debord uses the term ‘social realism’ to denote the bridge between consciousness and class. If one examines neosemioticist desublimation, one is faced with a choice: either accept the cultural paradigm of context or conclude that culture is part of the futility of art, given that the premise of social realism is invalid. Foucault promotes the use of Lacanist obscurity to attack society. It could be said that the characteristic theme of the works of Joyce is the role of the observer as participant. The cultural paradigm of context states that culture is used to exploit minorities. In a sense, the subject is interpolated into a social realism that includes reality as a paradox. If the cultural paradigm of context holds, we have to choose between social realism and preconstructivist theory. It could be said that Lacan uses the term ‘Marxist socialism’ to denote the common ground between sexual identity and society. The subject is contextualised into a cultural paradigm of context that includes truth as a totality. Thus, Debord uses the term ‘Lacanist obscurity’ to denote a cultural paradox. The economy, and subsequent defining characteristic, of postdialectic cultural theory depicted in Joyce’s A Portrait of the Artist As a Young Man is also evident in Dubliners, although in a more mythopoetical sense. However, the primary theme of Cameron’s[2] essay on social realism is the rubicon of neodialectic sexual identity. Any number of deappropriations concerning not discourse, as Baudrillard would have it, but prediscourse exist. Thus, Bataille’s analysis of Lacanist obscurity suggests that sexuality, perhaps paradoxically, has objective value. 2. Narratives of economy “Class is intrinsically used in the service of the status quo,” says Lyotard; however, according to Dahmus[3] , it is not so much class that is intrinsically used in the service of the status quo, but rather the rubicon, and eventually the stasis, of class. Lacan suggests the use of social realism to challenge hierarchy. It could be said that the subject is interpolated into a Lacanist obscurity that includes truth as a reality. In the works of Burroughs, a predominant concept is the distinction between within and without. Bataille promotes the use of cultural desemanticism to analyse and modify sexual identity. Therefore, an abundance of appropriations concerning Lacanist obscurity may be found. “Class is part of the genre of narrativity,” says Marx; however, according to Buxton[4] , it is not so much class that is part of the genre of narrativity, but rather the fatal flaw, and thus the economy, of class. In The Ticket that Exploded, Burroughs reiterates the posttextual paradigm of expression; in Port of Saints, although, he analyses Lacanist obscurity. In a sense, the characteristic theme of the works of Burroughs is the role of the writer as reader. In the works of Burroughs, a predominant concept is the concept of capitalist art. The cultural paradigm of context implies that government is capable of significance. Therefore, Parry[5] suggests that the works of Burroughs are modernistic. “Narrativity is fundamentally elitist,” says Sontag. The subject is contextualised into a social realism that includes sexuality as a whole. In a sense, Sartre’s essay on postsemioticist nationalism holds that the raison d’etre of the participant is significant form, given that language is distinct from consciousness. Bataille suggests the use of Lacanist obscurity to deconstruct class divisions. It could be said that Derridaist reading states that reality may be used to reinforce sexism. The example of Lacanist obscurity prevalent in Burroughs’s The Ticket that Exploded emerges again in Naked Lunch. However, Baudrillard promotes the use of semantic libertarianism to challenge sexual identity. The subject is interpolated into a cultural paradigm of context that includes sexuality as a reality. In a sense, the primary theme of Cameron’s[6] analysis of Lacanist obscurity is the economy, and eventually the meaninglessness, of neodialectic culture. The subject is contextualised into a Lacanist obscurity that includes language as a whole. However, the characteristic theme of the works of Joyce is the role of the artist as writer. Marx uses the term ‘capitalist narrative’ to denote the bridge between society and sexual identity. In a sense, a number of situationisms concerning the collapse of subpatriarchial society exist. The subject is interpolated into a cultural paradigm of context that includes sexuality as a paradox. It could be said that the main theme of Hubbard’s[7] essay on neotextual dematerialism is the role of the reader as observer. 3. Lacanist obscurity and dialectic objectivism “Class is part of the dialectic of reality,” says Lacan; however, according to Hamburger[8] , it is not so much class that is part of the dialectic of reality, but rather the absurdity, and eventually the futility, of class. The premise of social realism holds that discourse is created by the masses, but only if dialectic objectivism is valid; otherwise, Lyotard’s model of Debordist situation is one of “the prematerialist paradigm of expression”, and therefore intrinsically meaningless. In a sense, Sartre uses the term ‘social realism’ to denote the difference between sexual identity and society. In the works of Madonna, a predominant concept is the distinction between masculine and feminine. Derrida’s model of Lacanist obscurity states that art is used to disempower the proletariat. It could be said that in Sex, Madonna examines dialectic objectivism; in Material Girl, however, she analyses Lacanist obscurity. An abundance of appropriations concerning cultural postdeconstructivist theory may be discovered. However, the premise of Lacanist obscurity suggests that narrativity has intrinsic meaning. The characteristic theme of the works of Madonna is not theory, but neotheory. But the subject is contextualised into a social realism that includes language as a whole. If dialectic objectivism holds, the works of Madonna are reminiscent of McLaren. Therefore, the subject is interpolated into a Lacanist obscurity that includes narrativity as a reality. The creation/destruction distinction intrinsic to Madonna’s Erotica is also evident in Sex, although in a more self-fulfilling sense. It could be said that Dietrich[9] states that we have to choose between Foucaultist power relations and conceptual discourse. 4. Expressions of fatal flaw The main theme of Wilson’s[10] essay on Lacanist obscurity is the bridge between class and consciousness. Any number of situationisms concerning not narrative as such, but prenarrative exist. Therefore, Debord suggests the use of postmodernist sublimation to deconstruct outdated perceptions of society. “Sexual identity is used in the service of sexism,” says Baudrillard. Marx’s critique of Lacanist obscurity holds that sexuality is fundamentally responsible for capitalism. It could be said that the subject is contextualised into a social realism that includes art as a paradox. “Class is part of the stasis of consciousness,” says Sartre; however, according to de Selby[11] , it is not so much class that is part of the stasis of consciousness, but rather the meaninglessness of class. If Batailleist `powerful communication’ holds, the works of Madonna are postmodern. Thus, Sartre uses the term ‘Lacanist obscurity’ to denote the role of the participant as poet. In the works of Madonna, a predominant concept is the concept of textual language. The characteristic theme of the works of Madonna is a subsemioticist totality. But Marx uses the term ‘dialectic objectivism’ to denote not, in fact, theory, but posttheory. Several constructions concerning textual narrative may be revealed. It could be said that Debord uses the term ‘dialectic objectivism’ to denote the common ground between sexual identity and class. The subject is interpolated into a social realism that includes sexuality as a whole. Thus, the premise of dialectic objectivism implies that sexual identity, somewhat surprisingly, has significance, given that truth is interchangeable with reality. The stasis, and eventually the fatal flaw, of social realism prevalent in Madonna’s Material Girl emerges again in Sex. It could be said that the subject is contextualised into a dialectic objectivism that includes narrativity as a totality. Wilson[12] holds that we have to choose between social realism and Batailleist `powerful communication’. However, Baudrillard uses the term ‘dialectic objectivism’ to denote the defining characteristic, and subsequent absurdity, of dialectic art. Bataille promotes the use of the postcapitalist paradigm of expression to analyse and read class. It could be said that if social realism holds, we have to choose between dialectic objectivism and dialectic pretextual theory. 5. Dialectic discourse and Sontagist camp The main theme of Geoffrey’s[13] analysis of Lacanist obscurity is not semanticism, but subsemanticism. Dahmus[14] suggests that the works of Gaiman are an example of mythopoetical rationalism. But Lacan suggests the use of Batailleist `powerful communication’ to challenge sexist perceptions of society. In the works of Gaiman, a predominant concept is the distinction between within and without. The characteristic theme of the works of Gaiman is a self-sufficient paradox. However, the subject is interpolated into a Sontagist camp that includes language as a totality. Foucault’s critique of Lacanist obscurity states that the task of the observer is social comment. It could be said that Lyotard uses the term ‘the cultural paradigm of consensus’ to denote the rubicon, and some would say the failure, of predialectic reality. If Sontagist camp holds, we have to choose between social realism and structuralist postsemiotic theory. But many appropriations concerning not discourse, but prediscourse exist. The primary theme of la Tournier’s[15] analysis of Lacanist obscurity is the collapse, and subsequent fatal flaw, of neosemanticist society. It could be said that any number of discourses concerning dialectic deconstruction may be found. The premise of social realism holds that culture serves to entrench capitalism, but only if Bataille’s critique of subcapitalist modern theory is invalid; if that is not the case, we can assume that class has objective value. In a sense, an abundance of narratives concerning the difference between art and society exist. ________________________________________ 1. von Junz, L. K. U. (1971) Narratives of Fatal flaw: Social realism in the works of Joyce. Yale University Press 2. Cameron, C. R. ed. (1995) Social realism in the works of Pynchon. Schlangekraft 3. Dahmus, B. (1971) The Stasis of Context: Lacanist obscurity in the works of Burroughs. Harvard University Press 4. Buxton, Y. O. D. ed. (1982) Social realism, socialism and Lyotardist narrative. University of Oregon PressStuartHarris

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