Subconstructivist Theories:

Capitalist discourse and Sontagist

camp
Catherine Scuglia

Department of English, Oxford University

1. Gaiman and dialectic deappropriation

The primary theme of la Tournier’s[1] model of capitalist

discourse is the role of the poet as artist. Lyotard uses the term ‘Sontagist
camp’ to denote the common ground between society and sexual identity.

“Class is intrinsically unattainable,” says Debord; however, according to

Dietrich[2] , it is not so much class that is intrinsically
unattainable, but rather the futility, and therefore the dialectic, of class.
In a sense, any number of theories concerning a self-fulfilling paradox may be
found. Sartre suggests the use of dialectic deappropriation to deconstruct
truth.

“Sexual identity is responsible for archaic perceptions of sexuality,” says

Marx. Thus, many narratives concerning capitalist discourse exist. Sartre uses
the term ‘Sontagist camp’ to denote not theory, but posttheory.

“Society is fundamentally a legal fiction,” says Derrida; however, according

to Humphrey[3] , it is not so much society that is
fundamentally a legal fiction, but rather the rubicon of society. But the
example of neosemiotic rationalism depicted in Gaiman’s The Books of
Magic is also evident in Death: The High Cost of Living. Von Junz[4] states that
we have to choose between dialectic
deappropriation and Marxist socialism.

Thus, any number of materialisms concerning the difference between

consciousness and society may be discovered. Debord uses the term ‘Sontagist
camp’ to denote not narrative, but postnarrative.
In a sense, Sontag promotes the use of capitalist discourse to attack
sexism. The characteristic theme of the works of Gaiman is the bridge between
sexual identity and society.

It could be said that many discourses concerning Sontagist camp exist.

Lyotard suggests the use of prestructural narrative to read and deconstruct
sexual identity.

In a sense, if dialectic deappropriation holds, we have to choose between

Batailleist `powerful communication’ and capitalist Marxism. Marx promotes
the
use of capitalist discourse to challenge the status quo.

It could be said that the primary theme of Tilton’s[5]

essay on Sontagist camp is the stasis, and thus the fatal flaw, of subdialectic
truth. Bailey[6] holds that the works of Rushdie are an
example of mythopoetical nihilism.

2. Contexts of economy

The main theme of the works of Rushdie is the difference between sexual
identity and reality. However, a number of theories concerning the dialectic,
and eventually the futility, of neosemanticist class may be revealed. The
characteristic theme of Humphrey’s[7] critique of dialectic
deappropriation is a precapitalist totality.

But if dialectic neosemioticist theory holds, we have to choose between

dialectic deappropriation and material narrative. The premise of capitalist
discourse implies that the purpose of the poet is deconstruction.

However, Bataille uses the term ‘Sontagist camp’ to denote the common ground
between sexual identity and class. The primary theme of the works of Rushdie is
a self-sufficient paradox.

In a sense, the collapse, and some would say the paradigm, of capitalist
discourse prevalent in Rushdie’s The Ground Beneath Her Feet emerges
again in The Moor’s Last Sigh, although in a more mythopoetical sense.
The characteristic theme of Hamburger’s[8] essay on
dialectic deappropriation is the role of the artist as participant.

3. Joyce and Sontagist camp

“Sexual identity is part of the economy of language,” says Debord; however,

according to Sargeant[9] , it is not so much sexual identity
that is part of the economy of language, but rather the rubicon, and eventually
the meaninglessness, of sexual identity. It could be said that Marx suggests
the use of poststructuralist capitalism to read class. The main theme of the
works of Joyce is the stasis, and therefore the futility, of textual society.

In the works of Joyce, a predominant concept is the distinction between

without and within. Therefore, Sontagist camp holds that art is meaningless,
but only if the premise of Derridaist reading is valid; otherwise, Debord’s
model of dialectic deappropriation is one of “neocultural theory”, and hence
intrinsically unattainable. The characteristic theme of Cameron’s[10] critique of
Sontagist camp is a cultural totality.

Thus, any number of narratives concerning capitalist discourse exist. Sartre

promotes the use of posttextual discourse to attack sexism.

It could be said that many appropriations concerning the bridge between

consciousness and society may be discovered. The main theme of the works of
Joyce is the role of the artist as writer.

Thus, in Ulysses, Joyce examines dialectic deappropriation; in A

Portrait of the Artist As a Young Man, although, he denies dialectic
theory. Marx uses the term ‘Sontagist camp’ to denote not discourse per se, but
subdiscourse.

1. la Tournier, Y. L. P. (1979)
Subconstructive discourse, Sontagist camp and capitalism. University of
Oregon Press

2. Dietrich, C. ed. (1985) The Paradigm of Consensus:

Sontagist camp in the works of Burroughs. Loompanics

3. Humphrey, V. F. Z. (1998) Sontagist camp and capitalist

discourse. Panic Button Books

4. von Junz, V. ed. (1976) Contexts of Defining

characteristic: Conceptualist deconstruction, capitalism and Sontagist
camp. And/Or Press

5. Tilton, N. R. B. (1992) Capitalist discourse in the

works of Rushdie. Panic Button Books

6. Bailey, G. ed. (1983) The Rubicon of Society: The

textual paradigm of consensus, Sontagist camp and capitalism. And/Or
Press
7. Humphrey, C. O. C. (1970) Capitalist discourse and
Sontagist camp. Cambridge University Press

8. Hamburger, Q. G. ed. (1992) Realities of Dialectic:

Sontagist camp in the works of Joyce. University of Illinois Press

9. Sargeant, C. G. R. (1985) Sontagist camp in the works

of Glass. Schlangekraft

10. Cameron, H. ed. (1997) The Defining characteristic of

Class: Capitalism, capitalist subtextual theory and Sontagist camp.
Loompanics

The essay you have just seen is completely meaningless and was randomly
generated by the Postmodernism Generator. To generate another essay,
follow this link.
If you liked this particular essay and would like to return to it, follow this
link for a bookmarkable page.

The Postmodernism Generator was written by Andrew C. Bulhak using the Dada
Engine, a system for generating random text from recursive grammars, and
modified very slightly by Josh Larios (this version, anyway. There are others out
there).

This installation of the Generator has delivered 28,765,483 essays since

25/Feb/2000 18:43:09 PST, when it became operational.

More detailed technical information may be found in Monash University

Department of Computer Science Technical Report 96/264: “On the Simulation
of Postmodernism and Mental Debility Using Recursive Transition Networks“.

More generated texts are linked to from the sidebar to the right.

If you enjoy this, you might also enjoy reading about the Social Text Affair,
where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article
was accepted by a cultural criticism publication.