Some time ago I would not have found this funny. Fortunately Dr. Wittgenstein and co. were able to cure me of my continentalism. I wonder if admiring the rebellious beards and tobacco is a lifelong symptom (sinthome?).

Generate your own postmodern nonsense here.

Here is a sample of the text that I got:

The Circular Key: Socialism, realism and subtextual Marxism

Catherine Finnis

Department of Deconstruction, University of California, Berkeley

1. Semantic desublimation and Marxist capitalism

“Society is unattainable,” says Bataille. Lacan suggests the use of precultural patriarchial theory to deconstruct sexual identity.

In the works of Pynchon, a predominant concept is the distinction between without and within. But in Vineland, Pynchon examines realism; in Mason & Dixon, however, he denies Marxist capitalism. The primary theme of Long’s[1] analysis of postconceptualist appropriation is the role of the writer as reader.

“Class is part of the fatal flaw of language,” says Sartre. Therefore, the subject is interpolated into a Batailleist `powerful communication’ that includes art as a whole. The characteristic theme of the works of Fellini is the bridge between sexual identity and class.

If one examines Batailleist `powerful communication’, one is faced with a choice: either accept realism or conclude that sexual identity, perhaps ironically, has intrinsic meaning, given that consciousness is interchangeable with narrativity. Thus, la Fournier[2] states that we have to choose between the textual paradigm of context and prematerialist narrative. Sontag promotes the use of Marxist capitalism to attack hierarchy.

In the works of Fellini, a predominant concept is the concept of patriarchial consciousness. However, Foucault uses the term ‘Batailleist `powerful communication” to denote not, in fact, materialism, but neomaterialism. The main theme of von Ludwig’s[3] model of realism is the stasis, and some would say the economy, of textual society.

Therefore, if Batailleist `powerful communication’ holds, the works of Fellini are modernistic. Realism holds that discourse must come from the masses.

Thus, Lacan uses the term ‘Marxist capitalism’ to denote a mythopoetical paradox. Foucault suggests the use of realism to read and challenge class.

However, Cameron[4] suggests that we have to choose between Marxist capitalism and subcapitalist modernist theory. In The Island of the Day Before, Eco reiterates realism; in The Aesthetics of Thomas Aquinas he denies Marxist capitalism.

It could be said that if Derridaist reading holds, we have to choose between Batailleist `powerful communication’ and predialectic capitalism. The subject is contextualised into a realism that includes truth as a whole.

Thus, any number of constructions concerning Marxist capitalism may be found. The example of realism which is a central theme of Eco’s The Name of the Rose emerges again inFoucault’s Pendulum, although in a more self-justifying sense.

However, Foucault uses the term ‘Marxist capitalism’ to denote not narrative per se, but subnarrative. The characteristic theme of the works of Eco is the common ground between class and culture.

Thus, Marx promotes the use of the cultural paradigm of consensus to deconstruct capitalism. Several constructivisms concerning a neodialectic reality exist.