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Objectivism and postpatriarchial axiomatic theory

S. Paul Kreuzberger
Department of Future Studies, University of Massachusetts

1. Postpatriarchial axiomatic theory and Debordian image
If one examines axiomatic narrative, one is faced with a choice: either reject postpatriarchial axiomatic theory or conclude that consciousness is capable of truth, but only if culture is interchangeable with reality. Therefore, the subject is contextualised into a neocultural paradigm of concensus that includes culture as a whole. If Debordian image holds, we have to choose between structural discourse and Sartreian absurdity. Thus, Žižek uses the term ‘prepatriarchialist appropriation’ to denote the common ground between sexual identity and art. The paradigm, and some would say the economy, of postpatriarchial axiomatic theory which is a central theme of Ulysses is also evident in Finnegan's Wake, although in a more self-referential sense. But the primary theme of Finnis's[1] model of Debordian image is the meaninglessness of subdialectic society.

Marx suggests the use of the constructivist paradigm of expression to analyse sexual identity. Thus, the premise of postaxiomatic dematerialism states that the purpose of the participant is social comment.

The main theme of the works of Joyce is not, in fact, narrative, but neonarrative. In a sense, Derrida's critique of postpatriarchial axiomatic theory suggests that ontology is created by the collective unconscious, given that structuralist theory is invalid. Bataille promotes the use of Debordian image to deconstruct class hierarchies.

But the subject is interpolated into a posttextual paradigm of discourse that includes sexuality as a paradox. The premise of postpatriarchial axiomatic theory holds that the collective is intrinsically used in the service of regressive, sexist perceptions of class. Thus, Bailey[2] implies that we have to choose between Debordian image and Derridaian reading.

2. Joyce and postpatriarchial axiomatic theory
“Art is unattainable,” says Debord; however, according to Cosgriff[3] , it is not so much art that is unattainable, but rather the futility, and thus the defining characteristic, of art. In Ulysses, Joyce affirms postcapitalist subjectivity; in A Portrait Of The Artist As A Young Man Joyce deconstructs Debordian image. But semiotic dematerialism suggests that sexuality is capable of significant form, but only if reality is equal to sexuality; otherwise, the significance of the reader is deconstruction.

Foucault uses the term ‘objectivism’ to denote the role of the artist as observer. Thus, Debord's essay on postpatriarchial axiomatic theory holds that the establishment is part of the economy of consciousness, given that objectivism is valid. Foucault suggests the use of pretextual objectivism to read and modify class. However, the subject is contextualised into a structural appropriation that includes narrativity as a reality. The characteristic theme of la Tournier's[4] analysis of postpatriarchial axiomatic theory is a mythopoetical whole.

Therefore, Derrida uses the term ‘neocapitalist transgressivity’ to denote the role of the writer as reader. The premise of objectivism suggests that the goal of the observer is significant form. It could be said that the main theme of the works of Joyce is not theory, as Baudrillard would have it, but subtheory. If postpatriarchial axiomatic theory holds, the works of Joyce are an example of material nihilism.

1. Finnis, B. ed. (1985) Reassessing Constructivism: Postpatriarchial axiomatic theory and objectivism. Panic Button Books
2. Bailey, F. C. (1972) Objectivism and postpatriarchial axiomatic theory. Harvard University Press
3. Cosgriff, N. I. R. ed. (1986) Fictions of Failure: Feminism, objectivism and textual narrative. University of Michigan Press
4. la Tournier, Q. (1970) Objectivism in the works of McLaren. New York University Press.

*Generated on my iPad by Postmodernism Generator. Hat tip to Rik Myslewski for the list of iPad apps!


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