13.10.

2019 Communications From Elsewhere

Communications From Elsewhere

Home of RJL20

The Collapse of Narrativity: The semanticist

paradigm of reality in the
works of Gaiman

O. Wilhelm Drucker

Department of Literature, Harvard University

Jane V. R. Humphrey

Department of Deconstruction, University of Western

Topeka

1. The semanticist paradigm of reality and neocultural

deconstructivist
theory

If one examines postconstructive materialism, one is faced with a choice:

either accept neocultural deconstructivist theory or conclude that the raison

www.elsewhere.org/journal/pomo/ 1/6
13.10.2019 Communications From Elsewhere

d’etre of the writer is social comment. The subject is interpolated into a

semanticist paradigm of reality that includes language as a paradox. Thus,
predeconstructive deconstruction implies that class, perhaps ironically, has
objective value, given that the premise of neocultural deconstructivist theory
is valid.

“Truth is part of the futility of art,” says Marx. Lacan uses the term ‘the
conceptualist paradigm of expression’ to denote the paradigm of subdialectic
society. It could be said that Derrida suggests the use of predeconstructive
deconstruction to challenge the status quo.

The characteristic theme of Buxton’s[1] analysis of

Baudrillardist simulation is the di erence between culture and sexual
identity. In a sense, Foucault uses the term ‘neocultural deconstructivist
theory’ to denote the dialectic, and some would say the genre, of cultural
class.

If postdialectic discourse holds, the works of Gaiman are postmodern. But

Pickett[2] suggests that we have to choose between
neocultural deconstructivist theory and dialectic desemanticism.

The semanticist paradigm of reality states that consensus is a product of

the collective unconscious. Thus, Derrida uses the term ‘the neocapitalist
paradigm of expression’ to denote the common ground between narrativity and
sexual identity.

In Stardust, Gaiman reiterates predeconstructive deconstruction; in

Neverwhere he denies cultural narrative. It could be said that if
predeconstructive deconstruction holds, we have to choose between the
postdialectic paradigm of context and textual discourse.

2. Narratives of de ning characteristic

If one examines the semanticist paradigm of reality, one is faced with a

choice: either reject neocultural deconstructivist theory or conclude that
class has intrinsic meaning. The primary theme of the works of Gaiman is the

www.elsewhere.org/journal/pomo/ 2/6
13.10.2019 Communications From Elsewhere

futility, and thus the fatal aw, of precultural language. However, the
subject is contextualised into a dialectic paradigm of discourse that includes
sexuality as a reality.

“Class is fundamentally meaningless,” says Foucault; however, according to

Long[3] , it is not so much class that is fundamentally
meaningless, but rather the collapse, and eventually the futility, of class.
Von Junz[4] implies that the works of Gaiman are empowering.
It could be said that the characteristic theme of Pickett’s[5] critique of
neocultural deconstructivist theory is not
deconstruction, but predeconstruction.

Marx promotes the use of the semanticist paradigm of reality to modify

society. In a sense, the genre, and subsequent economy, of neocultural
deconstructivist theory prevalent in Gaiman’s The Books of Magic is also
evident in Death: The Time of Your Life, although in a more postmaterial
sense.

Debord uses the term ‘the semanticist paradigm of reality’ to denote the
role of the observer as artist. Therefore, the subject is interpolated into a
neocultural deconstructivist theory that includes narrativity as a totality.

The main theme of the works of Gaiman is not deconstructivism, but

subdeconstructivism. In a sense, if textual feminism holds, the works of Gaiman
are an example of self-supporting objectivism.

3. Neocultural deconstructivist theory and premodernist theory

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

closing and opening. Bataille suggests the use of the semanticist paradigm of
reality to deconstruct capitalism. But the ground/ gure distinction which is a
central theme of Gaiman’s Neverwhere emerges again in Death: The High
Cost of Living.

The characteristic theme of Dahmus’s[6] model of

premodernist theory is a mythopoetical reality. La Tournier[7] holds that we have

www.elsewhere.org/journal/pomo/ 3/6
13.10.2019 Communications From Elsewhere

to choose between dialectic postcultural

theory and deconstructivist discourse. Therefore, the main theme of the works
of Gaiman is not, in fact, dematerialism, but subdematerialism.

An abundance of narratives concerning a pretextual paradox exist. In a

sense, the subject is contextualised into a semanticist paradigm of reality
that includes art as a totality.

If predeconstructive deconstruction holds, the works of Gaiman are

empowering. Therefore, Sontag’s analysis of premodernist theory implies that
the task of the writer is signi cant form.

Several theories concerning Lyotardist narrative may be found. Thus, Parry[8]

suggests that we have to choose between the semanticist
paradigm of reality and the cultural paradigm of reality.

1. Buxton, V. K. ed. (1997)

Predeconstructive deconstruction in the works of Tarantino. And/Or
Press

2. Pickett, J. (1970) Deconstructing Sartre: The

semanticist paradigm of reality and predeconstructive deconstruction.
University of North Carolina Press

3. Long, A. Y. ed. (1998) Predeconstructive deconstruction

in the works of Cage. Yale University Press

4. von Junz, E. (1987) Postcapitalist Appropriations:

Predeconstructive deconstruction in the works of Gaiman. O’Reilly &
Associates

5. Pickett, I. E. K. ed. (1975) Predeconstructive

deconstruction and the semanticist paradigm of reality. Oxford University
Press

www.elsewhere.org/journal/pomo/ 4/6
13.10.2019 Communications From Elsewhere

6. Dahmus, P. (1987) The Vermillion Fruit: Textual

Marxism, nationalism and predeconstructive deconstruction. And/Or
Press

7. la Tournier, Q. L. ed. (1992) The semanticist paradigm

of reality and predeconstructive deconstruction. Schlangekraft

8. Parry, T. (1981) The Paradigm of Sexual identity:

Predeconstructive deconstruction in the works of Gaiman. Panic Button
Books

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
modi ed very slightly by Josh Larios (this version, anyway. There are others out
there).

This installation of the Generator has delivered 21,959,153 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 A air, where
NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was
accepted by a cultural criticism publication.

www.elsewhere.org/journal/pomo/ 5/6
13.10.2019 Communications From Elsewhere

Communications From Elsewhere / Proudly powered by WordPress

loading

www.elsewhere.org/journal/pomo/ 6/6