Either accept dialectic subcultural theory or conclude that narrative is a product of the collective unconscious.

If one examines subtextual theory, one is faced with a choice: either reject Lyotardist narrative or conclude that context is created by communication. The subject is contextualised into a Sontagist camp that includes language as a reality.
In a sense, Foucault suggests the use of subtextual theory to challenge class divisions. If Sontagist camp holds, the works of Fellini are modernistic.
Thus, Sartre uses the term 'subtextual theory' to denote not deappropriation per se, but predeappropriation. Lacan's critique of cultural situationism holds that reality is impossible, but only if language is equal to culture. In a sense, Sontag uses the term 'constructivism' to denote the common ground between class and sexual identity. The subject is interpolated into a subtextual theory that includes narrativity as a totality.

How does that sound? Grammatically correct but conceptually impenetrable? Thank The Postmodernism Generator.

This brilliant device turns out sentences that are coherent and--disregarding content--entirely readable. The brilliant part is that it pulls its various sentence parts out of lists entirely at random. Here is some further explanation. Here's an excerpt (of its excerpt) of postmodernism-generating code:

// | sent-about-citable-and-dualism(artist dualism)
| "in " @artist>make_cite ", " artist " " says-something "; in "
@artist>make_cite however " " artist " "
". "
| justifier "the works of " artist " are " works-state-of-being ".

You don't need programming experience to see (or at least to have a suspicion) that this is a simple fill-in-the-blank algorithm, where the choice of fillers is a set of high-falutin' words and phrases.

In a world in which cultural critics think so highly of themselves while producing so little of value, I think we can learn a lot from the postmodernism generator.

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This is how the Crooked

This is how the Crooked Timber contributors generate their posts.

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