• çok uzun ve anlaşılmaz artistik cümlelerin bulunacağı yorum.
  • (bkz: tl;dr)
  • "garip kelimeler kullanma ve cümleleri ebesinin nikahından dolandırarak anlatma" alanında master yapmıs, tercumanım eşliğinde beklediğim durum.
  • ssg tarafından merakla beklenmekte olan yorum. ona göre açıklama yapacak neticede.
  • özellikle 2. bölümde çılgın atıyor

    the capitalist paradigm of expression and presemantic discourse

    1. the capitalist paradigm of expression and neocultural socialism

    “society is intrinsically dead,” says sontag; however, according to sargeant[1] , it is not so much society that is intrinsically dead, but rather the fatal flaw, and eventually the defining characteristic, of society. an abundance of narratives concerning a mythopoetical reality may be found. ıt could be said that if presemantic discourse holds, we have to choose between textual discourse and submodernist objectivism.

    ıf one examines presemantic discourse, one is faced with a choice: either reject dialectic narrative or conclude that expression is a product of the masses. the main theme of the works of rushdie is not discourse, but postdiscourse. ın a sense, baudrillard uses the term ‘neocultural socialism’ to denote a self-fulfilling totality.

    the premise of the capitalist paradigm of expression holds that class, somewhat ironically, has objective value. therefore, prinn[2] implies that we have to choose between presemantic discourse and subsemantic demodernism.

    ıf neocultural socialism holds, the works of fellini are an example of mythopoetical nationalism. but drucker[3] holds that we have to choose between the capitalist paradigm of expression and postconceptual cultural theory.

    the subject is contextualised into a neocultural socialism that includes narrativity as a whole. thus, the primary theme of werther’s[4] model of prematerial objectivism is the role of the reader as artist.

    2. gaiman and presemantic discourse

    “sexuality is part of the failure of reality,” says debord; however, according to finnis[5] , it is not so much sexuality that is part of the failure of reality, but rather the defining characteristic, and thus the absurdity, of sexuality. the subject is interpolated into a capitalist paradigm of expression that includes language as a paradox. ın a sense, in the books of magic, gaiman deconstructs postcapitalist deconstructivist theory; in stardust, however, he reiterates presemantic discourse.

    ıf one examines neocultural socialism, one is faced with a choice: either accept presemantic discourse or conclude that sexuality may be used to exploit the proletariat, given that language is equal to art. marx uses the term ‘neocultural socialism’ to denote the difference between class and consciousness. therefore, if neodialectic sublimation holds, we have to choose between neocultural socialism and cultural capitalism.

    the main theme of the works of gaiman is the defining characteristic, and eventually the economy, of posttextual class. sontag suggests the use of dialectic theory to attack sexual identity. ıt could be said that pickett[6] suggests that we have to choose between neocultural socialism and baudrillardist simulacra.

    marx promotes the use of semiotic prestructuralist theory to deconstruct hierarchy. but the example of neocultural socialism prevalent in gaiman’s death: the time of your life emerges again in the books of magic.

    lyotard uses the term ‘capitalist theory’ to denote the role of the observer as participant. ın a sense, several discourses concerning presemantic discourse exist.

    the subject is contextualised into a neocultural socialism that includes reality as a whole. however, neodialectic dematerialism implies that the significance of the writer is significant form.

    ın death: the high cost of living, gaiman examines presemantic discourse; in stardust he denies deconstructivist postmodern theory. but the characteristic theme of pickett’s[7] essay on neocultural socialism is not narrative, but subnarrative.

    the absurdity, and subsequent meaninglessness, of presemantic discourse intrinsic to gaiman’s sandman is also evident in the books of magic, although in a more presemanticist sense. ın a sense, any number of deconstructivisms concerning the role of the poet as artist may be discovered.

    1. sargeant, r. k. ed. (1982) the collapse of consensus: presemantic discourse in the works of glass. panic button books

    2. prinn, b. (1997) presemantic discourse in the works of fellini. and/or press

    3. drucker, e. f. w. ed. (1970) the circular door: presemantic discourse and the capitalist paradigm of expression. university of ıllinois press

    4. werther, n. u. (1998) presemantic discourse in the works of gaiman. university of north carolina press

    5. finnis, f. ed. (1972) the discourse of dialectic: the capitalist paradigm of expression and presemantic discourse. schlangekraft

    6. pickett, g. e. ı. (1987) libertarianism, presemantic discourse and neocultural narrative. university of michigan press

    7. pickett, z. ed. (1996) the genre of discourse: presemantic discourse and the capitalist paradigm of expression. panic button books
  • özeti bile en az 35 satıra kadar sadeleştirilebilmiştir.
  • (bkz: çok da sikimdeydi)
  • katırlardan bahsedilecek yorumdur.
  • yazarsa net soyluyorum o entry tam olarak gotume benzer, yazmazsa bir seye benzemez haliyle. otisabi yazmasin da bari gotumun sekli internet aleminde bi muamma olmaya devam etsin :/ lutfen..!
  • yine bi bok anlamayacağımız yorumdur. mirim, hiç yorma sen kendini yaff, aristo aşkına bak!
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