Two of the following options were generated randomly by the "Post-Modernism Generator". The other is the descriptive text of a real talk at a U.S. university. Which one is the real talk?
| In the works of Rushdie, a predominant concept is the distinction between creation and destruction. The main theme of the works of Rushdie is not theory, but subtheory. It could be said that Derrida suggests the use of posttextual desublimation to modify and read culture. If one examines modernism, one is faced with a choice: either accept semantic socialism or conclude that sexuality is part of the stasis of reality. Any number of situationisms concerning the bridge between sexual identity and consciousness exist. |
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| The 1971 release of Bruce Lee’s film, The Big Boss, inaugurated a frenzy of martial arts appreciation across the globe. What was it about Lee’s films and others in the genre that spoke to Tanzanians? And who exactly responded to the call? As Tanzanians appropriated these films how did they transform them? How on earth did Tanzanians blend Bruce Lee with the philosophies of African statesman Julius Nayere to create a hip, youthful version of Ujamaa, an African socialism that was at once deeply local and decidedly trans-national? |
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| “Society is fundamentally dead,” says Marx; however, according to Geoffrey[1] , it is not so much society that is fundamentally dead, but rather the stasis, and eventually the failure, of society. But the subject is contextualised into a cultural capitalism that includes consciousness as a paradox. Sartre uses the term ‘posttextual socialism’ to denote the role of the observer as writer. In a sense, the rubicon of dialectic discourse which is a central theme of Joyce’s Ulysses emerges again in Finnegan’s Wake. Several discourses concerning cultural capitalism exist. Thus, Finnis suggests that the works of Joyce are empowering. |
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Stephen Sekula
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