“Generating” Baudrillard: Cultural Theory and
Charles H. de Selby
(Department of English, Oxford
I. Cultural theory and cultural
“Class is fundamentally
responsible for the status quo,” says Debord. However, the primary theme of von
model of the sub-dialectic paradigm of reality is the defining characteristic,
and some would say the rubicon, of structuralist sexual identity. Marx suggests
the use of cultural theory to challenge class divisions. Thus, Lacan uses the
term “cultural discourse” to denote the bridge between class and sexual
identity. Several narratives concerning Baudrillardist hyperreality may be
found. Therefore, the subject is interpolated into a cultural theory that
includes narrativity as a whole. An abundance of theories concerning not
materialism per se, but prematerialism exist.
II. Gibson and Baudrillardist
If one examines
neocapitalist theory, one is faced with a choice: either accept cultural theory
or conclude that art serves to disempower the Other. However, Derrida uses the
term “Baudrillardist hyperreality” to denote the role of the observer as
artist. If cultural theory holds, we have to choose between cultural discourse
and the cultural paradigm of narrative. “Narrativity is used in the service of
hierarchy,” says Marx; however, according to Drucker3,
it is not so much narrativity that is used in the service of hierarchy, but
rather the futility of narrativity. Therefore, the creation/destruction
distinction intrinsic to Burroughs’s Port of Saints is also evident in The
Ticket that Exploded. Bailey4
states that we have to choose between sub-deconstructivist narrative and
“Class is part of the genre of
art,” says Baudrillard. Thus, the main theme of the works of Rushdie is a
mythopoetical paradox. If cultural theory holds, we have to choose between
constructive construction and precultural nationalism. It could be said that
the premise of cultural theory suggests that narrative is a product of
communication. A number of narratives concerning Lacanist obscurity may be
revealed. Thus, in The Moor’s Last Sigh, Rushdie affirms cultural
theory; in Midnight’s Children he analyses Baudrillardist hyperreality.
The characteristic theme of Cameron’s5
essay on cultural discourse is not discourse, but sub-discourse. Therefore,
Baudrillardist hyperreality implies that the goal of the observer is
deconstruction, but only if consciousness is equal to sexuality. Many
demodernisms concerning a prepatriarchial whole exist. But Bataille promotes
the use of cultural discourse to read truth. The subject is contextualized into
a Baudrillardist hyperreality that includes language as a reality. However,
Sontag uses the term “cultural discourse” to denote the common ground between
society and class. Lacan’s critique of cultural theory states that sexual identity
has intrinsic meaning.6
© The postmodern generator
2 U. A. H. von Junz. The Vermillion Sky: Cultural
theory in the works of Cage. Panic Button Books, 1998.
3 B. Drucker (Editor). Cultural theory in the works
of Burroughs. O’Reilly & Associates, 1982.
U. Y. Bailey. Realities of Rubicon: Baudrillardist hyperreality in the works
of Rushdie. University of California Press, 1996.
G. I. Y. Cameron (Editor). Baudrillardist hyperreality and cultural theory.
Yale University Press, 1978.
6 This is an “essay” constructed using the “Postmodern
Generator” which may be found at (http://www.elsewhere.org/pomo1581798855).
The essay is, of course, completely meaningless and was randomly generated by
the Postmodernism Generator.
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