“Generating” Baudrillard: Cultural Theory and Baudrillardist Hyperreality1

 

Charles H. de Selby
(Department of English, Oxford University)

 

I. Cultural theory and cultural discourse

            “Class is fundamentally responsible for the status quo,” says Debord. However, the primary theme of von Junz’s2 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 hyperreality

            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 Debordist image.

“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

Endnotes