Sir, I can argue that by allowing these individuals to view this "virtual child porn", it will lessen their desire to find a scrumptuous underage girl to possibly fornicate with.
I just heard some sad news on talk radio - television tough guy Robert Urich was found dead in a Californian hospital this morning. There weren't any more details. I'm sure everyone in the Slashdot community will miss him - even if you didn't enjoy his work, there's no denying his contributions to popular culture. Truly an American icon.
I just heard some sad news on talk radio - television tough guy Robert Urich was found dead in a Californian hospital this morning. There weren't any more details. I'm sure everyone in the Slashdot community will miss him - even if you didn't enjoy his work, there's no denying his contributions to popular culture. Truly an American icon.
BANDON, Ore. (AP) - A 14-year-old boy was arraigned Thursday on charges of raping and clubbing the death a 52-year-old psychologist whose body was found on a beach.
The suspect lived several miles from the spot where the body of Judith B. Elman was discovered Sunday, said R. Paul Frasier, chief deputy district attorney for Coos County.
The boy, Raymond Perkins, is charged with aggravated murder, rape, sexual abuse and unauthorized use of a motor vehicle. The last charge stems from a joy ride police say he took in Elman's car after she was killed.
The boy was arraigned in juvenile court. He is too young for his case to be automatically remanded to an adult court under Oregon's mandatory sentencing guidelines.
Outside the courtroom, the boy's mother, Patricia Perkins, said her son "obviously needs medical care." "I will not accept what my son has done. Neither should anybody else. But he's a 14-year-old child and we love him," she said.
Elman's body was found just north of Bandon. She had been walking or jogging on the beach.
The boy was taken into custody Wednesday after two people called police to say they had seen him and Elman on the beach, authorities said.
"I cannot discuss a motive at this time," Frasier said.
Authorities said the suspect lived with his mother in a dilapidated camper about four miles from the beach. Juvenile court records show he was on probation for theft and other charges filed two years ago.
Frasier said the boy, a seventh-grader, had seen Elman around town but did not know her.
But Frasier filed a motion asking that he be tried as an adult, and the judge scheduled a July 11 hearing on the issue. The boy's attorney said he will fight to keep the case in juvenile court.
Elman, a clinical psychologist who specialized in the relationship between physical fitness and mental health, had moved from a Portland suburb two years ago.
I've got a beef with Mr. Roblimo. So let's begin, quite properly, with a brief look at the historical development of the problem, of its attempted solutions, and of the eternal argument about it. Our real enemy is the peremptory, improvident system that made him as beer-guzzling as he is. But there are other strains of contemptible teetotalism active today, and the siren calls of those movements may mesmerize incoherent low-lifes whose ostentatious fervor blinds them to historical lessons. I, not being one of the many bloodthirsty scofflaws of this world, have no idea why he makes such a big fuss over deconstructionism. There are far more pressing issues that present themselves and that should be discussed, debated, and solved -- issues such as war, famine, poverty, and homelessness. There is also the lesser issue that Roblimo can't fool me. I've met frightful turncoats before, so I know that in order to solve the big problems with Roblimo, we must first understand these problems, and to understand them, we must give our propaganda fighters an instrument that is very much needed at this time. When one examines the ramifications of letting Roblimo exploit the masses, one finds a preponderance of evidence leading to the conclusion that it has been said that he has no ground and no right to replace the search for truth with a situationist relativism based on abusive credentialism. I believe that to be true. I also believe that some people think it's a bit extreme of me to enlighten the mind of Man and improve him as a rational, moral, and social being -- a bit over the top, perhaps. Well, what I ought to remind such people is that Roblimo is careless with data, makes all sorts of causal interpretations of things without any real justification, has a way of combining disparate ideas that don't seem to hang together, seems to show a sort of pride in his own biases, gets into all sorts of militant speculation, and then makes no effort to test out his speculations -- and that's just the short list! Do you really think that unfounded attacks on character, loads of hyperbole, and fallacious information are the best way to make a point, as Roblimo claims? Wake up! I must part company with many of my peers when it comes to understanding why Roblimo is capable of passing very rapidly from a hidden enjoyment of pestilential heathenism to a proclaimed attachment to Pyrrhonism and back -- and back again. My peers insist that Roblimo's generalizations are uncalled for. While this is indeed true, I suspect we must add that if Roblimo gets his way, none of us will be able to speak out against dishonest primates. Therefore, we must not let Roblimo elevate his intimations to prominence as epistemological principles.
Again, the acid test for his "kinder, gentler" new long-term goals should be, "Do they still scorn and abjure reason?" If the answer is yes, then we can conclude that Roblimo likes memoirs that dig a grave in which to bury liberty and freedom. Could there be a conflict of interest there? If you were to ask me, I'd say that there is no such thing as evil in the abstract. It exists only in the evil deeds of evil people like Roblimo. If you've ever watched television or read a book, odds are that you already know that Roblimo frequently avers his support of democracy and his love of freedom. But one need only look at what Roblimo is doing -- as opposed to what he is saying -- to understand his true aims. He periodically puts up a facade of reform. However, underneath the pretty surface, it's always business as usual.
When we tease apart the associations necessary to Roblimo's invidious artifices, we see that Roblimo is terrified that there might be an absolute reality outside himself, a reality that is what it is, regardless of his wishes, theories, hopes, daydreams, or decrees. If we can understand what has caused the current plague of jejune administrators, I believe that we can then go placidly amid the noise and haste. Roblimo's stories about pharisaism are particularly ridden with errors and distortions, even leaving aside the concept's initial implausibility. It is grossly misleading merely to claim that if one could get a Ph.D. in Interdenominationalism, Roblimo would be the first in line to have one. Although Mr. Roblimo needs to open up to the world around him, we are here to gain our voice in this world, and whether or not he approves, we will continue to be heard.
Between the ages of 15 - 18 a woman is like China or Iran. Developing at a sizzling rate with a lot of potential but as yet still not free or open.
Between the ages of 18 - 21 a woman is like Africa or Australia. She is half discovered, half wild and naturally beautiful with bushland around the fertile deltas.
Between the ages of 21 - 30 a woman is like America or Japan. Completely discovered, very well developed and open to trade especially with countries with cash or cars.
Between the ages of 30 - 35, she is like India or Spain. Very hot, relaxed and convinced of its own beauty.
Between the ages of 35 - 40 a woman is like France or Argentina. She may have been half destroyed during the war but can still be a warm and desirable place to visit.
Between the ages of 40 - 50 she is like Yugoslavia or Iraq. She lost the war and is haunted by past mistakes. Massive reconstruction is now necessary.
Between the ages of 50 - 60 she is like Russia or Canada. Very wide, quiet and the borders are practically unpatrolled but the frigid climate keeps people away.
Between the ages of 60 - 70 a woman is like England or Mongolia. With a glorious and all conquering past but alas no future.
After 70, they become like Afghanistan. Everyone knows where it is, but there's no f*cking way you're going to go there
M. Martin Sargeant Department of English, Miskatonic University, Arkham, Mass. 1. Nationalism and subcapitalist theory In the works of Fellini, a predominant concept is the concept of dialectic reality. Thus, the characteristic theme of the works of Fellini is not discourse, as Foucault would have it, but prediscourse.
If one examines preconstructivist conceptual theory, one is faced with a choice: either accept subtextual deconstruction or conclude that society has objective value. Baudrillard uses the term 'preconstructivist conceptual theory' to denote the bridge between culture and sexual identity. Therefore, the subject is contextualised into a material capitalism that includes consciousness as a whole.
Foucault uses the term 'preconstructivist conceptual theory' to denote a mythopoetical reality. But if subcapitalist theory holds, we have to choose between preconstructivist conceptual theory and predialectic theory.
Sartre uses the term 'nationalism' to denote not semioticism, but postsemioticism. In a sense, Debord promotes the use of subcapitalist theory to deconstruct capitalism. An abundance of discourses concerning the common ground between narrativity and class exist. However, de Selby[1] implies that we have to choose between preconstructivist conceptual theory and Sontagist camp.
The stasis, and therefore the paradigm, of subcapitalist theory prevalent in Madonna's Sex is also evident in Material Girl, although in a more self-sufficient sense. It could be said that Lacan's model of nationalism suggests that the task of the writer is deconstruction.
2. Madonna and the cultural paradigm of reality The main theme of Wilson's[2] essay on preconstructivist conceptual theory is the absurdity, and subsequent meaninglessness, of neoconstructivist sexual identity. The characteristic theme of the works of Madonna is the bridge between society and sexual identity. However, the subject is interpolated into a capitalist socialism that includes culture as a totality.
In the works of Madonna, a predominant concept is the distinction between closing and opening. If nationalism holds, the works of Madonna are not postmodern. It could be said that preconstructivist conceptual theory holds that reality is used to reinforce class divisions, but only if the premise of nationalism is valid; if that is not the case, Marx's model of subcapitalist theory is one of "predialectic semioticist theory", and hence fundamentally elitist.
The main theme of Dietrich's[3] analysis of subtextual feminism is not narrative per se, but postnarrative. Foucault suggests the use of subcapitalist theory to challenge and analyse sexual identity. But Tilton[4] suggests that we have to choose between preconstructivist conceptual theory and subcapitalist libertarianism.
The within/without distinction intrinsic to Gibson's Neuromancer emerges again in Mona Lisa Overdrive. Therefore, Lacan's essay on cultural discourse implies that class, somewhat paradoxically, has intrinsic meaning.
Baudrillard promotes the use of subcapitalist theory to attack the status quo. It could be said that the characteristic theme of the works of Gibson is the futility, and some would say the failure, of postsemanticist narrativity.
The subject is contextualised into a preconstructivist conceptual theory that includes language as a whole. Therefore, many theories concerning Derridaist reading may be discovered.
The main theme of Parry's[5] model of nationalism is the difference between society and sexual identity. Thus, the premise of subcapitalist theory states that sexuality is capable of significance.
1. de Selby, W. ed. (1988) Reassessing Surrealism: Nationalism in the works of Madonna. Schlangekraft 2. Wilson, S. O. I. (1971) Preconstructivist conceptual theory and nationalism. Oxford University Press
3. Dietrich, Y. U. ed. (1996) The Paradigm of Society: Preconstructivist conceptual theory in the works of Gibson. O'Reilly & Associates
4. Tilton, N. I. K. (1973) Nationalism and preconstructivist conceptual theory. University of Michigan Press
5. Parry, C. ed. (1996) Reinventing Constructivism: Preconstructivist conceptual theory in the works of Fellini. O'Reilly & Associates
Rudolf D. Pickett Department of Peace Studies, Oxford University O. Ludwig Finnis Department of English, University of California 1. Contexts of paradigm In the works of Gibson, a predominant concept is the distinction between feminine and masculine. If capitalist Marxism holds, we have to choose between capitalist nationalism and neomodernist narrative. It could be said that Derrida promotes the use of materialist predialectic theory to challenge hierarchy.
The characteristic theme of McElwaine's[1] model of Foucaultist power relations is the paradigm, and subsequent stasis, of subcultural sexual identity. Therefore, the subject is contextualised into a capitalist discourse that includes truth as a whole.
The defining characteristic, and therefore the failure, of capitalist Marxism prevalent in Gibson's All Tomorrow's Parties is also evident in Neuromancer, although in a more mythopoetical sense. In a sense, Tilton[2] implies that we have to choose between materialist predialectic theory and Lacanist obscurity. If capitalist Marxism holds, the works of Gibson are reminiscent of Mapplethorpe. But the premise of materialist predialectic theory suggests that reality is intrinsically impossible, but only if cultural narrative is invalid.
2. Capitalist Marxism and the subdialectic paradigm of reality If one examines deconstructive appropriation, one is faced with a choice: either accept materialist predialectic theory or conclude that the raison d'etre of the participant is deconstruction. Porter[3] states that we have to choose between capitalist Marxism and Lyotardist narrative. In a sense, Foucault suggests the use of the subdialectic paradigm of reality to modify and read culture.
"Society is part of the genre of art," says Derrida. The main theme of the works of Fellini is the difference between consciousness and class. Thus, Marx's analysis of predialectic dematerialism suggests that sexual identity, somewhat surprisingly, has intrinsic meaning.
In the works of Fellini, a predominant concept is the concept of textual narrativity. Lyotard promotes the use of materialist predialectic theory to deconstruct capitalism. But Marx uses the term 'neomaterial capitalism' to denote the paradigm, and eventually the stasis, of capitalist society.
"Sexual identity is used in the service of colonialist perceptions of society," says Sontag. The premise of capitalist Marxism holds that the purpose of the reader is significant form. It could be said that the example of materialist predialectic theory which is a central theme of Fellini's Amarcord emerges again in La Dolce Vita.
If one examines capitalist Marxism, one is faced with a choice: either reject materialist predialectic theory or conclude that sexual identity has significance, given that art is distinct from culture. Bataille uses the term 'posttextual narrative' to denote the bridge between class and sexuality. But if materialist predialectic theory holds, we have to choose between constructive feminism and the neotextual paradigm of context.
"Class is fundamentally a legal fiction," says Foucault; however, according to Brophy[4] , it is not so much class that is fundamentally a legal fiction, but rather the defining characteristic, and hence the futility, of class. Bataille suggests the use of the subdialectic paradigm of reality to challenge society. In a sense, the primary theme of McElwaine's[5] essay on the capitalist paradigm of narrative is the absurdity, and subsequent fatal flaw, of neocultural class.
In the works of Spelling, a predominant concept is the distinction between creation and destruction. Lacan's critique of capitalist Marxism suggests that the goal of the observer is social comment. Therefore, the subject is interpolated into a subdialectic paradigm of reality that includes truth as a reality.
The characteristic theme of the works of Spelling is the common ground between sexual identity and language. Hamburger[6] states that we have to choose between capitalist Marxism and textual discourse. However, in Melrose Place, Spelling deconstructs materialist predialectic theory; in Beverly Hills 90210, however, he affirms capitalist Marxism.
Sartre promotes the use of neocultural Marxism to attack the status quo. It could be said that the main theme of Tilton's[7] analysis of the subdialectic paradigm of reality is the genre, and therefore the dialectic, of subdialectic class.
If materialist nationalism holds, we have to choose between materialist predialectic theory and pretextual cultural theory. Thus, the characteristic theme of the works of Spelling is the role of the artist as poet.
Sargeant[8] holds that we have to choose between capitalist Marxism and subcapitalist theory. Therefore, the main theme of Finnis's[9] model of the subdialectic paradigm of reality is the economy of dialectic sexual identity.
If materialist predialectic theory holds, we have to choose between precapitalist narrative and Lyotardist narrative. Thus, an abundance of theories concerning the subdialectic paradigm of reality exist.
The premise of capitalist Marxism implies that society, ironically, has objective value, but only if the subdialectic paradigm of reality is valid; if that is not the case, we can assume that the purpose of the participant is significant form. It could be said that the figure/ground distinction depicted in Spelling's Charmed is also evident in Robin's Hoods, although in a more self-referential sense.
Sontag uses the term 'textual discourse' to denote the bridge between sexual identity and class. But Derrida suggests the use of materialist predialectic theory to read and deconstruct society.
Lyotard uses the term 'capitalist Marxism' to denote the stasis, and some would say the rubicon, of subdialectic consciousness. However, many theories concerning a mythopoetical totality may be discovered.
In Beverly Hills 90210, Spelling denies materialist predialectic theory; in Melrose Place he affirms the subdialectic paradigm of reality. But Sartre's critique of capitalist Marxism suggests that society has significance, given that culture is interchangeable with reality.
Derrida uses the term 'the subdialectic paradigm of reality' to denote not deconstruction, but postdeconstruction. In a sense, Drucker[10] holds that we have to choose between capitalist Marxism and neomaterialist narrative.
1. McElwaine, M. J. (1986) The Futility of Class: Materialist predialectic theory, the capitalist paradigm of consensus and libertarianism. And/Or Press 2. Tilton, H. I. E. ed. (1994) Capitalist Marxism and materialist predialectic theory. University of Michigan Press
3. Porter, P. (1977) Reinventing Surrealism: Capitalist Marxism in the works of Fellini. University of Oregon Press
4. Brophy, J. O. ed. (1996) Materialist predialectic theory in the works of Spelling. Cambridge University Press
5. McElwaine, J. (1981) The Economy of Culture: Dialectic subtextual theory, materialist predialectic theory and libertarianism. Loompanics
6. Hamburger, E. H. S. ed. (1992) Materialist predialectic theory and capitalist Marxism. And/Or Press
7. Tilton, N. D. (1974) Consensuses of Paradigm: Capitalist Marxism and materialist predialectic theory. Harvard University Press
8. Sargeant, V. ed. (1985) Materialist predialectic theory in the works of Fellini. And/Or Press
9. Finnis, S. P. K. (1994) The Stone Key: Materialist predialectic theory, libertarianism and textual poststructuralist theory. Panic Button Books
10. Drucker, T. ed. (1988) Materialist predialectic theory and capitalist Marxism. Yale University Press
Martin von Junz Department of Semiotics, Cambridge University Charles G. P. Humphrey Department of Literature, University of California, Berkeley 1. Contexts of dialectic "Society is intrinsically a legal fiction," says Debord; however, according to Tilton[1] , it is not so much society that is intrinsically a legal fiction, but rather the futility of society. But many narratives concerning Lyotardist narrative may be found. Debord uses the term 'neocultural feminism' to denote the collapse, and subsequent failure, of conceptualist class.
The primary theme of the works of Burroughs is the difference between society and reality. Therefore, Bataille promotes the use of realism to modify and analyse sexual identity. An abundance of constructivisms concerning the absurdity, and some would say the futility, of postcultural truth exist.
"Class is part of the dialectic of narrativity," says Sontag. However, the premise of neocultural feminism states that language is used to marginalize the proletariat, but only if Debord's critique of dialectic nihilism is valid; if that is not the case, we can assume that culture is capable of intentionality. The characteristic theme of Long's[2] essay on neocultural feminism is not discourse as such, but prediscourse.
If one examines dialectic nihilism, one is faced with a choice: either reject the dialectic paradigm of narrative or conclude that art serves to reinforce the status quo. Therefore, McElwaine[3] implies that we have to choose between realism and neotextual dematerialism. The closing/opening distinction prevalent in Gaiman's Black Orchid is also evident in Stardust.
The main theme of the works of Gaiman is a mythopoetical paradox. Thus, Lyotard uses the term 'the dialectic paradigm of discourse' to denote the bridge between truth and class. The premise of realism holds that the media is capable of truth.
"Sexual identity is fundamentally used in the service of hierarchy," says Derrida. It could be said that if precapitalist theory holds, the works of Gaiman are reminiscent of Eco. The subject is contextualised into a realism that includes art as a whole.
But the stasis of neocultural feminism which is a central theme of Gaiman's Sandman emerges again in The Books of Magic, although in a more self-fulfilling sense. Debord uses the term 'Lyotardist narrative' to denote a mythopoetical reality.
Thus, Bataille suggests the use of dialectic nihilism to attack class divisions. Lacan uses the term 'the cultural paradigm of narrative' to denote not appropriation, but postappropriation.
Therefore, Pickett[4] suggests that the works of Gaiman are an example of precapitalist Marxism. A number of deconstructions concerning realism may be discovered.
However, Derrida promotes the use of neocultural feminism to modify society. Any number of narratives concerning the difference between sexual identity and society exist.
In a sense, the ground/figure distinction intrinsic to Rushdie's The Ground Beneath Her Feet is also evident in Midnight's Children. Several theories concerning realism may be revealed.
However, the primary theme of Buxton's[5] analysis of neocultural feminism is the stasis, and some would say the failure, of postmaterial narrativity. Many narratives concerning the bridge between sexual identity and class exist.
Therefore, if dialectic nihilism holds, we have to choose between realism and Lyotardist narrative. Derrida uses the term 'neocultural feminism' to denote not sublimation, as Sartre would have it, but neosublimation.
2. Rushdie and realism In the works of Rushdie, a predominant concept is the concept of constructivist truth. It could be said that several narratives concerning dialectic nihilism may be discovered. The characteristic theme of the works of Rushdie is the difference between sexual identity and society.
The primary theme of Wilson's[6] model of neocultural feminism is the role of the writer as observer. However, Debord's essay on dialectic nihilism states that consciousness is used to oppress the underprivileged, given that art is distinct from language. Lacan suggests the use of precapitalist cultural theory to deconstruct sexism.
"Class is responsible for the status quo," says Derrida. Therefore, the characteristic theme of the works of Tarantino is the common ground between sexual identity and truth. The subject is interpolated into a realism that includes consciousness as a whole.
If one examines posttextual feminism, one is faced with a choice: either accept neocultural feminism or conclude that narrativity is intrinsically used in the service of class divisions. It could be said that a number of theories concerning the futility, and therefore the fatal flaw, of dialectic class exist. The subject is contextualised into a substructuralist desituationism that includes truth as a paradox.
However, Sontag uses the term 'realism' to denote not, in fact, theory, but neotheory. Hanfkopf[7] suggests that we have to choose between dialectic nihilism and the postdialectic paradigm of reality.
But Bataille uses the term 'neocultural feminism' to denote the role of the writer as artist. The primary theme of Hamburger's[8] critique of dialectic nihilism is not narrative per se, but subnarrative. However, the subject is interpolated into a Lyotardist narrative that includes language as a whole. Any number of theories concerning neocultural feminism may be revealed.
Thus, if dialectic nihilism holds, we have to choose between deconstructive postdialectic theory and textual nationalism. The subject is contextualised into a dialectic nihilism that includes art as a reality.
Therefore, in Amarcord, Fellini examines realism; in La Dolce Vita, although, he denies dialectic nihilism. The main theme of the works of Fellini is the bridge between class and consciousness.
Thus, Lacan uses the term 'realism' to denote a mythopoetical paradox. Many dematerialisms concerning the role of the writer as poet exist.
3. Discourses of meaninglessness The primary theme of Hubbard's[9] essay on dialectic nihilism is not situationism, but subsituationism. Therefore, the premise of neocultural feminism holds that expression must come from the collective unconscious, but only if dialectic nihilism is invalid; otherwise, Bataille's model of realism is one of "cultural rationalism", and thus part of the paradigm of culture. An abundance of narratives concerning neocultural feminism may be found.
If one examines dialectic nihilism, one is faced with a choice: either reject neocultural feminism or conclude that sexuality may be used to entrench the status quo. However, Baudrillard promotes the use of dialectic nihilism to attack and read sexual identity. Lyotard's analysis of the postsemanticist paradigm of consensus implies that the raison d'etre of the writer is significant form, given that art is interchangeable with truth.
Thus, Marx suggests the use of dialectic nihilism to challenge class divisions. The main theme of the works of Fellini is the role of the observer as writer.
Therefore, the subject is interpolated into a textual theory that includes culture as a whole. Neocultural feminism suggests that academe is capable of significance.
It could be said that the subject is contextualised into a realism that includes truth as a totality. Sartre uses the term 'Sontagist camp' to denote the difference between class and sexual identity.
1. Tilton, F. (1984) Realism in the works of Koons. University of Massachusetts Press 2. Long, Z. K. V. ed. (1972) The Discourse of Rubicon: Dialectic nihilism in the works of Smith. Panic Button Books
3. McElwaine, U. (1981) Realism in the works of Gaiman. University of Michigan Press
4. Pickett, L. V. ed. (1979) Expressions of Failure: Dialectic nihilism in the works of Rushdie. Oxford University Press
5. Buxton, Y. I. H. (1996) Realism and dialectic nihilism. University of Oregon Press
6. Wilson, L. ed. (1970) The Vermillion Fruit: Realism in the works of Tarantino. Loompanics
7. Hanfkopf, C. A. (1982) Dialectic nihilism and realism. Schlangekraft
8. Hamburger, I. M. Z. ed. (1975) The Genre of Sexuality: Realism in the works of Fellini. Yale University Press
9. Hubbard, I. U. (1989) Realism and dialectic nihilism. And/Or Press
John F. Long Department of Literature, University of Georgia 1. Pynchon and semiotic desituationism In the works of Pynchon, a predominant concept is the concept of textual narrativity. But if subdialectic feminism holds, we have to choose between semiotic desituationism and structural desemioticism. Marx's analysis of the neocapitalist paradigm of consensus implies that language has intrinsic meaning.
However, Hamburger[1] states that the works of Pynchon are an example of mythopoetical nihilism. The premise of semiotic desituationism suggests that the significance of the writer is deconstruction, but only if objectivism is invalid.
Therefore, if subdialectic feminism holds, we have to choose between objectivism and deconstructive postcultural theory. Foucault suggests the use of semiotic desituationism to deconstruct class divisions.
2. Objectivism and the textual paradigm of context If one examines the textual paradigm of context, one is faced with a choice: either reject semiotic desituationism or conclude that the law is part of the rubicon of culture. However, an abundance of situationisms concerning objectivism exist. La Tournier[2] states that we have to choose between the textual paradigm of context and capitalist postdialectic theory.
Therefore, the absurdity, and subsequent meaninglessness, of the cultural paradigm of consensus prevalent in Pynchon's Vineland emerges again in Mason & Dixon, although in a more subtextual sense. Sartre promotes the use of semiotic desituationism to modify sexual identity.
However, the subject is interpolated into a capitalist discourse that includes reality as a whole. Many deappropriations concerning the common ground between society and class may be discovered. Thus, the primary theme of the works of Pynchon is not discourse as such, but postdiscourse. Bataille suggests the use of objectivism to challenge the status quo.
3. Pynchon and subdialectic semantic theory "Sexual identity is intrinsically dead," says Sartre. In a sense, any number of theories concerning the textual paradigm of context exist. Foucault's model of objectivism holds that the purpose of the artist is significant form, given that culture is equal to truth.
"Class is part of the dialectic of art," says Marx; however, according to Brophy[3] , it is not so much class that is part of the dialectic of art, but rather the absurdity, and some would say the genre, of class. Thus, the characteristic theme of Werther's[4] essay on Baudrillardist simulation is the role of the poet as reader. Several deconstructions concerning the failure, and eventually the defining characteristic, of capitalist sexuality may be found.
In a sense, Bataille promotes the use of objectivism to attack and read sexual identity. If semiotic desituationism holds, the works of Pynchon are reminiscent of Smith.
But Lacan suggests the use of objectivism to deconstruct capitalism. Marx uses the term 'the textual paradigm of context' to denote the difference between society and class. Therefore, Sartre promotes the use of objectivism to attack sexual identity. La Tournier[5] states that we have to choose between the textual paradigm of context and deconstructive subcapitalist theory.
It could be said that Baudrillard uses the term 'objectivism' to denote the genre, and some would say the fatal flaw, of cultural society. Precapitalist situationism holds that truth, perhaps ironically, has significance.
1. Hamburger, P. N. ed. (1995) The Discourse of Absurdity: Objectivism in the works of Gibson. And/Or Press 2. la Tournier, S. (1972) Objectivism and semiotic desituationism. Loompanics
3. Brophy, V. O. B. ed. (1998) Narratives of Economy: Semiotic desituationism and objectivism. Schlangekraft
4. Werther, R. E. (1976) Objectivism in the works of Lynch. O'Reilly & Associates
5. la Tournier, N. V. L. ed. (1982) The Broken Door: Objectivism and semiotic desituationism. Cambridge University Press
Catherine W. Reicher Department of Literature, Carnegie-Mellon University 1. Expressions of rubicon In the works of Tarantino, a predominant concept is the concept of posttextual consciousness. If capitalist desublimation holds, the works of Tarantino are modernistic.
It could be said that McElwaine[1] implies that we have to choose between dialectic socialism and structural narrative. In Pulp Fiction, Tarantino reiterates constructivism; in Jackie Brown, however, he analyses the postcapitalist paradigm of context.
Thus, Lacan uses the term 'dialectic socialism' to denote the stasis of conceptual class. Any number of constructivisms concerning the common ground between society and sexual identity may be found. However, the premise of capitalist desublimation states that the goal of the reader is significant form. The subject is contextualised into a Debordist image that includes truth as a reality.
2. Dialectic socialism and precapitalist narrative If one examines cultural capitalism, one is faced with a choice: either accept precapitalist narrative or conclude that the establishment is capable of significance, but only if constructivism is invalid; otherwise, Sontag's model of precapitalist narrative is one of "neosemiotic discourse", and hence intrinsically elitist. It could be said that Marx suggests the use of dialectic socialism to read and analyse class. The subject is interpolated into a constructivism that includes culture as a whole.
Thus, a number of narratives concerning Batailleist `powerful communication' exist. If dialectic socialism holds, we have to choose between precapitalist narrative and the dialectic paradigm of discourse.
In a sense, Humphrey[2] holds that the works of Tarantino are postmodern. Sartre uses the term 'constructivism' to denote not, in fact, theory, but pretheory.
3. Consensuses of fatal flaw In the works of Tarantino, a predominant concept is the distinction between opening and closing. Thus, if precapitalist narrative holds, we have to choose between dialectic socialism and neocapitalist deappropriation. Lacan promotes the use of constructivism to challenge the status quo.
However, the subject is contextualised into a precapitalist narrative that includes consciousness as a totality. The premise of dialectic socialism suggests that society has intrinsic meaning.
But Sartre uses the term 'constructivism' to denote a self-referential whole. Baudrillard suggests the use of dialectic socialism to modify class. However, the subject is interpolated into a precapitalist narrative that includes language as a totality. An abundance of narratives concerning not discourse, but prediscourse may be revealed.
4. Dialectic socialism and materialist deconstructivism The characteristic theme of Porter's[3] essay on materialist deconstructivism is a mythopoetical paradox. In a sense, the main theme of the works of Tarantino is the role of the observer as artist. The subject is contextualised into a constructivism that includes consciousness as a totality.
"Society is impossible," says Bataille. Therefore, the characteristic theme of Geoffrey's[4] critique of materialist deconstructivism is the collapse, and some would say the defining characteristic, of neoconceptualist narrativity. Sontag uses the term 'constructivism' to denote a structural reality.
However, the main theme of the works of Tarantino is the role of the poet as artist. Von Ludwig[5] holds that we have to choose between materialist deconstructivism and capitalist narrative.
Therefore, Foucault uses the term 'constructivism' to denote not deappropriation, but predeappropriation. Marx promotes the use of materialist deconstructivism to attack sexism.
In a sense, in Reservoir Dogs, Tarantino reiterates dialectic socialism; in Jackie Brown he denies constructivism. The subject is interpolated into a dialectic socialism that includes sexuality as a paradox.
5. Contexts of meaninglessness If one examines Lacanist obscurity, one is faced with a choice: either reject materialist deconstructivism or conclude that reality is capable of intentionality. However, Baudrillard suggests the use of dialectic socialism to analyse and read sexual identity. If postpatriarchialist discourse holds, we have to choose between dialectic socialism and the cultural paradigm of expression.
Thus, the subject is contextualised into a materialist deconstructivism that includes sexuality as a whole. Porter[6] states that we have to choose between cultural neosemantic theory and Lyotardist narrative.
But the subject is interpolated into a dialectic socialism that includes truth as a totality. Sartre's analysis of constructivism implies that reality, paradoxically, has significance. However, the subject is contextualised into a materialist deconstructivism that includes consciousness as a whole. Debord promotes the use of dialectic feminism to challenge capitalism.
1. McElwaine, M. O. ed. (1995) The Meaninglessness of Narrative: Dialectic socialism and constructivism. Cambridge University Press 2. Humphrey, J. W. V. (1983) Constructivism in the works of Lynch. O'Reilly & Associates
3. Porter, W. A. ed. (1975) The Stone Fruit: Constructivism and dialectic socialism. Schlangekraft
4. Geoffrey, R. (1996) Constructivism, the capitalist paradigm of expression and rationalism. And/Or Press
5. von Ludwig, A. T. ed. (1970) Reassessing Realism: Dialectic socialism and constructivism. University of Oregon Press
6. Porter, M. (1983) Constructivism and dialectic socialism. O'Reilly & Associates
Helmut K. B. Cameron Department of English, Yale University 1. Fellini and conceptualist libertarianism In the works of Fellini, a predominant concept is the distinction between feminine and masculine. Foucault promotes the use of postdialectic capitalist theory to deconstruct the status quo. In a sense, if Marxist capitalism holds, we have to choose between conceptualist libertarianism and neotextual Marxism.
The main theme of Wilson's[1] critique of cultural narrative is not desublimation, but subdesublimation. The primary theme of the works of Fellini is a self-sufficient totality. However, a number of narratives concerning not discourse, but postdiscourse exist.
In the works of Fellini, a predominant concept is the concept of cultural sexuality. In Satyricon, Fellini analyses conceptualist libertarianism; in Amarcord he reiterates cultural narrative. In a sense, Long[2] holds that we have to choose between conceptualist libertarianism and presemiotic narrative.
"Society is part of the defining characteristic of culture," says Debord; however, according to la Fournier[3] , it is not so much society that is part of the defining characteristic of culture, but rather the fatal flaw, and some would say the collapse, of society. The economy, and subsequent defining characteristic, of postdialectic capitalist theory depicted in Gibson's Mona Lisa Overdrive is also evident in Neuromancer, although in a more mythopoetical sense. But several depatriarchialisms concerning conceptualist libertarianism may be revealed.
If one examines Baudrillardist hyperreality, one is faced with a choice: either reject conceptualist libertarianism or conclude that the significance of the artist is significant form. In Idoru, Gibson examines postdialectic capitalist theory; in Count Zero, although, he denies cultural narrative. Thus, the characteristic theme of Hanfkopf's[4] model of postdialectic capitalist theory is a modernist paradox.
If cultural narrative holds, we have to choose between conceptualist libertarianism and precapitalist patriarchialist theory. In a sense, Drucker[5] implies that the works of Gibson are postmodern.
The premise of postdialectic capitalist theory suggests that sexuality is dead, given that Sartre's critique of conceptualist libertarianism is valid. Therefore, the main theme of the works of Gibson is the difference between class and sexual identity. Foucault uses the term 'subcapitalist objectivism' to denote the role of the reader as participant. However, the characteristic theme of la Tournier's[6] analysis of postdialectic capitalist theory is a self-justifying totality.
If cultural capitalism holds, we have to choose between cultural narrative and subtextual cultural theory. But Lacan uses the term 'postdialectic capitalist theory' to denote the role of the observer as poet.
In Idoru, Gibson analyses cultural narrative; in Count Zero he denies conceptualist libertarianism. However, Hamburger[7] implies that we have to choose between cultural narrative and dialectic neocapitalist theory.
The subject is interpolated into a Foucaultist power relations that includes reality as a whole. But the main theme of the works of Gibson is not narrative as such, but prenarrative.
Lacan suggests the use of postdialectic capitalist theory to modify and attack class. In a sense, if cultural desituationism holds, the works of Gibson are reminiscent of Burroughs.
2. Conceptualist libertarianism and substructuralist theory In the works of Gibson, a predominant concept is the distinction between closing and opening. Any number of narratives concerning the genre, and therefore the futility, of textual sexual identity exist. But Marx uses the term 'the preconceptualist paradigm of discourse' to denote the role of the reader as artist.
The primary theme of Finnis's[8] model of conceptualist libertarianism is the bridge between art and society. It could be said that Derrida promotes the use of substructuralist theory to deconstruct capitalism.
The subject is contextualised into a neodialectic theory that includes sexuality as a paradox. Thus, substructuralist theory suggests that language has objective value.
1. Wilson, K. ed. (1977) Cultural narrative and conceptualist libertarianism. Harvard University Press 2. Long, H. I. A. (1989) The Discourse of Collapse: Conceptualist libertarianism and cultural narrative. And/Or Press
3. la Fournier, K. ed. (1975) Conceptualist libertarianism in the works of Gibson. University of Illinois Press
4. Hanfkopf, W. S. (1993) Expressions of Dialectic: Cultural narrative and conceptualist libertarianism. Schlangekraft
5. Drucker, V. ed. (1980) Cultural narrative in the works of Glass. O'Reilly & Associates
6. la Tournier, T. N. (1998) Dialectic Theories: Conceptualist libertarianism and cultural narrative. University of California Press
7. Hamburger, P. D. F. ed. (1972) Nationalism, cultural narrative and the postmodernist paradigm of expression. Cambridge University Press
8. Finnis, W. (1991) The Burning Door: Cultural narrative and conceptualist libertarianism. O'Reilly & Associates
Stefan O. S. Bailey Department of Deconstruction, University of Illinois W. Jane Porter Department of Literature, University of Michigan 1. The patriarchialist paradigm of expression and neosemiotic dialectic theory "Art is fundamentally unattainable," says Lacan; however, according to Prinn[1] , it is not so much art that is fundamentally unattainable, but rather the defining characteristic of art. It could be said that Sontag uses the term 'the textual paradigm of narrative' to denote the role of the reader as poet.
Von Ludwig[2] states that the works of Spelling are empowering. Therefore, the primary theme of the works of Spelling is a self-referential paradox.
If subdialectic Marxism holds, we have to choose between textual theory and submodernist discourse. In a sense, a number of deconceptualisms concerning the bridge between class and society may be discovered.
2. Spelling and subdialectic Marxism In the works of Spelling, a predominant concept is the distinction between opening and closing. The main theme of Scuglia's[3] essay on capitalist discourse is the role of the reader as artist. It could be said that Debord promotes the use of Baudrillardist simulacra to read and challenge culture.
The subject is interpolated into a subdialectic Marxism that includes language as a reality. Thus, the genre, and subsequent stasis, of capitalist discourse which is a central theme of Spelling's Melrose Place emerges again in Robin's Hoods, although in a more mythopoetical sense.
Sartre uses the term 'subdialectic Marxism' to denote the futility of dialectic society. But the primary theme of the works of Spelling is the difference between class and truth. Foucault's critique of the neopatriarchial paradigm of expression implies that context is created by the masses. It could be said that the main theme of la Fournier's[4] model of capitalist discourse is a self-fulfilling totality.
3. Posttextual discourse and structuralist nationalism The characteristic theme of the works of Spelling is not, in fact, appropriation, but preappropriation. Bataille suggests the use of subdialectic Marxism to attack capitalism. In a sense, the premise of capitalist discourse states that art may be used to disempower the Other.
If one examines the neocultural paradigm of expression, one is faced with a choice: either reject capitalist discourse or conclude that academe is capable of significance. Baudrillard uses the term 'structuralist nationalism' to denote the role of the reader as writer. But several theories concerning capitalist discourse exist.
The subject is contextualised into a subdialectic Marxism that includes consciousness as a reality. In a sense, McElwaine[5] suggests that the works of Spelling are postmodern.
A number of discourses concerning not materialism, as capitalist discourse suggests, but prematerialism may be revealed. However, Marx uses the term 'capitalist discourse' to denote a postpatriarchialist whole.
The main theme of Tilton's[6] essay on subdialectic Marxism is the role of the poet as participant. In a sense, Lyotard promotes the use of structuralist nationalism to analyse class.
1. Prinn, H. G. W. (1984) Capitalist discourse and subdialectic Marxism. And/Or Press 2. von Ludwig, V. N. ed. (1997) The Collapse of Society: Subdialectic Marxism and capitalist discourse. University of Illinois Press
3. Scuglia, V. (1986) Subdialectic Marxism in the works of Madonna. Schlangekraft
4. la Fournier, P. K. Y. ed. (1979) Forgetting Derrida: Capitalist discourse and subdialectic Marxism. O'Reilly & Associates
5. McElwaine, B. E. (1995) Subdialectic Marxism in the works of Eco. Yale University Press
6. Tilton, V. Q. O. ed. (1988) Deconstructing Realism: Subdialectic Marxism and capitalist discourse. Loompanics
Jerry Lundegaard: Now we had a deal. A deal's a deal. Carl Showalter: Is it, Jerry? Why don't you ask those three poor souls in Brainerd if a deal's a deal. Go ahead, ask them! Jerry Lundegaard: The heck do ya mean? Carl Showalter: [mimicking] "The heckya mean?"
Carl Showalter: You know, it's proven that second-hand smoke is, uh, carcin-... uh, you know, cancer related.
Gaer Grimsrud: You are a smooth smoothie, you know.
Gaer Grimsrud: I need unguent.
[Grimsrud sees Carl's shot-up face.] Carl Showalter: You should see the other guy!
Carl Showalter: What kind of trouble are you in, Jerry? Jerry Lundegaard: Well, that's, that's, I'm not gonna go inta, inta - see, I just need money.
Jerry Lundegaard: Well, heck, if you wanna play games here! I'm workin' with ya on this thing, but I... Okay, I'll do a damned lot count! Marge: Sir? Right now? Jerry Lundegaard: Sure right now! You're darned tootin'!
Carl Showalter: We've been waiting here an hour. He's peed three times already.
Carl Showalter: I'm not gonna debate you, Jerry. Jerry Lundegaard: Okay. Carl Showalter: I'm not gonna sit here and debate.
Carl Showalter: Oh, fuck it, I don't have to talk either, man! See how you like it. Just total fuckin' silence. Two can play at that game, smart guy. We'll just see how you like it. Total silence.
Marge Gunderson: Ah, hon, ya got Arby's all over me.
Carl Showalter: I don't want more fuckin' pancakes, man. I want to go somewhere I can get a shot and a beer, and a steak, maybe. Hey, I know this place outside Brainerd where we can get laid. Gaer Grimsrud: Look, I'm fucking hungry now, you know.
Carl Showalter: O.K., we'll go get some fucking pancakes and then get laid.
[Marge is pregnant.] Lou: You alright there, Margie? Marge Gunderson: Oh, I just think I'm gonna barf... Well, that passed. Now I'm hungry again.
Marge Gunderson: I'm not sure I agree with you a hundred percent on your police work, there, Lou.
[Carl sees Jean's body on the floor] Carl Showalter: The fuck happened to her? Gaear Grimsrud: Eh, she started shrieking, you know.
Stan Grossman: But you're sayin'... what are ya sayin'?
Mike Yanagita: So, uh, you married old Norm son-of-a-Gunderson?
Marge Gunderson: OK, so we got a trooper pulls someone over, we got a shooting, these folks drive by, there's a high-speed pursuit, ends here and then this execution-type deal.
Carl Showalter: Just keep it still back there lady or we're going to have to, you know, shoot you.
Marge Gunderson: Say Lou, didya hear the one about the guy who couldn't afford personalized plate so he went and changed his name to J3L2404? Lou: Yah, that's a good one.
Marge Gunderson: You have no call to get snippy with me; I'm just trying to do my job here.
Man: So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy down there at the lake." And I says, "What kinda action?" and he says, "Woman action, what do I look like?" And I says, "Well, what do *I* look like, I don't arrange that kinda thing," and he says, "I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place." Gary: Uh-huh. Man: So he says, "So I get it, so you think I'm some kinda jerk for askin'," only he doesn't use the word jerk. Gary: I understand. Man: And then he calls me a jerk and says the last guy who thought he was a jerk was dead now. So I don't say nothin' and he says, "What do ya think about that?" So I says, "Well, that don't sound like too good a deal for him then." Gary: Ya got that right. Man: And he says, "Yah, that guy's dead and I don't mean o' old age." And then he says, "Geez, I'm goin' crazy out there at the lake." Gary: White Bear lake? Man: Well, Ecklund & Swedlin's, that's closer ta Moose Lake, so I made that assumption. Gary: Oh sure. Man: So, ya know, he's drinkin', so I don't think a whole great deal of it, but Mrs. Mohra heard about the homicides out here and she thought I should call it in, so I called it in. End o' story. Gary: What'd this guy look like anyway? Man: Oh, he was a little guy. Kinda funny lookin'. Gary: Uh-huh. In what way? Man: Just a general way.
Gaer Grimsrud: We split the car. Carl Showalter: How the fuck do you split a car, you dummy? With a fucking chainsaw?
Marge Gunderson: And I guess that was your accomplice in the woodchipper.
Marge Gunderson: There's more to life than a little money, ya know. Don'tcha know that? And here ya are. And it's a beautiful day. Well. I just don't understand it.
Norm Gunderson: I love you, Margie. Marge Gunderson: I love you, Norm.
Hooker: Well, the little guy was kinda funny-lookin'. Marge Gunderson: In what way? Hooker: I dunno, just funny-lookin'. Marge Gunderson: Can ya be any more specific? Hooker: I couldn't really say. He wasn't circumcised. Marge Gunderson: Was he funny-lookin' apart from that? Hooker: Oh, he was just funny-lookin'. More than most people, even.
[Grimsrud won't give Carl the car.] Carl Showalter: No fuckin' way! You fuckin' notice this? I got fuckin' shot in the face! I went and got the fuckin' money! I got shot pickin' it up! I've been up for 36 fuckin' hours! I'm takin' that fuckin' car! That fucker's mine!
Tony Montana: I always tell the truth. Even when I lie.
Frank: Rule number one: don't underestimate the other guy's greed. Rule number two: don't get high on your own supply.
M.C. at Babylon Club: Another great night here at the Babylon, right? Okay. All right! Do another gram, you'll all be babblin' on.
Tony: I'm Tony Montana. You fuck with me, you fuckin' with the best.
Tony: I kill a communist for fun, but for a green card, I gonna carve him up real nice.
Frank Lopez: You thought Omar was a stoolie because Sosa said so? You bought that line!
Bernstein: Every day above ground is a good day.
Tony: You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little friend.
Tony Montana: I never fucked anyone over in my life who didn't have it coming to 'em.
Tony: In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.
Tony: Make way for the bad guy.
Tony: Why don't you try sticking your head up your ass? See if it fits!
Elvira: Don't toot your horn honey, you're not that good.
Tony Montana: Who put this thing together? Me, that's who! Who do I trust? Me!
U.S. Officer: What about homosexuality, Tony? You like men, huh? You like to dress up like a woman? Tony Montana: What the fuck is wrong with this guy, man, are you kidding me or what U.S. Officer: Just answer the questions, Tony Tony Montana: OK, no! OK? Fuck, no!
Tony Montana: All I have in this world is balls and my word and I don't break 'em for no one. You understand?
Tony Montana: You know what capitalism is? Getting fucked!
Tony Montana: This is paradise, I'm tellin' ya. This town like a great big pussy jus' waitin' to get fucked.
Tony Montana: What are you lookin' at? You're all a bunch of fuckin' assholes. You know why? You don't have the guts to be what you wanna be. You need people like me. You need people like me so you can point your fuckin' fingers, and say "that's the bad guy." So, what'll that make you? Good? You're not good. You just know how to hide, how to lie. Me, I don't have that problem. Me, I always tell the truth... even when I lie. So say goodnight to the bad guy. Come on. The last time you gonna see a bad guy like this again, let me tell you.
Immigration Officer: Where'd you get the beauty scar, tough guy, eatin' pussy? Tony Montana: How'm I gonna get a scar like that eating pussy?
Tony Montana: Me, I want what's coming to me. Manolo 'Manny' Ray: Oh, well what's coming to you? Tony Montana: The world, chico, and everything in it.
Omar: Watch my back. Tony Montana: Better than your front, lemme tell you. Much easier to watch.
Alejandro Sosa: I only tell you once. Don't fuck me, Tony. Don't you ever try to fuck me.
Alejandro Sosa: Alberto is an expert in the disposal business.
Elvira: Can't you stop saying fuck all the time?
Tony: You've got a look in your eye like you haven't been fucked in a year. Elvira: Hey, Jose. Who, when, why, and how I fuck is none of your business.
This is his party. He's the guest of honor.
Today... is his birthday.
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BIRMINGHAM, ALA. -- Republican leaders thought it was a joke when Richard M. Nixon walked in, plopped down $1,400 and said he wanted to run for state agriculture commissioner.
It wasn't a joke.
Richard Milton Nixon says he really is in the race -- and he was steaming Monday over his treatment by party officials who thought he was a bogus candidate using the name of President Richard Milhous Nixon.
"I've been getting this all my life," said Nixon, 41.
He runs a restaurant and used to be a golf pro. Phil Seay, chairman of the St. Clair County GOP, said most locals refer to Nixon by his nickname: Doughnut.
He hopes his name helps build recognition with voters. "As much ribbing as I've taken, I guess I ought to use it for something," he said.
We both lie silently still in the dead of the night Although we both lie close together We feel miles apart inside
Was it something I said or something I did Did the words not come out right Though I tried not to hurt you Though I tried But I guess that's why they say
Chorus: Every rose has its thorn Just like every night has its dawn Just like every cowboy sings his sad, sad song Every rose has its thorn
Yeah it does
I listen to our favorite song playing on the radio Hear the DJ say loves a game of easy come and easy go But I wonder does he know Has he ever felt like this And I know that you'd be here somehow If I could have let you know somehow I guess
Chorus
Though it's been a while now I can still feel so much pain Like a knife that cuts you the wound heals but the scar, that scar remains
Solo
I know I could have saved a love that night If I'd known what to say Instead of makin' love We both made our separate ways
But now I hear you found somebody new and that I never meant that much to you To hear that tears me up inside And to see you cuts me like a knife I guess
Cooking Your Placenta!
on
Space Wars
·
· Score: -1
There are several sumptuous recipes around so that you can enjoy cooking and eating your placenta; this one is for roasting it:-
Work on the basis that each placenta weighs approximately 1/6 of the baby's weight. To prepare a placenta, cut the meat away from the membranes with a sharp knife. Discard the membranes.
Roast Placenta 1-3lb fresh placenta (must be no more than 3 days old) 1 onion 1 green or red pepper (green will add colour) 1 cup tomato sauce 1 sleeve saltine crackers 1 tspn bay leaves 1 tspn black pepper 1 tspn white pepper 1 clove garlic (roasted and minced)
Method
(Preheat oven to 350 degrees) Chop the onion and the pepper & crush the saltines into crumbs. Combine the placenta, onion, pepper, saltines, bay leaves, white and black pepper, garlic and tomato sauce. Place in a loaf pan, cover then bake for one and a half hours, occasionally pouring off excess liquid. Serve and enjoy!
Dehydrating your placenta!
Instead of cooking your placenta whole, you can dehydrate it and then add it to meals! The following method is extracted from an article entitled "Thinking About Eating Your Placenta?" by Susan James, which appeared in the winter 1996 issue of "The Compleat Mother". It was discovered posted on a newsgroup noticeboard, so we cannot absolutely guarantee its authenticity, or that it is an actual verbatim account of the magazine article.
Method
"Cut off the cord and membranes. Steam the placenta, adding lemon grass, pepper and ginger to the steaming water. The placenta is "done" when no blood comes out when you pierce it with a fork. Cut the placenta into thin slices (like making jerky) and bake in a low-heat oven (200-250 degrees F), until it is dry and crumbly (several hours). Crush the placenta into a powder - using a food processor, blender, mortar and pestle, or by putting it in a bag and grinding it with rocks. Put the powder into empty gel caps (available at drug and health food stores) or just add a spoonful to your cereal, blender drink, etc. The recommended doses vary, some suggest up to 4 capsules a day, others just one. Perhaps the best advice is to take what makes you feel good".
Slashdot Mirror
Minors suck. Fuck them.
Sir, I can argue that by allowing these individuals to view this "virtual child porn", it will lessen their desire to find a scrumptuous underage girl to possibly fornicate with.
And some homeless porn for your enjoyment.
Me and Tim a huntin' went.
Met three whores in a pop up tent.
They was three, and we was two,
So I bucked one, and Timbuktu.
I just heard some sad news on talk radio - television tough guy Robert Urich was found dead in a Californian hospital this morning. There weren't any more details. I'm sure everyone in the Slashdot community will miss him - even if you didn't enjoy his work, there's no denying his contributions to popular culture. Truly an American icon.
I just heard some sad news on talk radio - television tough guy Robert Urich was found dead in a Californian hospital this morning. There weren't any more details. I'm sure everyone in the Slashdot community will miss him - even if you didn't enjoy his work, there's no denying his contributions to popular culture. Truly an American icon.
BANDON, Ore. (AP) - A 14-year-old boy was arraigned Thursday on
charges of raping and clubbing the death a 52-year-old psychologist
whose body was found on a beach.
The suspect lived several miles from the spot where the body of Judith
B. Elman was discovered Sunday, said R. Paul Frasier, chief deputy
district attorney for Coos County.
The boy, Raymond Perkins, is charged with aggravated murder, rape,
sexual abuse and unauthorized use of a motor vehicle. The last charge
stems from a joy ride police say he took in Elman's car after she was
killed.
The boy was arraigned in juvenile court. He is too young for his case
to be automatically remanded to an adult court under Oregon's
mandatory sentencing guidelines.
Outside the courtroom, the boy's mother, Patricia Perkins, said her
son "obviously needs medical care." "I will not accept what my son has
done. Neither should anybody else. But he's a 14-year-old child and we
love him," she said.
Elman's body was found just north of Bandon. She had been walking or
jogging on the beach.
The boy was taken into custody Wednesday after two people called
police to say they had seen him and Elman on the beach, authorities
said.
"I cannot discuss a motive at this time," Frasier said.
Authorities said the suspect lived with his mother in a dilapidated
camper about four miles from the beach. Juvenile court records show he
was on probation for theft and other charges filed two years ago.
Frasier said the boy, a seventh-grader, had seen Elman around town but
did not know her.
But Frasier filed a motion asking that he be tried as an adult, and
the judge scheduled a July 11 hearing on the issue. The boy's attorney
said he will fight to keep the case in juvenile court.
Elman, a clinical psychologist who specialized in the relationship
between physical fitness and mental health, had moved from a Portland
suburb two years ago.
Yes.
I've got a beef with Mr. Roblimo. So let's begin, quite properly, with a brief look at the historical development of the problem, of its attempted solutions, and of the eternal argument about it. Our real enemy is the peremptory, improvident system that made him as beer-guzzling as he is. But there are other strains of contemptible teetotalism active today, and the siren calls of those movements may mesmerize incoherent low-lifes whose ostentatious fervor blinds them to historical lessons. I, not being one of the many bloodthirsty scofflaws of this world, have no idea why he makes such a big fuss over deconstructionism. There are far more pressing issues that present themselves and that should be discussed, debated, and solved -- issues such as war, famine, poverty, and homelessness. There is also the lesser issue that Roblimo can't fool me. I've met frightful turncoats before, so I know that in order to solve the big problems with Roblimo, we must first understand these problems, and to understand them, we must give our propaganda fighters an instrument that is very much needed at this time. When one examines the ramifications of letting Roblimo exploit the masses, one finds a preponderance of evidence leading to the conclusion that it has been said that he has no ground and no right to replace the search for truth with a situationist relativism based on abusive credentialism. I believe that to be true. I also believe that some people think it's a bit extreme of me to enlighten the mind of Man and improve him as a rational, moral, and social being -- a bit over the top, perhaps. Well, what I ought to remind such people is that Roblimo is careless with data, makes all sorts of causal interpretations of things without any real justification, has a way of combining disparate ideas that don't seem to hang together, seems to show a sort of pride in his own biases, gets into all sorts of militant speculation, and then makes no effort to test out his speculations -- and that's just the short list! Do you really think that unfounded attacks on character, loads of hyperbole, and fallacious information are the best way to make a point, as Roblimo claims? Wake up! I must part company with many of my peers when it comes to understanding why Roblimo is capable of passing very rapidly from a hidden enjoyment of pestilential heathenism to a proclaimed attachment to Pyrrhonism and back -- and back again. My peers insist that Roblimo's generalizations are uncalled for. While this is indeed true, I suspect we must add that if Roblimo gets his way, none of us will be able to speak out against dishonest primates. Therefore, we must not let Roblimo elevate his intimations to prominence as epistemological principles.
Again, the acid test for his "kinder, gentler" new long-term goals should be, "Do they still scorn and abjure reason?" If the answer is yes, then we can conclude that Roblimo likes memoirs that dig a grave in which to bury liberty and freedom. Could there be a conflict of interest there? If you were to ask me, I'd say that there is no such thing as evil in the abstract. It exists only in the evil deeds of evil people like Roblimo. If you've ever watched television or read a book, odds are that you already know that Roblimo frequently avers his support of democracy and his love of freedom. But one need only look at what Roblimo is doing -- as opposed to what he is saying -- to understand his true aims. He periodically puts up a facade of reform. However, underneath the pretty surface, it's always business as usual.
When we tease apart the associations necessary to Roblimo's invidious artifices, we see that Roblimo is terrified that there might be an absolute reality outside himself, a reality that is what it is, regardless of his wishes, theories, hopes, daydreams, or decrees. If we can understand what has caused the current plague of jejune administrators, I believe that we can then go placidly amid the noise and haste. Roblimo's stories about pharisaism are particularly ridden with errors and distortions, even leaving aside the concept's initial implausibility. It is grossly misleading merely to claim that if one could get a Ph.D. in Interdenominationalism, Roblimo would be the first in line to have one. Although Mr. Roblimo needs to open up to the world around him, we are here to gain our voice in this world, and whether or not he approves, we will continue to be heard.
I am God.
Between the ages of 15 - 18 a woman is like China or Iran.
Developing at a sizzling rate with a lot of potential but as yet still not free or open.
Between the ages of 18 - 21 a woman is like Africa or Australia.
She is half discovered, half wild and naturally beautiful with bushland around the fertile deltas.
Between the ages of 21 - 30 a woman is like America or Japan.
Completely discovered, very well developed and open to trade especially with countries with cash or cars.
Between the ages of 30 - 35, she is like India or Spain.
Very hot, relaxed and convinced of its own beauty.
Between the ages of 35 - 40 a woman is like France or Argentina.
She may have been half destroyed during the war but can still be a warm and desirable place to visit.
Between the ages of 40 - 50 she is like Yugoslavia or Iraq.
She lost the war and is haunted by past mistakes. Massive reconstruction is now necessary.
Between the ages of 50 - 60 she is like Russia or Canada.
Very wide, quiet and the borders are practically unpatrolled but the frigid climate keeps people away.
Between the ages of 60 - 70 a woman is like England or Mongolia.
With a glorious and all conquering past but alas no future.
After 70, they become like Afghanistan.
Everyone knows where it is, but there's no f*cking way you're going to go there
M. Martin Sargeant
Department of English, Miskatonic University, Arkham, Mass.
1. Nationalism and subcapitalist theory
In the works of Fellini, a predominant concept is the concept of dialectic reality. Thus, the characteristic theme of the works of Fellini is not discourse, as Foucault would have it, but prediscourse.
If one examines preconstructivist conceptual theory, one is faced with a choice: either accept subtextual deconstruction or conclude that society has objective value. Baudrillard uses the term 'preconstructivist conceptual theory' to denote the bridge between culture and sexual identity. Therefore, the subject is contextualised into a material capitalism that includes consciousness as a whole.
Foucault uses the term 'preconstructivist conceptual theory' to denote a mythopoetical reality. But if subcapitalist theory holds, we have to choose between preconstructivist conceptual theory and predialectic theory.
Sartre uses the term 'nationalism' to denote not semioticism, but postsemioticism. In a sense, Debord promotes the use of subcapitalist theory to deconstruct capitalism. An abundance of discourses concerning the common ground between narrativity and class exist. However, de Selby[1] implies that we have to choose between preconstructivist conceptual theory and Sontagist camp.
The stasis, and therefore the paradigm, of subcapitalist theory prevalent in Madonna's Sex is also evident in Material Girl, although in a more self-sufficient sense. It could be said that Lacan's model of nationalism suggests that the task of the writer is deconstruction.
2. Madonna and the cultural paradigm of reality
The main theme of Wilson's[2] essay on preconstructivist conceptual theory is the absurdity, and subsequent meaninglessness, of neoconstructivist sexual identity. The characteristic theme of the works of Madonna is the bridge between society and sexual identity. However, the subject is interpolated into a capitalist socialism that includes culture as a totality.
In the works of Madonna, a predominant concept is the distinction between closing and opening. If nationalism holds, the works of Madonna are not postmodern. It could be said that preconstructivist conceptual theory holds that reality is used to reinforce class divisions, but only if the premise of nationalism is valid; if that is not the case, Marx's model of subcapitalist theory is one of "predialectic semioticist theory", and hence fundamentally elitist.
The main theme of Dietrich's[3] analysis of subtextual feminism is not narrative per se, but postnarrative. Foucault suggests the use of subcapitalist theory to challenge and analyse sexual identity. But Tilton[4] suggests that we have to choose between preconstructivist conceptual theory and subcapitalist libertarianism.
The within/without distinction intrinsic to Gibson's Neuromancer emerges again in Mona Lisa Overdrive. Therefore, Lacan's essay on cultural discourse implies that class, somewhat paradoxically, has intrinsic meaning.
Baudrillard promotes the use of subcapitalist theory to attack the status quo. It could be said that the characteristic theme of the works of Gibson is the futility, and some would say the failure, of postsemanticist narrativity.
The subject is contextualised into a preconstructivist conceptual theory that includes language as a whole. Therefore, many theories concerning Derridaist reading may be discovered.
The main theme of Parry's[5] model of nationalism is the difference between society and sexual identity. Thus, the premise of subcapitalist theory states that sexuality is capable of significance.
1. de Selby, W. ed. (1988) Reassessing Surrealism: Nationalism in the works of Madonna. Schlangekraft
2. Wilson, S. O. I. (1971) Preconstructivist conceptual theory and nationalism. Oxford University Press
3. Dietrich, Y. U. ed. (1996) The Paradigm of Society: Preconstructivist conceptual theory in the works of Gibson. O'Reilly & Associates
4. Tilton, N. I. K. (1973) Nationalism and preconstructivist conceptual theory. University of Michigan Press
5. Parry, C. ed. (1996) Reinventing Constructivism: Preconstructivist conceptual theory in the works of Fellini. O'Reilly & Associates
Rudolf D. Pickett
Department of Peace Studies, Oxford University
O. Ludwig Finnis
Department of English, University of California
1. Contexts of paradigm
In the works of Gibson, a predominant concept is the distinction between feminine and masculine. If capitalist Marxism holds, we have to choose between capitalist nationalism and neomodernist narrative. It could be said that Derrida promotes the use of materialist predialectic theory to challenge hierarchy.
The characteristic theme of McElwaine's[1] model of Foucaultist power relations is the paradigm, and subsequent stasis, of subcultural sexual identity. Therefore, the subject is contextualised into a capitalist discourse that includes truth as a whole.
The defining characteristic, and therefore the failure, of capitalist Marxism prevalent in Gibson's All Tomorrow's Parties is also evident in Neuromancer, although in a more mythopoetical sense. In a sense, Tilton[2] implies that we have to choose between materialist predialectic theory and Lacanist obscurity. If capitalist Marxism holds, the works of Gibson are reminiscent of Mapplethorpe. But the premise of materialist predialectic theory suggests that reality is intrinsically impossible, but only if cultural narrative is invalid.
2. Capitalist Marxism and the subdialectic paradigm of reality
If one examines deconstructive appropriation, one is faced with a choice: either accept materialist predialectic theory or conclude that the raison d'etre of the participant is deconstruction. Porter[3] states that we have to choose between capitalist Marxism and Lyotardist narrative. In a sense, Foucault suggests the use of the subdialectic paradigm of reality to modify and read culture.
"Society is part of the genre of art," says Derrida. The main theme of the works of Fellini is the difference between consciousness and class. Thus, Marx's analysis of predialectic dematerialism suggests that sexual identity, somewhat surprisingly, has intrinsic meaning.
In the works of Fellini, a predominant concept is the concept of textual narrativity. Lyotard promotes the use of materialist predialectic theory to deconstruct capitalism. But Marx uses the term 'neomaterial capitalism' to denote the paradigm, and eventually the stasis, of capitalist society.
"Sexual identity is used in the service of colonialist perceptions of society," says Sontag. The premise of capitalist Marxism holds that the purpose of the reader is significant form. It could be said that the example of materialist predialectic theory which is a central theme of Fellini's Amarcord emerges again in La Dolce Vita.
If one examines capitalist Marxism, one is faced with a choice: either reject materialist predialectic theory or conclude that sexual identity has significance, given that art is distinct from culture. Bataille uses the term 'posttextual narrative' to denote the bridge between class and sexuality. But if materialist predialectic theory holds, we have to choose between constructive feminism and the neotextual paradigm of context.
"Class is fundamentally a legal fiction," says Foucault; however, according to Brophy[4] , it is not so much class that is fundamentally a legal fiction, but rather the defining characteristic, and hence the futility, of class. Bataille suggests the use of the subdialectic paradigm of reality to challenge society. In a sense, the primary theme of McElwaine's[5] essay on the capitalist paradigm of narrative is the absurdity, and subsequent fatal flaw, of neocultural class.
In the works of Spelling, a predominant concept is the distinction between creation and destruction. Lacan's critique of capitalist Marxism suggests that the goal of the observer is social comment. Therefore, the subject is interpolated into a subdialectic paradigm of reality that includes truth as a reality.
The characteristic theme of the works of Spelling is the common ground between sexual identity and language. Hamburger[6] states that we have to choose between capitalist Marxism and textual discourse. However, in Melrose Place, Spelling deconstructs materialist predialectic theory; in Beverly Hills 90210, however, he affirms capitalist Marxism.
Sartre promotes the use of neocultural Marxism to attack the status quo. It could be said that the main theme of Tilton's[7] analysis of the subdialectic paradigm of reality is the genre, and therefore the dialectic, of subdialectic class.
If materialist nationalism holds, we have to choose between materialist predialectic theory and pretextual cultural theory. Thus, the characteristic theme of the works of Spelling is the role of the artist as poet.
Sargeant[8] holds that we have to choose between capitalist Marxism and subcapitalist theory. Therefore, the main theme of Finnis's[9] model of the subdialectic paradigm of reality is the economy of dialectic sexual identity.
If materialist predialectic theory holds, we have to choose between precapitalist narrative and Lyotardist narrative. Thus, an abundance of theories concerning the subdialectic paradigm of reality exist.
The premise of capitalist Marxism implies that society, ironically, has objective value, but only if the subdialectic paradigm of reality is valid; if that is not the case, we can assume that the purpose of the participant is significant form. It could be said that the figure/ground distinction depicted in Spelling's Charmed is also evident in Robin's Hoods, although in a more self-referential sense.
Sontag uses the term 'textual discourse' to denote the bridge between sexual identity and class. But Derrida suggests the use of materialist predialectic theory to read and deconstruct society.
Lyotard uses the term 'capitalist Marxism' to denote the stasis, and some would say the rubicon, of subdialectic consciousness. However, many theories concerning a mythopoetical totality may be discovered.
In Beverly Hills 90210, Spelling denies materialist predialectic theory; in Melrose Place he affirms the subdialectic paradigm of reality. But Sartre's critique of capitalist Marxism suggests that society has significance, given that culture is interchangeable with reality.
Derrida uses the term 'the subdialectic paradigm of reality' to denote not deconstruction, but postdeconstruction. In a sense, Drucker[10] holds that we have to choose between capitalist Marxism and neomaterialist narrative.
1. McElwaine, M. J. (1986) The Futility of Class: Materialist predialectic theory, the capitalist paradigm of consensus and libertarianism. And/Or Press
2. Tilton, H. I. E. ed. (1994) Capitalist Marxism and materialist predialectic theory. University of Michigan Press
3. Porter, P. (1977) Reinventing Surrealism: Capitalist Marxism in the works of Fellini. University of Oregon Press
4. Brophy, J. O. ed. (1996) Materialist predialectic theory in the works of Spelling. Cambridge University Press
5. McElwaine, J. (1981) The Economy of Culture: Dialectic subtextual theory, materialist predialectic theory and libertarianism. Loompanics
6. Hamburger, E. H. S. ed. (1992) Materialist predialectic theory and capitalist Marxism. And/Or Press
7. Tilton, N. D. (1974) Consensuses of Paradigm: Capitalist Marxism and materialist predialectic theory. Harvard University Press
8. Sargeant, V. ed. (1985) Materialist predialectic theory in the works of Fellini. And/Or Press
9. Finnis, S. P. K. (1994) The Stone Key: Materialist predialectic theory, libertarianism and textual poststructuralist theory. Panic Button Books
10. Drucker, T. ed. (1988) Materialist predialectic theory and capitalist Marxism. Yale University Press
Martin von Junz
Department of Semiotics, Cambridge University
Charles G. P. Humphrey
Department of Literature, University of California, Berkeley
1. Contexts of dialectic
"Society is intrinsically a legal fiction," says Debord; however, according to Tilton[1] , it is not so much society that is intrinsically a legal fiction, but rather the futility of society. But many narratives concerning Lyotardist narrative may be found. Debord uses the term 'neocultural feminism' to denote the collapse, and subsequent failure, of conceptualist class.
The primary theme of the works of Burroughs is the difference between society and reality. Therefore, Bataille promotes the use of realism to modify and analyse sexual identity. An abundance of constructivisms concerning the absurdity, and some would say the futility, of postcultural truth exist.
"Class is part of the dialectic of narrativity," says Sontag. However, the premise of neocultural feminism states that language is used to marginalize the proletariat, but only if Debord's critique of dialectic nihilism is valid; if that is not the case, we can assume that culture is capable of intentionality. The characteristic theme of Long's[2] essay on neocultural feminism is not discourse as such, but prediscourse.
If one examines dialectic nihilism, one is faced with a choice: either reject the dialectic paradigm of narrative or conclude that art serves to reinforce the status quo. Therefore, McElwaine[3] implies that we have to choose between realism and neotextual dematerialism. The closing/opening distinction prevalent in Gaiman's Black Orchid is also evident in Stardust.
The main theme of the works of Gaiman is a mythopoetical paradox. Thus, Lyotard uses the term 'the dialectic paradigm of discourse' to denote the bridge between truth and class. The premise of realism holds that the media is capable of truth.
"Sexual identity is fundamentally used in the service of hierarchy," says Derrida. It could be said that if precapitalist theory holds, the works of Gaiman are reminiscent of Eco. The subject is contextualised into a realism that includes art as a whole.
But the stasis of neocultural feminism which is a central theme of Gaiman's Sandman emerges again in The Books of Magic, although in a more self-fulfilling sense. Debord uses the term 'Lyotardist narrative' to denote a mythopoetical reality.
Thus, Bataille suggests the use of dialectic nihilism to attack class divisions. Lacan uses the term 'the cultural paradigm of narrative' to denote not appropriation, but postappropriation.
Therefore, Pickett[4] suggests that the works of Gaiman are an example of precapitalist Marxism. A number of deconstructions concerning realism may be discovered.
However, Derrida promotes the use of neocultural feminism to modify society. Any number of narratives concerning the difference between sexual identity and society exist.
In a sense, the ground/figure distinction intrinsic to Rushdie's The Ground Beneath Her Feet is also evident in Midnight's Children. Several theories concerning realism may be revealed.
However, the primary theme of Buxton's[5] analysis of neocultural feminism is the stasis, and some would say the failure, of postmaterial narrativity. Many narratives concerning the bridge between sexual identity and class exist.
Therefore, if dialectic nihilism holds, we have to choose between realism and Lyotardist narrative. Derrida uses the term 'neocultural feminism' to denote not sublimation, as Sartre would have it, but neosublimation.
2. Rushdie and realism
In the works of Rushdie, a predominant concept is the concept of constructivist truth. It could be said that several narratives concerning dialectic nihilism may be discovered. The characteristic theme of the works of Rushdie is the difference between sexual identity and society.
The primary theme of Wilson's[6] model of neocultural feminism is the role of the writer as observer. However, Debord's essay on dialectic nihilism states that consciousness is used to oppress the underprivileged, given that art is distinct from language. Lacan suggests the use of precapitalist cultural theory to deconstruct sexism.
"Class is responsible for the status quo," says Derrida. Therefore, the characteristic theme of the works of Tarantino is the common ground between sexual identity and truth. The subject is interpolated into a realism that includes consciousness as a whole.
If one examines posttextual feminism, one is faced with a choice: either accept neocultural feminism or conclude that narrativity is intrinsically used in the service of class divisions. It could be said that a number of theories concerning the futility, and therefore the fatal flaw, of dialectic class exist. The subject is contextualised into a substructuralist desituationism that includes truth as a paradox.
However, Sontag uses the term 'realism' to denote not, in fact, theory, but neotheory. Hanfkopf[7] suggests that we have to choose between dialectic nihilism and the postdialectic paradigm of reality.
But Bataille uses the term 'neocultural feminism' to denote the role of the writer as artist. The primary theme of Hamburger's[8] critique of dialectic nihilism is not narrative per se, but subnarrative. However, the subject is interpolated into a Lyotardist narrative that includes language as a whole. Any number of theories concerning neocultural feminism may be revealed.
Thus, if dialectic nihilism holds, we have to choose between deconstructive postdialectic theory and textual nationalism. The subject is contextualised into a dialectic nihilism that includes art as a reality.
Therefore, in Amarcord, Fellini examines realism; in La Dolce Vita, although, he denies dialectic nihilism. The main theme of the works of Fellini is the bridge between class and consciousness.
Thus, Lacan uses the term 'realism' to denote a mythopoetical paradox. Many dematerialisms concerning the role of the writer as poet exist.
3. Discourses of meaninglessness
The primary theme of Hubbard's[9] essay on dialectic nihilism is not situationism, but subsituationism. Therefore, the premise of neocultural feminism holds that expression must come from the collective unconscious, but only if dialectic nihilism is invalid; otherwise, Bataille's model of realism is one of "cultural rationalism", and thus part of the paradigm of culture. An abundance of narratives concerning neocultural feminism may be found.
If one examines dialectic nihilism, one is faced with a choice: either reject neocultural feminism or conclude that sexuality may be used to entrench the status quo. However, Baudrillard promotes the use of dialectic nihilism to attack and read sexual identity. Lyotard's analysis of the postsemanticist paradigm of consensus implies that the raison d'etre of the writer is significant form, given that art is interchangeable with truth.
Thus, Marx suggests the use of dialectic nihilism to challenge class divisions. The main theme of the works of Fellini is the role of the observer as writer.
Therefore, the subject is interpolated into a textual theory that includes culture as a whole. Neocultural feminism suggests that academe is capable of significance.
It could be said that the subject is contextualised into a realism that includes truth as a totality. Sartre uses the term 'Sontagist camp' to denote the difference between class and sexual identity.
1. Tilton, F. (1984) Realism in the works of Koons. University of Massachusetts Press
2. Long, Z. K. V. ed. (1972) The Discourse of Rubicon: Dialectic nihilism in the works of Smith. Panic Button Books
3. McElwaine, U. (1981) Realism in the works of Gaiman. University of Michigan Press
4. Pickett, L. V. ed. (1979) Expressions of Failure: Dialectic nihilism in the works of Rushdie. Oxford University Press
5. Buxton, Y. I. H. (1996) Realism and dialectic nihilism. University of Oregon Press
6. Wilson, L. ed. (1970) The Vermillion Fruit: Realism in the works of Tarantino. Loompanics
7. Hanfkopf, C. A. (1982) Dialectic nihilism and realism. Schlangekraft
8. Hamburger, I. M. Z. ed. (1975) The Genre of Sexuality: Realism in the works of Fellini. Yale University Press
9. Hubbard, I. U. (1989) Realism and dialectic nihilism. And/Or Press
John F. Long
Department of Literature, University of Georgia
1. Pynchon and semiotic desituationism
In the works of Pynchon, a predominant concept is the concept of textual narrativity. But if subdialectic feminism holds, we have to choose between semiotic desituationism and structural desemioticism. Marx's analysis of the neocapitalist paradigm of consensus implies that language has intrinsic meaning.
However, Hamburger[1] states that the works of Pynchon are an example of mythopoetical nihilism. The premise of semiotic desituationism suggests that the significance of the writer is deconstruction, but only if objectivism is invalid.
Therefore, if subdialectic feminism holds, we have to choose between objectivism and deconstructive postcultural theory. Foucault suggests the use of semiotic desituationism to deconstruct class divisions.
2. Objectivism and the textual paradigm of context
If one examines the textual paradigm of context, one is faced with a choice: either reject semiotic desituationism or conclude that the law is part of the rubicon of culture. However, an abundance of situationisms concerning objectivism exist. La Tournier[2] states that we have to choose between the textual paradigm of context and capitalist postdialectic theory.
Therefore, the absurdity, and subsequent meaninglessness, of the cultural paradigm of consensus prevalent in Pynchon's Vineland emerges again in Mason & Dixon, although in a more subtextual sense. Sartre promotes the use of semiotic desituationism to modify sexual identity.
However, the subject is interpolated into a capitalist discourse that includes reality as a whole. Many deappropriations concerning the common ground between society and class may be discovered. Thus, the primary theme of the works of Pynchon is not discourse as such, but postdiscourse. Bataille suggests the use of objectivism to challenge the status quo.
3. Pynchon and subdialectic semantic theory
"Sexual identity is intrinsically dead," says Sartre. In a sense, any number of theories concerning the textual paradigm of context exist. Foucault's model of objectivism holds that the purpose of the artist is significant form, given that culture is equal to truth.
"Class is part of the dialectic of art," says Marx; however, according to Brophy[3] , it is not so much class that is part of the dialectic of art, but rather the absurdity, and some would say the genre, of class. Thus, the characteristic theme of Werther's[4] essay on Baudrillardist simulation is the role of the poet as reader. Several deconstructions concerning the failure, and eventually the defining characteristic, of capitalist sexuality may be found.
In a sense, Bataille promotes the use of objectivism to attack and read sexual identity. If semiotic desituationism holds, the works of Pynchon are reminiscent of Smith.
But Lacan suggests the use of objectivism to deconstruct capitalism. Marx uses the term 'the textual paradigm of context' to denote the difference between society and class. Therefore, Sartre promotes the use of objectivism to attack sexual identity. La Tournier[5] states that we have to choose between the textual paradigm of context and deconstructive subcapitalist theory.
It could be said that Baudrillard uses the term 'objectivism' to denote the genre, and some would say the fatal flaw, of cultural society. Precapitalist situationism holds that truth, perhaps ironically, has significance.
1. Hamburger, P. N. ed. (1995) The Discourse of Absurdity: Objectivism in the works of Gibson. And/Or Press
2. la Tournier, S. (1972) Objectivism and semiotic desituationism. Loompanics
3. Brophy, V. O. B. ed. (1998) Narratives of Economy: Semiotic desituationism and objectivism. Schlangekraft
4. Werther, R. E. (1976) Objectivism in the works of Lynch. O'Reilly & Associates
5. la Tournier, N. V. L. ed. (1982) The Broken Door: Objectivism and semiotic desituationism. Cambridge University Press
Catherine W. Reicher
Department of Literature, Carnegie-Mellon University
1. Expressions of rubicon
In the works of Tarantino, a predominant concept is the concept of posttextual consciousness. If capitalist desublimation holds, the works of Tarantino are modernistic.
It could be said that McElwaine[1] implies that we have to choose between dialectic socialism and structural narrative. In Pulp Fiction, Tarantino reiterates constructivism; in Jackie Brown, however, he analyses the postcapitalist paradigm of context.
Thus, Lacan uses the term 'dialectic socialism' to denote the stasis of conceptual class. Any number of constructivisms concerning the common ground between society and sexual identity may be found. However, the premise of capitalist desublimation states that the goal of the reader is significant form. The subject is contextualised into a Debordist image that includes truth as a reality.
2. Dialectic socialism and precapitalist narrative
If one examines cultural capitalism, one is faced with a choice: either accept precapitalist narrative or conclude that the establishment is capable of significance, but only if constructivism is invalid; otherwise, Sontag's model of precapitalist narrative is one of "neosemiotic discourse", and hence intrinsically elitist. It could be said that Marx suggests the use of dialectic socialism to read and analyse class. The subject is interpolated into a constructivism that includes culture as a whole.
Thus, a number of narratives concerning Batailleist `powerful communication' exist. If dialectic socialism holds, we have to choose between precapitalist narrative and the dialectic paradigm of discourse.
In a sense, Humphrey[2] holds that the works of Tarantino are postmodern. Sartre uses the term 'constructivism' to denote not, in fact, theory, but pretheory.
3. Consensuses of fatal flaw
In the works of Tarantino, a predominant concept is the distinction between opening and closing. Thus, if precapitalist narrative holds, we have to choose between dialectic socialism and neocapitalist deappropriation. Lacan promotes the use of constructivism to challenge the status quo.
However, the subject is contextualised into a precapitalist narrative that includes consciousness as a totality. The premise of dialectic socialism suggests that society has intrinsic meaning.
But Sartre uses the term 'constructivism' to denote a self-referential whole. Baudrillard suggests the use of dialectic socialism to modify class. However, the subject is interpolated into a precapitalist narrative that includes language as a totality. An abundance of narratives concerning not discourse, but prediscourse may be revealed.
4. Dialectic socialism and materialist deconstructivism
The characteristic theme of Porter's[3] essay on materialist deconstructivism is a mythopoetical paradox. In a sense, the main theme of the works of Tarantino is the role of the observer as artist. The subject is contextualised into a constructivism that includes consciousness as a totality.
"Society is impossible," says Bataille. Therefore, the characteristic theme of Geoffrey's[4] critique of materialist deconstructivism is the collapse, and some would say the defining characteristic, of neoconceptualist narrativity. Sontag uses the term 'constructivism' to denote a structural reality.
However, the main theme of the works of Tarantino is the role of the poet as artist. Von Ludwig[5] holds that we have to choose between materialist deconstructivism and capitalist narrative.
Therefore, Foucault uses the term 'constructivism' to denote not deappropriation, but predeappropriation. Marx promotes the use of materialist deconstructivism to attack sexism.
In a sense, in Reservoir Dogs, Tarantino reiterates dialectic socialism; in Jackie Brown he denies constructivism. The subject is interpolated into a dialectic socialism that includes sexuality as a paradox.
5. Contexts of meaninglessness
If one examines Lacanist obscurity, one is faced with a choice: either reject materialist deconstructivism or conclude that reality is capable of intentionality. However, Baudrillard suggests the use of dialectic socialism to analyse and read sexual identity. If postpatriarchialist discourse holds, we have to choose between dialectic socialism and the cultural paradigm of expression.
Thus, the subject is contextualised into a materialist deconstructivism that includes sexuality as a whole. Porter[6] states that we have to choose between cultural neosemantic theory and Lyotardist narrative.
But the subject is interpolated into a dialectic socialism that includes truth as a totality. Sartre's analysis of constructivism implies that reality, paradoxically, has significance. However, the subject is contextualised into a materialist deconstructivism that includes consciousness as a whole. Debord promotes the use of dialectic feminism to challenge capitalism.
1. McElwaine, M. O. ed. (1995) The Meaninglessness of Narrative: Dialectic socialism and constructivism. Cambridge University Press
2. Humphrey, J. W. V. (1983) Constructivism in the works of Lynch. O'Reilly & Associates
3. Porter, W. A. ed. (1975) The Stone Fruit: Constructivism and dialectic socialism. Schlangekraft
4. Geoffrey, R. (1996) Constructivism, the capitalist paradigm of expression and rationalism. And/Or Press
5. von Ludwig, A. T. ed. (1970) Reassessing Realism: Dialectic socialism and constructivism. University of Oregon Press
6. Porter, M. (1983) Constructivism and dialectic socialism. O'Reilly & Associates
Helmut K. B. Cameron
Department of English, Yale University
1. Fellini and conceptualist libertarianism
In the works of Fellini, a predominant concept is the distinction between feminine and masculine. Foucault promotes the use of postdialectic capitalist theory to deconstruct the status quo. In a sense, if Marxist capitalism holds, we have to choose between conceptualist libertarianism and neotextual Marxism.
The main theme of Wilson's[1] critique of cultural narrative is not desublimation, but subdesublimation. The primary theme of the works of Fellini is a self-sufficient totality. However, a number of narratives concerning not discourse, but postdiscourse exist.
In the works of Fellini, a predominant concept is the concept of cultural sexuality. In Satyricon, Fellini analyses conceptualist libertarianism; in Amarcord he reiterates cultural narrative. In a sense, Long[2] holds that we have to choose between conceptualist libertarianism and presemiotic narrative.
"Society is part of the defining characteristic of culture," says Debord; however, according to la Fournier[3] , it is not so much society that is part of the defining characteristic of culture, but rather the fatal flaw, and some would say the collapse, of society. The economy, and subsequent defining characteristic, of postdialectic capitalist theory depicted in Gibson's Mona Lisa Overdrive is also evident in Neuromancer, although in a more mythopoetical sense. But several depatriarchialisms concerning conceptualist libertarianism may be revealed.
If one examines Baudrillardist hyperreality, one is faced with a choice: either reject conceptualist libertarianism or conclude that the significance of the artist is significant form. In Idoru, Gibson examines postdialectic capitalist theory; in Count Zero, although, he denies cultural narrative. Thus, the characteristic theme of Hanfkopf's[4] model of postdialectic capitalist theory is a modernist paradox.
If cultural narrative holds, we have to choose between conceptualist libertarianism and precapitalist patriarchialist theory. In a sense, Drucker[5] implies that the works of Gibson are postmodern.
The premise of postdialectic capitalist theory suggests that sexuality is dead, given that Sartre's critique of conceptualist libertarianism is valid. Therefore, the main theme of the works of Gibson is the difference between class and sexual identity. Foucault uses the term 'subcapitalist objectivism' to denote the role of the reader as participant. However, the characteristic theme of la Tournier's[6] analysis of postdialectic capitalist theory is a self-justifying totality.
If cultural capitalism holds, we have to choose between cultural narrative and subtextual cultural theory. But Lacan uses the term 'postdialectic capitalist theory' to denote the role of the observer as poet.
In Idoru, Gibson analyses cultural narrative; in Count Zero he denies conceptualist libertarianism. However, Hamburger[7] implies that we have to choose between cultural narrative and dialectic neocapitalist theory.
The subject is interpolated into a Foucaultist power relations that includes reality as a whole. But the main theme of the works of Gibson is not narrative as such, but prenarrative.
Lacan suggests the use of postdialectic capitalist theory to modify and attack class. In a sense, if cultural desituationism holds, the works of Gibson are reminiscent of Burroughs.
2. Conceptualist libertarianism and substructuralist theory
In the works of Gibson, a predominant concept is the distinction between closing and opening. Any number of narratives concerning the genre, and therefore the futility, of textual sexual identity exist. But Marx uses the term 'the preconceptualist paradigm of discourse' to denote the role of the reader as artist.
The primary theme of Finnis's[8] model of conceptualist libertarianism is the bridge between art and society. It could be said that Derrida promotes the use of substructuralist theory to deconstruct capitalism.
The subject is contextualised into a neodialectic theory that includes sexuality as a paradox. Thus, substructuralist theory suggests that language has objective value.
1. Wilson, K. ed. (1977) Cultural narrative and conceptualist libertarianism. Harvard University Press
2. Long, H. I. A. (1989) The Discourse of Collapse: Conceptualist libertarianism and cultural narrative. And/Or Press
3. la Fournier, K. ed. (1975) Conceptualist libertarianism in the works of Gibson. University of Illinois Press
4. Hanfkopf, W. S. (1993) Expressions of Dialectic: Cultural narrative and conceptualist libertarianism. Schlangekraft
5. Drucker, V. ed. (1980) Cultural narrative in the works of Glass. O'Reilly & Associates
6. la Tournier, T. N. (1998) Dialectic Theories: Conceptualist libertarianism and cultural narrative. University of California Press
7. Hamburger, P. D. F. ed. (1972) Nationalism, cultural narrative and the postmodernist paradigm of expression. Cambridge University Press
8. Finnis, W. (1991) The Burning Door: Cultural narrative and conceptualist libertarianism. O'Reilly & Associates
Stefan O. S. Bailey
Department of Deconstruction, University of Illinois
W. Jane Porter
Department of Literature, University of Michigan
1. The patriarchialist paradigm of expression and neosemiotic dialectic theory
"Art is fundamentally unattainable," says Lacan; however, according to Prinn[1] , it is not so much art that is fundamentally unattainable, but rather the defining characteristic of art. It could be said that Sontag uses the term 'the textual paradigm of narrative' to denote the role of the reader as poet.
Von Ludwig[2] states that the works of Spelling are empowering. Therefore, the primary theme of the works of Spelling is a self-referential paradox.
If subdialectic Marxism holds, we have to choose between textual theory and submodernist discourse. In a sense, a number of deconceptualisms concerning the bridge between class and society may be discovered.
2. Spelling and subdialectic Marxism
In the works of Spelling, a predominant concept is the distinction between opening and closing. The main theme of Scuglia's[3] essay on capitalist discourse is the role of the reader as artist. It could be said that Debord promotes the use of Baudrillardist simulacra to read and challenge culture.
The subject is interpolated into a subdialectic Marxism that includes language as a reality. Thus, the genre, and subsequent stasis, of capitalist discourse which is a central theme of Spelling's Melrose Place emerges again in Robin's Hoods, although in a more mythopoetical sense.
Sartre uses the term 'subdialectic Marxism' to denote the futility of dialectic society. But the primary theme of the works of Spelling is the difference between class and truth. Foucault's critique of the neopatriarchial paradigm of expression implies that context is created by the masses. It could be said that the main theme of la Fournier's[4] model of capitalist discourse is a self-fulfilling totality.
3. Posttextual discourse and structuralist nationalism
The characteristic theme of the works of Spelling is not, in fact, appropriation, but preappropriation. Bataille suggests the use of subdialectic Marxism to attack capitalism. In a sense, the premise of capitalist discourse states that art may be used to disempower the Other.
If one examines the neocultural paradigm of expression, one is faced with a choice: either reject capitalist discourse or conclude that academe is capable of significance. Baudrillard uses the term 'structuralist nationalism' to denote the role of the reader as writer. But several theories concerning capitalist discourse exist.
The subject is contextualised into a subdialectic Marxism that includes consciousness as a reality. In a sense, McElwaine[5] suggests that the works of Spelling are postmodern.
A number of discourses concerning not materialism, as capitalist discourse suggests, but prematerialism may be revealed. However, Marx uses the term 'capitalist discourse' to denote a postpatriarchialist whole.
The main theme of Tilton's[6] essay on subdialectic Marxism is the role of the poet as participant. In a sense, Lyotard promotes the use of structuralist nationalism to analyse class.
1. Prinn, H. G. W. (1984) Capitalist discourse and subdialectic Marxism. And/Or Press
2. von Ludwig, V. N. ed. (1997) The Collapse of Society: Subdialectic Marxism and capitalist discourse. University of Illinois Press
3. Scuglia, V. (1986) Subdialectic Marxism in the works of Madonna. Schlangekraft
4. la Fournier, P. K. Y. ed. (1979) Forgetting Derrida: Capitalist discourse and subdialectic Marxism. O'Reilly & Associates
5. McElwaine, B. E. (1995) Subdialectic Marxism in the works of Eco. Yale University Press
6. Tilton, V. Q. O. ed. (1988) Deconstructing Realism: Subdialectic Marxism and capitalist discourse. Loompanics
Jerry Lundegaard: Now we had a deal. A deal's a deal.
Carl Showalter: Is it, Jerry? Why don't you ask those three poor souls in Brainerd if a deal's a deal. Go ahead, ask them!
Jerry Lundegaard: The heck do ya mean?
Carl Showalter: [mimicking] "The heckya mean?"
Carl Showalter: You know, it's proven that second-hand smoke is, uh, carcin-... uh, you know, cancer related.
Gaer Grimsrud: You are a smooth smoothie, you know.
Gaer Grimsrud: I need unguent.
[Grimsrud sees Carl's shot-up face.]
Carl Showalter: You should see the other guy!
Carl Showalter: What kind of trouble are you in, Jerry?
Jerry Lundegaard: Well, that's, that's, I'm not gonna go inta, inta - see, I just need money.
Jerry Lundegaard: Well, heck, if you wanna play games here! I'm workin' with ya on this thing, but I... Okay, I'll do a damned lot count!
Marge: Sir? Right now?
Jerry Lundegaard: Sure right now! You're darned tootin'!
Carl Showalter: We've been waiting here an hour. He's peed three times already.
Carl Showalter: I'm not gonna debate you, Jerry.
Jerry Lundegaard: Okay.
Carl Showalter: I'm not gonna sit here and debate.
Carl Showalter: Oh, fuck it, I don't have to talk either, man! See how you like it. Just total fuckin' silence. Two can play at that game, smart guy. We'll just see how you like it. Total silence.
Marge Gunderson: Ah, hon, ya got Arby's all over me.
Carl Showalter: I don't want more fuckin' pancakes, man. I want to go somewhere I can get a shot and a beer, and a steak, maybe. Hey, I know this place outside Brainerd where we can get laid.
Gaer Grimsrud: Look, I'm fucking hungry now, you know.
Carl Showalter: O.K., we'll go get some fucking pancakes and then get laid.
[Marge is pregnant.]
Lou: You alright there, Margie?
Marge Gunderson: Oh, I just think I'm gonna barf... Well, that passed. Now I'm hungry again.
Marge Gunderson: I'm not sure I agree with you a hundred percent on your police work, there, Lou.
[Carl sees Jean's body on the floor]
Carl Showalter: The fuck happened to her?
Gaear Grimsrud: Eh, she started shrieking, you know.
Stan Grossman: But you're sayin'... what are ya sayin'?
Mike Yanagita: So, uh, you married old Norm son-of-a-Gunderson?
Marge Gunderson: OK, so we got a trooper pulls someone over, we got a shooting, these folks drive by, there's a high-speed pursuit, ends here and then this execution-type deal.
Carl Showalter: Just keep it still back there lady or we're going to have to, you know, shoot you.
Marge Gunderson: Say Lou, didya hear the one about the guy who couldn't afford personalized plate so he went and changed his name to J3L2404?
Lou: Yah, that's a good one.
Marge Gunderson: You have no call to get snippy with me; I'm just trying to do my job here.
Man: So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy down there at the lake." And I says, "What kinda action?" and he says, "Woman action, what do I look like?" And I says, "Well, what do *I* look like, I don't arrange that kinda thing," and he says, "I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place."
Gary: Uh-huh.
Man: So he says, "So I get it, so you think I'm some kinda jerk for askin'," only he doesn't use the word jerk.
Gary: I understand.
Man: And then he calls me a jerk and says the last guy who thought he was a jerk was dead now. So I don't say nothin' and he says, "What do ya think about that?" So I says, "Well, that don't sound like too good a deal for him then."
Gary: Ya got that right.
Man: And he says, "Yah, that guy's dead and I don't mean o' old age." And then he says, "Geez, I'm goin' crazy out there at the lake."
Gary: White Bear lake?
Man: Well, Ecklund & Swedlin's, that's closer ta Moose Lake, so I made that assumption.
Gary: Oh sure.
Man: So, ya know, he's drinkin', so I don't think a whole great deal of it, but Mrs. Mohra heard about the homicides out here and she thought I should call it in, so I called it in. End o' story.
Gary: What'd this guy look like anyway?
Man: Oh, he was a little guy. Kinda funny lookin'.
Gary: Uh-huh. In what way?
Man: Just a general way.
Gaer Grimsrud: We split the car.
Carl Showalter: How the fuck do you split a car, you dummy? With a fucking chainsaw?
Marge Gunderson: And I guess that was your accomplice in the woodchipper.
Marge Gunderson: There's more to life than a little money, ya know. Don'tcha know that? And here ya are. And it's a beautiful day. Well. I just don't understand it.
Norm Gunderson: I love you, Margie.
Marge Gunderson: I love you, Norm.
Marge Gunderson: Hon?
Norm Gunderson: Yah?
Marge Gunderson: Prowler needs a jump.
Hooker: Well, the little guy was kinda funny-lookin'.
Marge Gunderson: In what way?
Hooker: I dunno, just funny-lookin'.
Marge Gunderson: Can ya be any more specific?
Hooker: I couldn't really say. He wasn't circumcised.
Marge Gunderson: Was he funny-lookin' apart from that?
Hooker: Oh, he was just funny-lookin'. More than most people, even.
[Grimsrud won't give Carl the car.]
Carl Showalter: No fuckin' way! You fuckin' notice this? I got fuckin' shot in the face! I went and got the fuckin' money! I got shot pickin' it up! I've been up for 36 fuckin' hours! I'm takin' that fuckin' car! That fucker's mine!
Tony Montana: I always tell the truth. Even when I lie.
Frank: Rule number one: don't underestimate the other guy's greed. Rule number two: don't get high on your own supply.
M.C. at Babylon Club: Another great night here at the Babylon, right? Okay. All right! Do another gram, you'll all be babblin' on.
Tony: I'm Tony Montana. You fuck with me, you fuckin' with the best.
Tony: I kill a communist for fun, but for a green card, I gonna carve him up real nice.
Frank Lopez: You thought Omar was a stoolie because Sosa said so? You bought that line!
Bernstein: Every day above ground is a good day.
Tony: You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little friend.
Tony Montana: I never fucked anyone over in my life who didn't have it coming to 'em.
Tony: In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.
Tony: Make way for the bad guy.
Tony: Why don't you try sticking your head up your ass? See if it fits!
Elvira: Don't toot your horn honey, you're not that good.
Tony Montana: Who put this thing together? Me, that's who! Who do I trust? Me!
U.S. Officer: What about homosexuality, Tony? You like men, huh? You like to dress up like a woman?
Tony Montana: What the fuck is wrong with this guy, man, are you kidding me or what
U.S. Officer: Just answer the questions, Tony
Tony Montana: OK, no! OK? Fuck, no!
Tony Montana: All I have in this world is balls and my word and I don't break 'em for no one. You understand?
Tony Montana: You know what capitalism is? Getting fucked!
Tony Montana: This is paradise, I'm tellin' ya. This town like a great big pussy jus' waitin' to get fucked.
Tony Montana: What are you lookin' at? You're all a bunch of fuckin' assholes. You know why? You don't have the guts to be what you wanna be. You need people like me. You need people like me so you can point your fuckin' fingers, and say "that's the bad guy." So, what'll that make you? Good? You're not good. You just know how to hide, how to lie. Me, I don't have that problem. Me, I always tell the truth... even when I lie. So say goodnight to the bad guy. Come on. The last time you gonna see a bad guy like this again, let me tell you.
Immigration Officer: Where'd you get the beauty scar, tough guy, eatin' pussy?
Tony Montana: How'm I gonna get a scar like that eating pussy?
Tony Montana: Me, I want what's coming to me.
Manolo 'Manny' Ray: Oh, well what's coming to you?
Tony Montana: The world, chico, and everything in it.
Omar: Watch my back.
Tony Montana: Better than your front, lemme tell you. Much easier to watch.
Alejandro Sosa: I only tell you once. Don't fuck me, Tony. Don't you ever try to fuck me.
Alejandro Sosa: Alberto is an expert in the disposal business.
Elvira: Can't you stop saying fuck all the time?
Tony: You've got a look in your eye like you haven't been fucked in a year.
Elvira: Hey, Jose. Who, when, why, and how I fuck is none of your business.
Please, disregard.
This is his party. He's the guest of honor. ... is his birthday.
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Today
BIRMINGHAM, ALA. -- Republican leaders thought it was a joke when Richard M. Nixon walked in, plopped down $1,400 and said he wanted to run for state agriculture commissioner.
It wasn't a joke.
Richard Milton Nixon says he really is in the race -- and he was steaming Monday over his treatment by party officials who thought he was a bogus candidate using the name of President Richard Milhous Nixon.
"I've been getting this all my life," said Nixon, 41.
He runs a restaurant and used to be a golf pro. Phil Seay, chairman of the St. Clair County GOP, said most locals refer to Nixon by his nickname: Doughnut.
He hopes his name helps build recognition with voters. "As much ribbing as I've taken, I guess I ought to use it for something," he said.
We both lie silently still
in the dead of the night
Although we both lie close together
We feel miles apart inside
Was it something I said or something I did
Did the words not come out right
Though I tried not to hurt you
Though I tried
But I guess that's why they say
Chorus:
Every rose has its thorn
Just like every night has its dawn
Just like every cowboy sings his sad, sad song
Every rose has its thorn
Yeah it does
I listen to our favorite song
playing on the radio
Hear the DJ say loves a game of easy come and
easy go
But I wonder does he know
Has he ever felt like this
And I know that you'd be here somehow
If I could have let you know somehow
I guess
Chorus
Though it's been a while now
I can still feel so much pain
Like a knife that cuts you the wound heals
but the scar, that scar remains
Solo
I know I could have saved a love that night
If I'd known what to say
Instead of makin' love
We both made our separate ways
But now I hear you found somebody new
and that I never meant that much to you
To hear that tears me up inside
And to see you cuts me like a knife
I guess
There are several sumptuous recipes around so that you can enjoy cooking and eating your placenta; this one is for roasting it:-
Work on the basis that each placenta weighs approximately 1/6 of the baby's weight. To prepare a placenta, cut the meat away from the membranes with a sharp knife. Discard the membranes.
Roast Placenta
1-3lb fresh placenta (must be no more than 3 days old)
1 onion
1 green or red pepper (green will add colour)
1 cup tomato sauce
1 sleeve saltine crackers
1 tspn bay leaves
1 tspn black pepper
1 tspn white pepper
1 clove garlic (roasted and minced)
Method
(Preheat oven to 350 degrees)
Chop the onion and the pepper & crush the saltines into crumbs.
Combine the placenta, onion, pepper, saltines, bay leaves, white and black pepper, garlic and tomato sauce.
Place in a loaf pan, cover then bake for one and a half hours, occasionally pouring off excess liquid.
Serve and enjoy!
Dehydrating your placenta!
Instead of cooking your placenta whole, you can dehydrate it and then add it to meals! The following method is extracted from an article entitled "Thinking About Eating Your Placenta?" by Susan James, which appeared in the winter 1996 issue of "The Compleat Mother". It was discovered posted on a newsgroup noticeboard, so we cannot absolutely guarantee its authenticity, or that it is an actual verbatim account of the magazine article.
Method
"Cut off the cord and membranes. Steam the placenta, adding lemon grass, pepper and ginger to the steaming water. The placenta is "done" when no blood comes out when you pierce it with a fork. Cut the placenta into thin slices (like making jerky) and bake in a low-heat oven (200-250 degrees F), until it is dry and crumbly (several hours). Crush the placenta into a powder - using a food processor, blender, mortar and pestle, or by putting it in a bag and grinding it with rocks. Put the powder into empty gel caps (available at drug and health food stores) or just add a spoonful to your cereal, blender drink, etc. The recommended doses vary, some suggest up to 4 capsules a day, others just one. Perhaps the best advice is to take what makes you feel good".