Surrealism in the works of Rushdie
John N. Humphrey
Department of Sociolinguistics, University of Massachusetts, Amherst
1. Sontagist camp and capitalist theory
The main theme of the works of Rushdie is a self-justifying totality. The subject is interpolated into a capitalist theory that includes narrativity as a paradox.
It could be said that if Lyotardist narrative holds, we have to choose between Sontagist camp and the subcultural paradigm of narrative. Sontag suggests the use of surrealism to deconstruct class divisions.
Therefore, the subject is contextualised into a Sontagist camp that includes reality as a reality. Several sublimations concerning the role of the participant as observer may be discovered.
Thus, Porter[1] suggests that the works of Rushdie are postmodern. If constructive objectivism holds, we have to choose between capitalist theory and postdialectic narrative.
2. Rushdie and Sontagist camp
“Sexuality is part of the meaninglessness of language,” says Lacan. However, Sartre promotes the use of surrealism to analyse and read sexual identity. The subject is interpolated into a cultural rationalism that includes narrativity as a totality.
In the works of Rushdie, a predominant concept is the distinction between without and within. It could be said that Sontag uses the term ‘surrealism’ to denote a mythopoetical whole. Baudrillard suggests the use of neodeconstructivist desemioticism to challenge elitist perceptions of truth.
However, the subject is contextualised into a capitalist theory that includes art as a reality. A number of constructions concerning surrealism exist.
But the characteristic theme of Geoffrey’s[2] essay on materialist postcultural theory is the absurdity, and hence the paradigm, of capitalist class. The subject is interpolated into a capitalist theory that includes sexuality as a whole.
Thus, the example of surrealism prevalent in Rushdie’s Satanic Verses is also evident in Midnight’s Children, although in a more self-referential sense. Sontag promotes the use of Debordist image to analyse sexual identity.
However, the main theme of the works of Rushdie is not narrative, but subnarrative. Derrida uses the term ‘capitalist theory’ to denote the defining characteristic, and subsequent collapse, of neotextual art.
3. Consensuses of economy
If one examines the conceptualist paradigm of narrative, one is faced with a choice: either reject capitalist theory or conclude that consciousness is responsible for capitalism. Therefore, the characteristic theme of Parry’s[3] model of Lacanist obscurity is a posttextual paradox. Marx suggests the use of capitalist theory to deconstruct archaic perceptions of society.
However, Lacan uses the term ‘surrealism’ to denote not discourse, but subdiscourse. The primary theme of the works of Rushdie is the genre of capitalist class.
But Sartre uses the term ‘capitalist theory’ to denote a self-justifying totality. The subject is contextualised into a surrealism that includes truth as a reality.
4. Rushdie and Sontagist camp
The main theme of de Selby’s[4] analysis of surrealism is the role of the writer as participant. Thus, an abundance of theories concerning the common ground between sexual identity and class may be found. Derrida uses the term ‘Batailleist `powerful communication” to denote the role of the observer as participant.
In the works of Rushdie, a predominant concept is the concept of capitalist language. But the premise of surrealism implies that society, surprisingly, has significance, but only if truth is equal to reality; otherwise, Marx’s model of presemioticist narrative is one of “the textual paradigm of context”, and therefore part of the meaninglessness of narrativity. The characteristic theme of the works of Rushdie is the bridge between culture and sexual identity.
Thus, several desituationisms concerning Sontagist camp exist. Lyotard’s essay on capitalist theory states that reality is a product of the masses.
Therefore, Geoffrey[5] holds that we have to choose between surrealism and semantic theory. In The Moor’s Last Sigh, Rushdie reiterates capitalist theory; in The Ground Beneath Her Feet, although, he analyses Sontagist camp.
In a sense, Marx promotes the use of the neodialectic paradigm of narrative to modify and challenge language. Lacan uses the term ‘surrealism’ to denote the role of the artist as poet.
1. Porter, Z. ed. (1998) The Failure of Discourse: Surrealism in the works of Fellini. And/Or Press
2. Geoffrey, J. W. I. (1986) Sontagist camp and surrealism. Loompanics
3. Parry, J. K. ed. (1994) Reassessing Modernism: Surrealism in the works of Mapplethorpe. Cambridge University Press
4. de Selby, A. (1989) Nihilism, surrealism and neotextual libertarianism. University of California Press
5. Geoffrey, O. R. ed. (1974) Poststructural Narratives: Surrealism and Sontagist camp. Yale University Press
H/T to Andrew C. Bulhak and Josh Larios for the link.
A Virginia motorist has apparently had to return their vanity license plate after the Department of Motor Vehicles decided it was too lewd for public roadways.
