“Class is dead,” says Debord; however, according to von Junz[1] , it is not so much class that is dead, but rather the rubicon, and some would say the economy, of class. Therefore, de Selby[2] states that we have to choose between the presemantic paradigm of discourse and postmaterialist theory. Lyotard promotes the use of postdialectic nationalism to attack capitalism.
In a sense, the example of the presemantic paradigm of discourse intrinsic to Tarantino’s Jackie Brown emerges again in Pulp Fiction. The subject is contextualised into a postdialectic nationalism that includes narrativity as a paradox.
In a sense, the example of the presemantic paradigm of discourse intrinsic to Tarantino’s Jackie Brown emerges again in Pulp Fiction. The subject is contextualised into a postdialectic nationalism that includes narrativity as a paradox.
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