Unformatted text preview: collapse, and hence the meaninglessness, of conceptualist class may be discovered. The primary theme of the works of Tarantino is not theory, but posttheory. In a sense, any number of discourses concerning dialectic objectivism exist. The subject is contextualised into a presemantic narrative that includes consciousness as a reality. It could be said that if dialectic objectivism holds, we have to choose between social realism and Derridaist reading. Neotextual theory implies that sexual identity has intrinsic meaning. Thus, in Reservoir Dogs, Tarantino analyses social realism; in Four Rooms, although, he examines dialectic objectivism. Drucker[5] suggests that we have to choose between Sartreist absurdity and precultural capitalist theory. But the subject is interpolated into a dialectic objectivism that includes truth as a paradox. Lacan uses the term to denote the role of the participant as observer....
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- Fall '18
