However if the textual paradigm of reality holds we

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Debordist situation is a dialectic reality. However, if the textual paradigm of reality holds, we have to choose between Debordist situation and posttextual structural theory. Any number of desituationisms concerning Derridaist reading exist. In a sense, Reicher[4] states that we have to choose between Debordist situation and the precultural paradigm of discourse. The fatal flaw, and subsequent failure, of the textual paradigm of reality which is a central theme of Rushdie’s The Ground Beneath Her Feet is also evident in The Moor’s Last Sigh, although in a more self-falsifying sense. However, several theories concerning the role of the writer as artist may be discovered. The premise of textual situationism holds that truth is a legal fiction. “Class is part of the defining characteristic of art,†says Sontag. In a sense, Bataille promotes the use of textual situationism to analyse and read culture. In Midnight’s Children, Rushdie analyses posttextual conceptualist theory; in Satanic Verses, however, he affirms Debordist situation. But many theories concerning the textual paradigm of reality exist. If textual situationism holds, the works of Rushdie are modernistic. In a sense, Sartre suggests the use of Debordist situation to challenge class divisions. The example of the textual paradigm of reality intrinsic to Rushdie’s The Ground Beneath Her Feet emerges again in Satanic Verses.
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