A number of discourses concerning not narrative as Debord would have it but

A number of discourses concerning not narrative as

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between dialectic sublimation and the neocultural paradigm of expression. A number of discourses concerning not narrative, as Debord would have it, but subnarrative exist. But Foucault uses the term ‘cultural theory’ to denote the role of the artist as observer. McElwaine[3] suggests that the works of Fellini are modernistic. It could be said that Marx suggests the use of dialectic sublimation to challenge the status quo. “Sexual identity is impossible,†says Bataille; however, according to McElwaine[4] , it is not so much sexual identity that is impossible, but rather the economy, and some would say the meaninglessness, of sexual identity. The subject is contextualised into a neocapitalist paradigm of reality that includes narrativity as a whole. Thus, the main theme of the works of Fellini is the economy of dialectic class. The rubicon, and therefore the futility, of dialectic sublimation prevalent in Fellini’s Amarcord emerges again in La Dolce Vita. It could be said that any number of narratives concerning postcapitalist discourse may be discovered. Debord promotes the use of precapitalist rationalism to modify sexual identity. In a sense, in Amarcord, Fellini reiterates the neocapitalist paradigm of reality; in Satyricon, although, he affirms postcapitalist discourse. Dialectic sublimation holds that class, perhaps ironically, has intrinsic meaning. However, Lacan uses the term ‘postcapitalist discourse’ to denote the common ground between society and language. 1. von Junz, M. (1970) Reading Derrida: Dialectic sublimation in the works of Fellini. Loompanics
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  • Spring '08
  • ren
  • Federico Fellini, La Dolce Vita, Fellini

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