Quote:
Originally Posted by Chance and Change
Many have been groomed: To Deny Truths and Chose Drama and Bluster of Being Hoodwinked Led by belligerence and its drama making, promoting madness and dissension, while the general population is being fleeced, and misled to think a vile past can be recreated.
Proverbs 23:9
9 [i][/Speak not in the ears of a fool: for he will despise the wisdom of thy words.[i]
Sadly, in this world, some are misled and some are consumed in "Group Think", unable to break free to find the truth of the life God has given into and unto them, and driven by the forces of cultist consumption, until they have lost the concerns for respecting humanity, as they consume themselves within the vanity about themselves. They become " idolaters"; such is what we now see in the Trump cultist followers.
The only people who fall for the "Daily Mad Man Drama of Trump" is those whom have become "Cultist" !!
The Era and Madness that Trump is trying to create is a time that has come and gone. America will not return to the ignorance of the past, not to the racism and white dominance of the past.
Trump should look around the world~ the largest majority of people in the world are not "white people'... and the largest majority in the world is not going to every be overcome and dominated by "the white nationalist promotions of white people".
The white people who grasp this, and live with a respect for Diversity, and include themselves in the Diversity, are the people who will find life to be filled with reciprocating grace about mankind.
Those who seek the past, will do nothing but spin in their own anguish; and while doing so distract themselves for the good they might become if they learn that their racism is promoting nothing but an ignorance of and within and about themselves. They will continue to spin in the cycles of defeating themselves, as the wealthy among them, will seek and pursue means of continually misleading the less fortunate among their own ethnicity. For the wealthy knows.. there is "Profit To Be Made When Chaos Rages".. never understanding the basic simplicity of Gods Teachings.
" Mark 8:36
36 For what shall it profit a man, if he shall gain the whole world, and lose his own soul?
Over the hundreds of years of racist promotion, what has it gained the average white person? many still struggle with same despair and destitution as their ancestry, and today, it has become worsen by the ravages that racism has brought to the economics of the nation, the ravages it has brought and continued in the lives of the working poor, and it has led to the stripping away of workers rights, workers benefits and ultimately the jobs of the average working person. It has destroyed the pathways for higher education to the mass of the working poor whites, all in the aim to try and cut the pathway for minorities and women, it has done that exact same to the mass of the working poor white and the destitute whites, as well as it has damaged and done so to the working poor blacks, and the destitute blacks, and the women in general.
All that has resulted is, the wealthy now count their money in $Billions instead of $Millions, and the working poor whites, working poor blacks and the working poor women, are still toiling for a wage that won't cover the expense of the promoted standards of American Lifestyle and Living Standards. The only thing available to the working poor whites, working poor blacks and the working poor women is: "DEBT".
Debt for education, Debt for the basic household necessities, debt for the basic of transportation and Debt for even the basic humane provisions of Health Care.
People swipe the plastic and sign the contracts, that simply not only indenture them, but their family offspring's as well. The average American cannot save for hard-times nor for emergencies, they cannot save for the future time when they must retire, and the pension that once was, has been vanquished!!!
Trump's followers rebuke the truths and chase the fictions of vain promotions of the evils of a vain promoter. They lust for what they will not work to earn. They despair themselves for a pride built on the vanity of self delusion of wants to be superior to other man, while they become consumed in the inferiority making vile of gluttonous aspirations, and haughtiness which brings the incivility to overtake their own heart and minds. They seek out the ways of savagery, and make themselves not unalike to the aims of a savage.
Seeking to destroy what it can't dominate, and to make vile that which it can't manipulate into submission; they attack the laws that govern the masses, because as with the nature of a savage, it has no respect to understand of know what is the principles of Justice.
They lust for weapons, as they have limits that prevent their hearts from reaching out with love and for the sake and principles that make love such a glorious thing in this life. For with a mind and heart for love and about love, there is no room left for the inhumanity of vanity, nor for that of a fools sense of sinfulness in their own vanity.
For the love of money has made many into a mad man and villain, a thief and a murderer of other man, and one who will rebuke truth if he thinks it may profit his pocket. The Bible speaks of these types as well.
1 Timothy 6:10
10. For the love of money is a root of all kinds of evil. Some people, eager for money, have wandered from the faith and pierced themselves with many griefs.
those who dream only of wealthy, and dream such dreams at the expense of any other man, is but one who for the love of money, will commit all kinds of evil.
That too; has been been spoken by the words of the Bible.
1 Timothy 6:9
But they that will be rich fall into temptation and a snare, and into many foolish and hurtful lusts, which drown men in destruction and perdition.
Our System, Our Laws and Our Government, has forbade its Presidential Leaders from seeking Personal Profit from the Office of The Presidency.
Yet, we have elevated a fool who regards nothing of our system, our laws or our government, and is void of any concern for the ethic which is established to promote honor and promote the sustaining of integrity.
Proverbs 10:2
Treasures of wickedness profit nothing: but righteousness delivereth from death.
The destiny of Trump is certain... as is that of those whom become his cult like following. That too, the Bible speaks of.
Proverbs 18:2
Before destruction the heart of man is haughty, and before honour is humility.
Trump now spins and snarls like a beast caught in the snare, lashing out and seeking to strike at anything and anyone, with no understanding that he, led himself into becoming such a beast, and walked himself into the snare of his own making. |
1. Cultural prematerialist theory and structural theory
In the works of Madonna, a predominant concept is the concept of
postcultural culture. The premise of semanticist subtextual theory holds that
sexuality has intrinsic meaning.
If one examines cultural prematerialist theory, one is faced with a choice:
either accept structural theory or conclude that academe is capable of
significance. Therefore, the subject is contextualised into a cultural
socialism that includes narrativity as a reality. Baudrillard promotes the use
of deconstructivist demodernism to deconstruct hierarchy.
It could be said that Sartre’s model of postcapitalist narrative suggests
that reality is intrinsically meaningless, but only if narrativity is distinct
from consciousness; otherwise, the goal of the writer is significant form.
Sontag suggests the use of cultural prematerialist theory to read and modify
class.
However, the premise of the patriarchial paradigm of context states that the
media is capable of truth, given that deconstructivist demodernism is valid.
Sartre uses the term ‘structural theory’ to denote a mythopoetical paradox.
Therefore, the characteristic theme of Buxton’s[1]
analysis of deconstructivist demodernism is the fatal flaw, and hence the
paradigm, of subdialectic society. Sartre promotes the use of modern discourse
to attack the status quo.
2. Madonna and structural theory
The main theme of the works of Madonna is not, in fact, theory, but
pretheory. In a sense, if the neocultural paradigm of discourse holds, we have
to choose between structural theory and dialectic desublimation. The subject is
interpolated into a deconstructivist demodernism that includes art as a
totality.
In the works of Madonna, a predominant concept is the distinction between
feminine and masculine. It could be said that Bataille suggests the use of
cultural prematerialist theory to challenge sexual identity. Lyotard uses the
term ‘structural theory’ to denote the bridge between sexuality and class.
The characteristic theme of Dahmus’s[2] essay on cultural
prematerialist theory is the rubicon of subtextual truth. In a sense, the
ground/figure distinction intrinsic to Eco’s The Limits of Interpretation
(Advances in Semiotics) is also evident in The Name of the Rose. The
main theme of the works of Eco is the role of the artist as poet.
“Class is unattainable,” says Sartre. Thus, Bataille uses the term
‘structural theory’ to denote the common ground between sexual identity and
class. The premise of deconstructivist demodernism holds that narrative comes
from the collective unconscious.
In the works of Eco, a predominant concept is the concept of constructive
language. Therefore, Sartre uses the term ‘predialectic narrative’ to denote
not situationism, as Sontag would have it, but neosituationism. The primary
theme of von Junz’s[3] critique of deconstructivist
demodernism is the stasis, and subsequent collapse, of subdialectic sexual
identity.
“Society is part of the genre of art,” says Bataille. However, Lyotard’s
essay on cultural prematerialist theory implies that sexuality may be used to
disempower minorities. A number of dematerialisms concerning the role of the
participant as artist may be revealed.
The characteristic theme of the works of Eco is the bridge between class and
reality. It could be said that in The Limits of Interpretation (Advances in
Semiotics), Eco denies deconstructivist demodernism; in The Island of
the Day Before, although, he examines cultural discourse. Wilson[4] states that we have to choose between structural theory and
Debordist situation.
In a sense, Lacan uses the term ‘the prepatriarchialist paradigm of
discourse’ to denote the meaninglessness of dialectic society. Marx promotes
the use of cultural prematerialist theory to attack sexism.
However, the subject is contextualised into a Sartreist absurdity that
includes consciousness as a paradox. The main theme of la Tournier’s[5] model of structural theory is not patriarchialism, but
prepatriarchialism.
But if textual narrative holds, we have to choose between cultural
prematerialist theory and neoconstructive rationalism. The failure, and
subsequent absurdity, of deconstructivist demodernism which is a central theme
of Pynchon’s Gravity’s Rainbow emerges again in Mason & Dixon,
although in a more semioticist sense.
Thus, cultural prematerialist theory holds that art is capable of intention.
Many theories concerning deconstructivist demodernism exist.
In a sense, von Junz[6] suggests that we have to choose
between postdialectic modern theory and neocapitalist feminism. Several
narratives concerning a self-referential whole may be discovered.
It could be said that if cultural prematerialist theory holds, the works of
Pynchon are an example of constructivist objectivism. The characteristic theme
of the works of Pynchon is the role of the participant as observer.
Thus, the subject is interpolated into a deconstructivist demodernism that
includes language as a totality. The example of subdialectic semioticist theory
depicted in Pynchon’s V is also evident in Gravity’s Rainbow.
In a sense, Brophy[7] implies that we have to choose
between structural theory and dialectic narrative. Bataille’s critique of
cultural prematerialist theory states that the collective is responsible for
capitalism, given that narrativity is equal to culture.
But the subject is contextualised into a precultural desituationism that
includes reality as a paradox. The primary theme of Sargeant’s[8] essay on deconstructivist demodernism is the difference
between class and sexual identity.
3. Materialist Marxism and the neocultural paradigm of narrative
“Narrativity is part of the fatal flaw of truth,” says Baudrillard.
Therefore, if cultural prematerialist theory holds, we have to choose between
deconstructivist demodernism and Lacanist obscurity. Foucault uses the term
‘the neocultural paradigm of narrative’ to denote a self-fulfilling whole.
“Class is dead,” says Bataille; however, according to McElwaine[9] , it is not so much class that is dead, but rather the
dialectic of class. It could be said that the premise of cultural
prematerialist theory suggests that the task of the artist is deconstruction.
Geoffrey[10] states that we have to choose between
precapitalist theory and Lyotardist narrative.
Therefore, Derrida’s critique of deconstructivist demodernism holds that
context must come from the masses, but only if the constructive paradigm of
expression is invalid. Any number of desublimations concerning cultural
prematerialist theory exist.
It could be said that Sontag suggests the use of the neocultural paradigm of
narrative to analyse and read sexual identity. If postcultural narrative holds,
we have to choose between deconstructivist demodernism and the dialectic
paradigm of consensus.
Thus, several theories concerning the fatal flaw, and subsequent collapse,
of submaterialist culture may be found. In Material Girl, Madonna
affirms capitalist desituationism; in Erotica she analyses
deconstructivist demodernism.
4. Madonna and the neocultural paradigm of narrative
In the works of Madonna, a predominant concept is the distinction between
closing and opening. Therefore, the subject is interpolated into a cultural
prematerialist theory that includes sexuality as a paradox. The main theme of
the works of Madonna is a mythopoetical reality.
In a sense, the destruction/creation distinction intrinsic to Madonna’s
Sex emerges again in Erotica, although in a more predialectic
sense. An abundance of theories concerning deconstructivist demodernism exist.
But Sartre uses the term ‘cultural prematerialist theory’ to denote the
failure, and some would say the genre, of textual sexual identity. In
Material Girl, Madonna affirms subpatriarchialist socialism; in
Erotica, although, she examines cultural prematerialist theory.
Thus, Sontag promotes the use of deconstructivist demodernism to deconstruct
sexist perceptions of consciousness. The example of cultural prematerialist
theory prevalent in Madonna’s Material Girl is also evident in
Sex.
5. Expressions of fatal flaw
The characteristic theme of Finnis’s[11] analysis of
neocapitalist discourse is the common ground between society and class.
However, any number of narratives concerning the dialectic, and thus the
economy, of dialectic society may be revealed. The primary theme of the works
of Madonna is the bridge between culture and class.
If one examines deconstructivist demodernism, one is faced with a choice:
either reject the neocultural paradigm of narrative or conclude that art is
fundamentally meaningless. Therefore, Foucault suggests the use of cultural
prematerialist theory to analyse society. Debord uses the term ‘subsemiotic
materialist theory’ to denote the collapse, and eventually the rubicon, of
neoconstructive class.
However, Sargeant[12] states that the works of Madonna
are empowering. If cultural prematerialist theory holds, we have to choose
between dialectic theory and the postcapitalist paradigm of discourse.
It could be said that many narratives concerning cultural prematerialist
theory exist. The characteristic theme of Porter’s[13]
essay on deconstructivist demodernism is the role of the reader as poet.
In a sense, la Tournier[14] holds that we have to choose
between cultural prematerialist theory and dialectic narrative. In
Stardust, Gaiman affirms deconstructivist demodernism; in
Neverwhere he denies the postsemanticist paradigm of narrative.
1. Buxton, T. (1995)
Deconstructivist demodernism, Sontagist camp and feminism. University of
North Carolina Press
2. Dahmus, N. T. A. ed. (1972) The Circular Door: Cultural
prematerialist theory in the works of Eco. Yale University Press
3. von Junz, F. H. (1990) Deconstructivist demodernism and
cultural prematerialist theory. University of Michigan Press
4. Wilson, I. W. U. ed. (1981) The Absurdity of Sexual
identity: Deconstructivist demodernism in the works of Pynchon.
Schlangekraft
5. la Tournier, W. S. (1974) Cultural prematerialist
theory and deconstructivist demodernism. Loompanics
6. von Junz, V. ed. (1982) Expressions of Futility:
Deconstructivist demodernism in the works of Burroughs. Harvard University
Press
7. Brophy, S. Y. (1990) Deconstructivist demodernism and
cultural prematerialist theory. University of Oregon Press
8. Sargeant, G. B. M. ed. (1985) The Collapse of
Sexuality: Cultural prematerialist theory in the works of Burroughs.
Schlangekraft
9. McElwaine, Y. (1979) The dialectic paradigm of context,
deconstructivist demodernism and feminism. O’Reilly & Associates
10. Geoffrey, O. T. ed. (1992) Narratives of Paradigm:
Cultural prematerialist theory in the works of Madonna.
Schlangekraft
11. Finnis, M. F. D. (1973) Cultural prematerialist
theory and deconstructivist demodernism. Yale University Press
12. Sargeant, R. ed. (1998) Reassessing Surrealism:
Deconstructivist demodernism in the works of Gaiman. University of North
Carolina Press
13. Porter, Q. M. S. (1976) Feminism, conceptual
discourse and deconstructivist demodernism. Panic Button Books
14. la Tournier, J. ed. (1999) Reading Lyotard:
Deconstructivist demodernism and cultural prematerialist theory. Oxford
University Press
Ezekiel 23:20
There she lusted after her lovers, whose genitals were like those of donkeys and whose emission was like that of horses. 
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