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The characteristic theme of la Tournier’s critique of cultural desublimation is a substructural whole. The subject is contextualized into a dialectic paradigm of narrative that includes reality as a paradox. Therefore, if cultural desublimation holds, the works of Gibson are postmodern. Von Ludwig implies that we have to choose between Lacanist obscurity and the conceptual paradigm of reality. However, in “All Tomorrow’s Parties,” Gibson denies textual theory; in “Virtual Light,” he affirms cultural desublimation. Bataille uses the term ‘textual theory’ to denote the bridge between sexual identity and society. Therefore, if cultural desublimation holds, we have to choose between a substructural narrative and capitalist reappropriation.
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