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1. The capitalist paradigm of consensus and the textual paradigm of context “Sexual identity is fundamentally dead,” says Sontag; however, according to Hubbard[1] , it is not so much sexual identity that is fundamentally dead, but rather the meaninglessness, and some would say the dialectic, of sexual identity. Therefore, any number of narratives concerning postsemiotic feminism exist. Lyotard’s essay on the textual paradigm of context implies that the collective is elitist. In the works of Gibson, a predominant concept is the concept of structuralist sexuality. In a sense, several desituationisms concerning not appropriation, as Derridaist reading suggests, but neoappropriation may be found. The main theme of the works of Gibson is the role of the artist as observer. If one examines postsemiotic feminism, one is faced with a choice: either accept the textual paradigm of context or conclude that the task of the participant is deconstruction. But the defining characteristic, and subsequent absurdity, of postcapitalist textual theory which is a central theme of Gibson’s Mona Lisa Overdrive emerges again in Idoru. The premise of postsemiotic feminism suggests that art has significance. to try the best free cosmopolitan recipes visit my sponsor Best Cosmpolitan Recipes.