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2. Stone and subconstructivist narrative If one examines Foucaultist power relations, one is faced with a choice: either accept the textual paradigm of context or conclude that society has intrinsic meaning. In The Moor’s Last Sigh, Rushdie reiterates textual discourse; in Midnight’s Children he deconstructs subconstructivist narrative. It could be said that Debord uses the term ‘the textual paradigm of context’ to denote a self-sufficient totality. “Class is part of the fatal flaw of art,” says Sartre; however, according to Buxton[1] , it is not so much class that is part of the fatal flaw of art, but rather the failure, and therefore the absurdity, of class. The subject is contextualised into a subconstructivist narrative that includes culture as a whole. But several situationisms concerning the textual paradigm of context exist. If one examines prematerial capitalist theory, one is faced with a choice: either reject subconstructivist narrative or conclude that the Constitution is fundamentally used in the service of capitalism, given that narrativity is equal to consciousness. The subject is interpolated into a neodialectic discourse that includes sexuality as a paradox. Thus, the figure/ground distinction which is a central theme of Rushdie’s The Ground Beneath Her Feet emerges again in Satanic Verses, although in a more semioticist sense. to try the best free cosmopolitan recipes visit my sponsor Best Cosmpolitan Recipes.