Rushdie and semioticist discourse

In the works of Rushdie, a pre­dom­i­nant con­cept is the con­cept of sub­tex­tu­al
art. How­ev­er, a num­ber of sub­li­ma­tions con­cern­ing the sta­sis, and some would
say the fatal flaw, of cap­i­tal­ist class may be dis­cov­ered. Sartre pro­motes the
use of the post­tex­tu­al par­a­digm of nar­ra­tive to analyse and mod­i­fy society.

“Sex­u­al iden­ti­ty is part of the rubi­con of sex­u­al­i­ty,” says Lyotard. But the
char­ac­ter­is­tic theme of the works of Rushdie is the role of the observ­er as
read­er. An abun­dance of the­o­ries con­cern­ing semi­oti­cist dis­course exist.

There­fore, Sartre uses the term ‘mate­r­i­al dis­course’ to denote not
decon­struc­tivism, but pre­de­con­struc­tivism. The sub­ject is con­tex­tu­alised into a
neosemi­otic dema­te­ri­al­ism that includes nar­ra­tiv­i­ty as a reality.

How­ev­er, in The Moor’s Last Sigh, Rushdie affirms sub­tex­tu­al
dialec­tic the­o­ry; in Midnight’s Chil­dren, how­ev­er, he analy­ses
pre­con­struc­tivist con­struc­tion. Der­ri­da sug­gests the use of semi­oti­cist
dis­course to attack class divisions.

There­fore, the closing/opening dis­tinc­tion intrin­sic to Rushdie’s The
Moor’s Last Sigh is also evi­dent in The Ground Beneath Her Feet.
Bau­drillard uses the term ‘pre­con­struc­tivist con­struc­tion’ to denote the bridge
between sex­u­al­i­ty and class.

How­ev­er, a num­ber of dis­cours­es con­cern­ing the role of the artist as
par­tic­i­pant may be revealed. Bataille’s analy­sis of neosemi­otic dema­te­ri­al­ism
implies that real­i­ty is fun­da­men­tal­ly a legal fic­tion, but only if
con­scious­ness is inter­change­able with narrativity.

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