What I meant to say was....

The characteristic theme of the works of Madonna is the paradigm, and subsequent meaninglessness, of capitalist society. Any number of deconstructions concerning the posttextual paradigm of reality exist. 'Narrativity is responsible for sexism,' says Lacan; however, according to McElwaine[1] , it is not so much narrativity that is responsible for sexism, but rather the stasis, and eventually the failure, of narrativity. However, Hanfkopf[2] implies that we have to choose between socialism and the textual paradigm of expression. Derrida uses the term 'Foucaultist power relations' to denote a prestructuralist paradox. Therefore, Marx promotes the use of Foucaultist power relations to attack archaic perceptions of society. Derrida uses the term 'the posttextual paradigm of reality' to denote the futility of capitalist sexual identity. In a sense, a number of theories concerning the bridge between class and sexual identity may be found. The subject is contextualised into a subdialectic cultural theory that includes consciousness as a totality. But Marx suggests the use of socialism to modify and analyse society. Several desublimations concerning Foucaultist power relations exist. However, if socialism holds, we have to choose between Debordist image and postdialectic narrative. The main theme of d'Erlette's[3] critique of Foucaultist power relations is the role of the artist as observer.

No, I haven't gone crazy. The foregoing is an automatically generated, and completely meaningless, bit of postmodern analysis. If you click here, you can generate your own meaningless bit of gobbledygook. What's scary, of course, is that the above is completely indistinguishable from what passes for writing in academia. Hat tip: The American Thinker