[Gay Post 60] 半醉半醒日復日 花落花開年復年

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

話自己未準備好拍拖掛

但佢無chur我要拍拖咁講好似好odd

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

話自己未準備好拍拖掛

但佢無chur我要拍拖咁講好似好odd

我唔係你既猛一

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

話自己未準備好拍拖掛

但佢無chur我要拍拖咁講好似好odd

我唔係你既猛一

我冷落左佢之後佢繼續係咁chur我

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

話自己未準備好拍拖掛

但佢無chur我要拍拖咁講好似好odd

我唔係你既猛一

我冷落左佢之後佢繼續係咁chur我

爽啦

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

好呀 打咩機

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

話自己未準備好拍拖掛

但佢無chur我要拍拖咁講好似好odd

我唔係你既猛一

我冷落左佢之後佢繼續係咁chur我

爽啦

我想比我想比佢chur嘅人chur
sorry for 1999

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

唉.....妹妹...

















btw 我一樣唔係好明

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

好呀 打咩機

召喚硤谷咋
不過我要做埋份功課同睇下啲現充幾時翻到屋企

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

唉.....妹妹...

















btw 我一樣唔係好明

中文差麻

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

好呀 打咩機

召喚硤谷咋
不過我要做埋份功課同睇下啲現充幾時翻到屋企

2人世界

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

唉.....妹妹...

btw 我一樣唔係好明

中文差麻

禾刀系

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

好呀 打咩機

召喚硤谷咋
不過我要做埋份功課同睇下啲現充幾時翻到屋企

2人世界

心心
但係我都係要做埋份功課先
唔係會死

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

唉.....妹妹...
btw 我一樣唔係好明

中文差麻

中文差睇英文

Fellini and neocultural semanticist theory

If one examines capitalist postdialectic theory, one is faced with a choice:
either accept neocultural semanticist theory or conclude that truth is used to
reinforce outdated perceptions of society. But Lyotard suggests the use of
predialectic deconstructivist theory to attack sexism. The main theme of
Humphrey’s[1] analysis of neocultural semanticist theory is
a mythopoetical paradox.

The characteristic theme of the works of Fellini is not theory, as
Baudrillard would have it, but posttheory. It could be said that the subject is
contextualised into a predialectic deconstructivist theory that includes
culture as a reality. An abundance of appropriations concerning the difference
between class and sexual identity exist.

But the example of capitalist postdialectic theory depicted in Fellini’s
8 1/2 is also evident in La Dolce Vita, although in a more
self-falsifying sense. The premise of neocultural semanticist theory suggests
that society, perhaps ironically, has significance.

Therefore, a number of discourses concerning predialectic deconstructivist
theory may be found. Sontag promotes the use of neotextual capitalism to read
class.

However, many narratives concerning the role of the writer as artist exist.
Tilton[2] states that we have to choose between neocultural
semanticist theory and deconstructive poststructuralist theory.

Thus, Lyotard uses the term ‘predialectic deconstructivist theory’ to denote
a mythopoetical totality. The primary theme of McElwaine’s[3] critique of precultural materialism is the role of the
participant as reader.

有無文言文版

最近有個0仔係咁溝我
但係佢唔係我想要個種
應該點拒絕先無咁hurt

本宮~是不會~將妹妹讓.......

姐姐
打唔打機

好呀 打咩機

召喚硤谷咋
不過我要做埋份功課同睇下啲現充幾時翻到屋企

2人世界

心心
但係我都係要做埋份功課先
唔係會死

咁加油

啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊

貓貓上身?

「上身」的概念結合了結構主義的系統和行動者的主體性，作為一個靈魂在身體空間中流動的觀念。透過它，主體作為統一、完整、自足的實體已經消亡，把「主體性」的問題從結構主義過渡到後結構主義的討論當中。

睇唔明

唉.....妹妹...

















btw 我一樣唔係好明

中文差麻

中文差睇英文

Fellini and neocultural semanticist theory

If one examines capitalist postdialectic theory, one is faced with a choice:
either accept neocultural semanticist theory or conclude that truth is used to
reinforce outdated perceptions of society. But Lyotard suggests the use of
predialectic deconstructivist theory to attack sexism. The main theme of
Humphrey’s[1] analysis of neocultural semanticist theory is
a mythopoetical paradox.

The characteristic theme of the works of Fellini is not theory, as
Baudrillard would have it, but posttheory. It could be said that the subject is
contextualised into a predialectic deconstructivist theory that includes
culture as a reality. An abundance of appropriations concerning the difference
between class and sexual identity exist.

But the example of capitalist postdialectic theory depicted in Fellini’s
8 1/2 is also evident in La Dolce Vita, although in a more
self-falsifying sense. The premise of neocultural semanticist theory suggests
that society, perhaps ironically, has significance.

Therefore, a number of discourses concerning predialectic deconstructivist
theory may be found. Sontag promotes the use of neotextual capitalism to read
class.

However, many narratives concerning the role of the writer as artist exist.
Tilton[2] states that we have to choose between neocultural
semanticist theory and deconstructive poststructuralist theory.

Thus, Lyotard uses the term ‘predialectic deconstructivist theory’ to denote
a mythopoetical totality. The primary theme of McElwaine’s[3] critique of precultural materialism is the role of the
participant as reader.

係咪哲學野黎