Auditing: Literary Theory Overload

how do you construct yourselves, readers...

I just realized that framing a discussion around theories is limiting ( albeit all the fancy jargon, such appropriation feels like a regurgitation a la fill-in-the blank, not really a recursive dialogue ).  The words/definitions carry assumptions, and sometimes a lot remain unsaid porque "alot" are captured in terms.  Below is a summation of the class "discussion" ( more like a substitute-professor monologue that displaces the class as disappearing subjects ) of R. Zamora Linmark's novella [post-modern?] Rolling the R's:

Rolling the R's flaunts exhibitionism, where one desires the desire of the other.  Such racial castration, according to Jean Jacque, triangulates the text wherein the signifier precedes the subject.  In this private-public and imaginary-cinematic spheres, the subject disappears further positing the figure of the Virgin into the realm of the physical-psychic.

Freud adds that this discourse, which demystifies the metonymy of the signifier, echoes a network of gossip and the dynamics of interconnectedness.  As a result, sexual satisfaction is culminated through religious fetish and the defacement of sacred images.  Lacan supports Freud's idea of boundaries transgressed because such hybridity negotiates the metonymic section in relation to both a whole and a hole, thus reappropriating ambiguity as image reproduction.

However, Tan objects to such a formalist sensibility of projecting commodification and iconaclasm that promote re-formation.  He argues that the cultural refractory of the ex-colonizer identifying with the non-linearity of a pastiche construction asserts the colonial miseducation as juxtaposition of body as shifting typography.  The mise-en-scene exposes the devices to search for an emasculated identity.

The fractal presence of the implied representational discourse hypothesizes the subaltern's proclivity for others, who cannot speak because they do not know themselves, says Reinchere.  The marginality of such heteroglosia transposes a fictive dimension that allows Post-Civil conditions to create identity as either instrumental or assimilationist.  Through this performance, the significance of the scapegoat intersects with the colonial imaginative narrative that further raises a question: How do we reconcile all these disjunctions and incongruity?