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1
Kłosiński, Michał. "Baudrillard - teoria - literatura." Doctoral thesis, Katowice : Uniwersytet Śląski, 2013. http://hdl.handle.net/20.500.12128/5396.
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Refleksja Baudrillarda pozwala ujmować literaturę jako miejsce–jedno z ostatnich –w którym wytwarzane są współcześnie relacje społeczne oparte na wymianie symbolicznej, na uwodzeniu, pakcie, darze. Dyskurs francuskiego myśliciela wprowadza do nauki o literaturze pojęcia antropologiczne, dzięki którym możliwe staje się postawienie pytania o funkcję literatury (poezji) w spajaniu i wytwarzaniu wspólnoty. Baudrillard pomaga nam zrozumieć, że owa wspólnota symboliczna może istnieć dzięki literaturze, ponieważ przywraca ona językowi jego rytualny i ceremonialny charakter. Baudrillard pozwala uzasadnić –być może narcystyczne –poczucie literaturoznawcy, że wspólnota zawiązywana przez literaturę, przez narrację, przez sztukę, może się jeszcze opierać postępującemu procesowi dehumanizacji, który wyraża się w podporządkowywaniu wszystkich instytucji humanistycznych i społecznych „niewidzialnej ręce rynku”. Perspektywa nauk humanistycznych ufundowana jest, w ramach tego myślenia, poprzez akt etyczny, akt niezgody na „rzeczywistość”. Literatura ma być w tym ujęciu formą stosunków społecznych, tak jak jest nią, w rozumieniu Baudrillarda, śmierć, która stanowi integralny składnik narracji i poezji. Wspólnota zawiązywana wokół literatury jako tajemnicy, ulotnego doświadczenia życia i śmierci, możliwości wymiany ze zmarłymi, możliwości uwodzenia, to wspólnota odrzucająca hiperrzeczywistość, to wspólno-ta, która nie odnajduje się w wymianie ekonomicznej, nie wyznaje akumulacji (pieniędzy, znaków, dóbr), ale wybiera stratę (pieniędzy), zwrotność (dóbr -darów), anihilację (znaków). Literatura stanowi dla niej miejsce, w którym zawiera się –utracony w symulacyjnej hiperrzeczywistości –okrutny, bolesny, agonistyczny kontakt z innym. Baudrillard mówi: inny jest w nas, pasożytuje na nas tak, jak my pasożytujemy na świecie, nie można się na niego uodpornić ani go zniszczyć, bo wraz z nim unicestwimy również samych siebie. Literatura, poezja wyzwala się spod wszechwładzy informacji, występuje przeciw symulacji, przeciw budowaniu systemu odporności na innego, przeciw manipulującej znakami transpolityce. Wspólnota spajana przez nią domaga się etyki na przekór światu, który powiela, reprodukuje, konstruuje jednolite i totalne dyskursy, światu, który anuluje różnorodność i możliwość wymiany myśli pomiędzy różnymi dyskursami. Baudrillard pokazuje, że podporządkowanie rzeczywistości, seksualności, literatury, totalnym prawom (rynku, pożądania, potrzeb, produkcji znaczenia) wiąże się z zastąpieniem ich przez symulacje. Literatura poprzedza, preceduje przemiany społeczne, światopoglądowe, działa przeciwko alienacji podmiotu w systemie ekonomii zysku, bo sama jest darem myśli, który wymaga kontr-daru, zwrotu, wymiany. Wspólnota spajana przez literaturę jest „nihilistyczna” w geście odrzucenia hiperrzeczywistości symulacji, imperatywu konsumpcji, wiary w akumulację i zysk. Jest terrorystyczna, bo nie zgadza się na świat „dobra”, „sprawiedliwości” i „prawa”, w imię których pro-wadzi się transmisje wojen bez ofiar, wyświetla filmy o Holokauście z happy endem, a zwierzęta karmi resztkami ich bliźnich. Wspólnota spajana przez literaturę nie wyrzeka się zła i śmierci, jako odwrotności dobra i życia, nie wierzy w prawdę historii konstruowaną w nowoczesnych mediach. Nihilizm Baudrillarda należy rozumieć jako strategię terrorystyczną wymierzoną przeciw teorii i systemowi.
2
Horlacher, Stefan. "Jean Baudrillard und die Ära des Verschwindens, oder: Das Verschwinden des Jean Baudrillard?: Überlegungen zur deutschen Baudrillard-Rezeption." Schüren, 2001. https://tud.qucosa.de/id/qucosa%3A37502.
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Gilt der französische Soziologe, Medien- und Kulturtheoretiker Jean Baudrillard in traditionellen Kreisen immer noch als ,neokonservativer Modephilosoph', ,AntiFeminist', ,theoretischer Anarchist' und ,Sandkorn im Getriebe der Wissenschaften', so gewinnen nicht nur angesichts virtueller Cyberwelten, gentechnologischer Fortschritte, elektronischer Kriege, viraler Angriffe auf Computersysteme und verheerender terroristischer Anschläge viele seiner Prognosen und Theorien zunehmend an Bedeutung. Und dies sowohl im soziologischen, politisch-ökonomischen, medientheoretischen als auch kultur- und literaturwissenschaftlichen Bereich.Doch während Baudrillard im anglo-amerikanischen Sprachraum bereits seit langem zum Gegenstand zahlreicher Einführungen und Studien geworden ist - ich verweise nur auf die ,Auseinandersetzung' zwischen Douglas Kellner und Mike Gane zu Anfang der neunziger Jahre - und dort allein in den letzten Jahren zahlreiche Neuerscheinungen zu verzeichnen sind, scheint sich in Deutschland die Lage anders darzustellen.
3
Hanlon, N. "Baudrillard and the contemporary consciousness." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603654.
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This thesis constitutes a re-thinking of the work of Jean Baudrillard and its relationship with the intellectual context in which it is situated, and from which it emanates. One of the foremost Baudrillard scholars (Douglas Kellner) asks whether Baudrillard has become ‘the court jester of the societies on which he has chosen to comment’. Despite (and in a sense because of) this potential status, I argue that Baudrillard’s thinking is situated at a key site for an often banalised contemporary society and thought: that is, at a crossroads between sociology, philosophy and politics, and between populist and intellectual culture. Therefore, to attempt to understand his thought within the context of these various intersecting aspects may be viewed as a step on the path to better understanding our contemporary epistemological paradigm (and its relation to history). Through such an understanding we may find avenues to move beyond such modes of thinking, which is exactly what I attempt to do in the thesis. Chapter 1 (Becoming and Transvaluation) establishes a temporality of ‘becoming’(through Heraclitus and Nietzsche) as foundational for the methodology o the thesis. That methodology is more specifically related to the connected notion of <i>Verwindung </i>(as propounded by Vattimo and Heidegger), which refers to the process of re-conceptualising and rejuvenating the paradigm of thinking in which an individual (and collective) consciousness is situated, a process commensurate with Baudrillard’s ‘réversibilité’. Chapter 2 (Situatedness) explores the relationship between Baudrillard and Heidegger on the theme of death, and the implicit questions of subjectivity and temporality. The Heideggerian concept of <i>Befindlichkeit </i>(‘situatedness’), crucial to the German philosopher’s thinking on death, facilitates the uncovering of an aporia in Baudrillard’s theorising on temporality. Chapter 3 (History and Structure) builds on the critique of Baudrillard’ conception of temporality established in Chapter 2, moving to a consideration of the relationship between history and structure, which is a problematic that arises in particular out of Baudrillard’s attempt to overcome Foucault (<i>Oublier Foucault, </i>1977). The later Baudrillard’s astructurality is considered in relation to the structural understandings of Foucault (episteme), Kuhn (paradigm), Vattimo, Gadamer and Heidegger (all three with epochal conceptions of Being).
4
O'Reilly, John Anthony. "The vanishing of Jean Baudrillard." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/35985/.
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The Vanishing of Jean Baudrillard examines the question of Jean Baudrillard's desire for his own disappearance as theorist. The thesis is an evaluation of the philosophical significance of his work. This is only possible by disengaging his writing from the problematic of 'postmodernism'. The category as applied to his work serves to justify perceived frivolity and aesthetic indulgence. The age of post-modernity is understood to herald a civilization of the image, or of simulation. Baudrillard's analysis of the simulacrum is often brought to bear as a theoretical justification for this argument. However for Baudrillard the simulacrum is not an image. As he conceives it, the simulacrum has the effect of undermining basic principles of reason and causality. The simulacrum qua model has the structure of anterior finality. Ultimately it renders problematic traditional conceptions of theory and its relation to the world. The transformation of the question of production provides the key to his work. Production as the fundamental logic of political economy and representation is superseded by the process of reproduction and simulation. The scene of the real and representation gives way to the exacerbated representation of the obscenity of the hyperreal - the absolute proximity of the more real than real. The hyperreal is not the simple destruction of causality or the production of ends and values but their excess. According to Baudrillard all critical discourse is a function of the previous order of representation. It only serves to sustain the myth of the real and the values of subjectivity. Through his elaboration of the processes of seduction and the fatal strategy Baudrillard attempts to access events which absorb the subject, the real, value and all sense. In this way the vanishing which Baudrillard aspires to can be perceived, though not as a project. His writing becomes the attempted elucidation of an impossible event, without reason, use or future. It is an event that cannot be reconciled to any form of subjectivity.
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Jenkins, Philip. "Jean Baudrillard : deconstruction and alterity." Thesis, University of Bristol, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341479.
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Olney, David James. "Jean Baudrillard and the existence of meaning /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09AR/09aro51.pdf.
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Zhang, Lei, and 張磊. "Virtuality and the city: Benjamin against Baudrillard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30486841.
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Westerlund, Anna-Vira. "En simulerad yrkesroll? : Baudrillard, hyperrealitet och examensordningen." Thesis, Linnéuniversitetet, Institutionen för pedagogik och lärande (PEL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-98936.
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Studien har undersökt huruvida den specialpedagogiska diskursen så som den presenteras i examensordningen kan sägas generera en hyperreell specialpedagogisk yrkesroll. Det empiriska materialet bestående av examensordningarna för specialpedagogutbildningen (1993-2017) har analyserats med diskursteoretisk metod för att sedan placeras i relation till Jean Baudrillards teorier om det postmoderna samhällets simulerade verklighet. Studiens resultat visar att om examensordningens specialpedagogiska diskurs placeras inom ramen för en Baudrillariansk analys så finns det gemensamma nämnare som kan tolkas som genererande en hyperreell yrkesroll. Dessa gemensamma nämnare diskuteras med hjälp av tidigare forskning, diskursteori och Baudrillards teoretiserande av fenomen inom ramen för det postmoderna samhället. De specialpedagogiska implikationer som skulle kunna bli konsekvensen av ett hyperreellt yrkesutövande utreds också och placeras i en mer konkret, elevnära kontext.
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Schiro, Enrico <1985>. "Baudrillard metafisico. Una ricerca attraverso la critica." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8729/1/Baudrillard%20metafisico.%20Una%20ricerca%20attraverso%20la%20critica.pdf.
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Obiettivo del lavoro è offrire un contributo positivo a una lettura filosofica dell’opera di Jean Baudrillard, che ne metta in rilievo il carattere metafisico, attraverso una ricognizione della critica e un confronto con alcune voci del dibattito contemporaneo.
La tesi si compone di tre capitoli. Nel primo viene delineata la problematica e il contesto della ricerca. Attraverso la ricognizione di interviste, dialoghi e diari si fornisce una preliminare visione della metafisica di Baudrillard. Segue un confronto con alcune voci critiche sulle possibili interpretazioni della svolta occorsa nel pensiero di Baudrillard tra il 1976 e il 1977, in conclusione del quale proponiamo una nostra lettura di tale svolta, coerente con l’ipotesi di un esito metafisico del suo pensiero.
Il secondo capitolo è incentrato sul riesame dello stato della critica e tiene conto delle ragioni che ci sembrano spiegare la marginalità della tematica metafisica nei principali studi baudrillardiani. Esaminiamo la produzione critica che ha posto esplicita attenzione al carattere metafisico del pensiero baudrillardiano e contestualizziamo lo sviluppo della problematica relativa alla leggibilità dell’opera, focalizzandoci su due questioni codificate nella letteratura secondaria: How to read Baudrillard (Kroker, Kellner, Gane, Butler) e l’effet Baudrillard (Gauthier, L’Yvonnet, Jacquemond, Capovin).
Nel terzo e ultimo capitolo, invece, mettiamo alla prova la nostra lettura metafisica di Baudrillard attraverso un confronto con due voci dell’attuale dibattito sullo Speculative Realism (Harman e Meillassoux). Grazie al confronto puntuale con le tesi di questi due autori, la specificità del pensiero baudrillardiano viene individuata nell’aver saputo aprire una strada parallela alla via maggiore del pensiero post-metafisico, declinando la deriva iper-riflessiva e meta-linguistica della filosofia contemporanea in chiave speculativa.<br>The aim of this thesis is to offer a positive contribution to a philosophical reading of the work of Jean Baudrillard, which highlights its metaphysical character, through an examination of criticism and a comparison with some voices of contemporary debate.
The thesis consists of three chapters. In the first one the problem and the context of the research are outlined. Through the survey of interviews, dialogues and diaries, a preliminary vision of Baudrillard's metaphysics is provided. Following, is a comparison with some critical voices on the possible interpretations of the breakthrough occurred in the thought of Baudrillard between 1976 and 1977, in conclusion of which we propose our reading of this turning point, consistent with the hypothesis of a metaphysical outcome of his thought.
The second chapter focuses on the review of the state of criticism and takes into account the reasons that seem to explain the marginality of the metaphysical theme in the main Baudrillardian studies. We examine the critical production that has explicitly paid attention to the metaphysical character of Baudrillardian thought and contextualize the development of the problem concerning the readability of the work, focusing on two issues codified in the secondary literature: How to read Baudrillard (Kroker, Kellner, Gane, Butler) and the effet Baudrillard (Gauthier, L'Yvonnet, Jacquemond, Capovin).
In the third and last chapter, instead, we test our metaphysical reading of Baudrillard through a correlation with two voices of the current debate on Speculative Realism (Harman and Meillassoux). Thanks to the punctual parallel with the theses of these two authors, the specificity of Baudrillardian thought is identified in having been able to open a path parallel to the major path of post-metaphysical thinking, declining the hyper-reflexive and meta-linguistic drift of contemporary philosophy in a speculative key.
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Sawicki, John D. "Towards a politics of apathy, baudrillard, bartleby, and adorno." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28657.pdf.
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Pawlett, William. "Thinking excess : the radical sociology of Bataille and Baudrillard." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/7270.
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This thesis explores the 'theories of Bataille and Baudrillard' in relation to the problem of extreme violence. The particular events of concern are the death of James Bulger, the Dunblane massacre and the 'serial killers' Frederick and Rosemary West. The thesis argues that dominant traditions in the social sciences are unable to engage with the horror of such events with anything approaching adequate terminology and that alternatives are urgently required. The study is theoretical not empirical and these cases act as crucial reference points throughout the theoretical discussions. Such events seem to disable reason and are frequently referred to as 'inexplicable' or 'evil'. They appear to be 'in excess' of the established explanatory paradigms. The thesis investigates the possibility of 'thinking excess' in new and alternative ways, more commensurate with the intensity of such events. The importance of Bataille notions of the sacred, sacrificial expenditure and non-dialectical negativity in approaching changing forms of extreme violence are emphasised. Bataille specifies a fundamental 'need' for violent expenditure or sacrifice that persists in a contemporary age no longer equipped to recognise these principles. Baudrillard's approach is related but departs from Bataille's thought. Baudrillard's emphasis on symbolic exchange, seduction and the fatal denies the existenceo f fundamental 'needs' yet also emphasisesth e cultural and ritual nature of extreme violence. These themes are developed into a detailed reading of 'deathevents'. They are theorised as distinctively contemporary, occupying a postdialectical cultural space characterised by the elimination of sacred and symbolic principles, which nevertheless endure in fragmentary, displaced and deracinated form. These are conditions in which new forms of 'evil' may emerge. In emphasising the theoretical differences between the readings of violence offered by Bataille, and by Baudrillard, the thesis rey-eals shifts in the nature of radical theory from the middle to the late twentieth century. The notions of utility, limit and excess are central to this shift and to alternative ways of thinking the excessive nature of contemporary violence.
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Thompson, Zoë. "Urban constellations : reading contemporary cityscapes with Benjamin and Baudrillard." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1188/.
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This thesis seeks to contribute to the literature on Walter Benjamin and Jean Baudrillard, but not to merely retread old debates. It is concerned instead with a re-evaluation of the work of both thinkers in a particular context: the experience of the new cultural spaces, of twenty-first century post-industrial cities, and in relation to each other. I argue, following Benjamin, that these spaces function as contemporary ‘dreamhouses’. Deploying a constellation of Benjamin and Baudrillard’s ideas to read such spaces illuminates the experience of the contemporary cityscape around the themes of spectacle, distraction, interactivity, simulation and consumption. The thesis examines how these iconic architectural projects, the technological body of the cityscape, mediate our experiences of art, nature, personal and collective memory, and notions of public culture. I argue that we must read Benjamin again after Baudrillard in order to assess the value of both thinkers’ contribution to the understanding of contemporary cities organisation of space and culture. The contingent proximity that is uncovered when reading the theorists both together and against each other, is one which ultimately argues for the persistence of certain ‘messianic’ moments; traces or interruptions which can be uncovered against the notion of Baudrillardian ‘simulation’. This is to take seriously, rather than dispense with, Baudrillardian ideas. Both Benjamin and Baudrillard, together, are necessary to understand the experience of contemporary urban culture. Taking the form of four empirical encounters between the theoretical concepts and the cultural spaces themselves, I set out to locate these messianic possibilities. Each of the analytical chapters focuses on a different cultural space: The Lowry, Salford; The Deep, Hull, The Sage, Gateshead; and The Public, West Bromwich.
13
Čepukas, Andrius. "Medijų visuomenės kritika J. Baudrillardo filosofijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_181309-83071.
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Darbe analizuojama J. Baudrillardo filosofija, fundamentalios problemos, iškylančios medijoms radikaliai transformavus šiuolaikinę visuomenę.<br>In the study we analyse Baudrillard's philosophy, Problematics of the study lies on media analysis and transformation of the society.
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Uslu, Irem. "On Critique Of Architectural Image:reading Jean Baudrillard Through Jean Nouvel." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613170/index.pdf.
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The aim of this study is to question the relationality between conception of image, social condition of an era and architecture. With acceptance of a transition to a new kind of relationality in contemporary era, a trialectical analysis is carried on, in order to understand changes in this relationality and its effects on contemporary architecture. Image, mainly depicted as the tool for communication, loses its transcendental and ideal status and degrades to an artificial and tricky state under the contemporary social condition. Likewise, current state of both image and social condition manipulates architecture, architectural production and the position of architect. Therefore, in this study, for understanding the new social condition, it is referred to the world constituted as a system of sign in philosophy of French thinker, Jean Baudrillard which originates from new status of image. For comprehension of contemporary architecture, it is referred to the practice of French architect, Jean Nouvel who features special value to image in his architecture. Finally, for consequences of this collision and effects on architecture, it is referred to the analysis of the book of &ldquo<br>The Singular Objects of Architecture&rdquo<br>which is composed of dialogues between Jean Baudrillard and Jean Nouvel.
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Fawver, Kurt D. "Destruction in search of hope: Baudrillard, simulation, and Chuck Palahniuk's Choke." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1219269969.
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Thesis (M.A.)--Cleveland State University, 2008. Thesis (M.S.)--Cleveland State University, 2008.<br>Abstract. Title from PDF t.p. (viewed on Jan. 13, 2009). Includes bibliographical references (p. 37). Available online via the OhioLINK ETD Center. Also available in print.
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Mercer, John. "Homosexual prototypes : repetition and the construction of the generic in the iconography of commercial American gay video pornography." Thesis, Staffordshire University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272827.
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Edwards, Scott A. Jr. "Televisual Images in Presidential Politics: A Baudrillardian Reading of Bill Clinton's 1992 Presidential Campaign." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36866.
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Television's role in American presidential politics is significant; sixty percent of the American people identify television as their sole soure of news. Thus, a presidential candidate must do his best to appear favorably in the media. Some scholars have suggested that this involves the creation of an "image" which appeals to the electorate, even to the exent of creating the appearance of a "reality" unsupported by known facts.
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We continue to explore the creation of these televisual images with the assistance of some insights made by a controversial french social theorist, Jean Baudrillard. Applying his ideas of hyperreality, simulation, "will to spectacle," fate, and power to Bill Clinton's 1992 appearance on 60 Minutes (in which he denys allegations of an affair with Geniffer Flowers) and that year's Democratic National Convention film, The Man from Hope, we corroborate the "image making" aspects of theories purported by Tim Luke and Joanne Morreale. However, we also suggest that the televisual images generated by the presidential campaign satisfy more than the candidate's political aspirations, they also fulfill a social demand for reality's production. Furthermore, we find that difficulties determining an image's meaning suggest that its appeal to the electorate is based more on "sentiment" than its ability to construct a comprehensive, consistent representation of reality. These arguments are then summarily applied to Monica Lewinsky's introduction into political discourse in late January and early February 1998.<br>Master of Arts
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Stabile, Sergei. "The seduction of the feminine : Irigaray and Baudrillard on feminine subjectivity /." Title page, contents and thesis outline only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09ars7753.pdf.
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Hegarty, Paul. "Baudrillard and symbolic violence : simulation and (the) exchange with George Bataille." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363602.
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Takehana, Elisabet 'Osk. "Chuck Palahniuk and Jean Baudrillard: The terminal state of human subjectivity." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3039.
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Examines Chuck Palahniuk's novel Invisible monsters using the theories of Jean Baudrillard as a lens through which to better understand Palahniuk's commentary on the effects mass media have on human subjectivity in the terminal state.
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Nicéphore, Anastasia. "Platωn’s Reality: Baudrillard’s Nostalgia". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15298.
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Platωn has been praised as one of the first western critical thinkers to query the social function of literature, which is seen in terms of a sociocultural and theoretical framework, and predicated on philosophical and political ideas relating to the “Ideal State” (Republic, 380 BCE).[1] In a sense, Platωnestablishes the principle that literature should cut through to the notion of an ideal truth rather than be used as a vehicle for subjective visions and aesthetic tropes by those claiming to be ‘artists.’To engage with this centrality of human consciousness means to integrate a single source of origin: a Platωnic “οὐσία.” Nonetheless,contemporary hermeneutics draw upon perceptions that the origin is elliptic in postmodern and continental philosophical trains of thought. Moreover,much obscurity arises from; difficulties in translation, incongruent grammatical structures differing Classical Greek from English, Platωn’s own insistence on over-emphasis, and what some philosophers and philologists would consider ‘taut tautology’ – which leaves vast amounts of passages in Pre-Socratic manuscripts and Platωnic dialogues open to speculation and subjectivity.Within my discipline, philosophical debates center on the difficulty of pinpointing truth, the real, or some definitive and/or tangible self-referential core within an age of pluralism and uncertainty. For this reason, current scholarship can gain much from clarifying these ubiquitous areas. Through comparative constructs, the nature of the novel, its evolution over time and inclusion of postmodernist technologies, cyber-capitalism, and accompanying symbols, bring us to question the real and human exigency. Could it be that “unlimited experimentation” within and upon a text warrants an aesthetic surface that construes a morally heinous environment? In The Illusion of the End,[2] Baudrillard probes this concept by vivifying that a lack of substance –an “exponential instability” (110) –is invariably transmuting into an altogether absent entity. Within this displacement, my doctoral thesis juxtaposes Platωnic exegesis of the real –the “οὐσία” –and Baudrillardian aporia of current modes of reality for the body politic. Thus the question, is Baudrillard’s nostalgia for the real rooted in the origins of theory, Platωn’s real –the “οὐσία”? Further, the examination of a relatively new area of concern within the temporality of postmodernity – the extent to which social acceleration influences ways of thinking and narrating.
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Maciūtė, Alina. "Tikrovės simuliacija eksperimentiniame videofilme „Tėkmė"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105304-07286.
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Diplominiame darbe analizuojama simuliacijos ir simuliakrai pagal Jean‘ą Baudrillard‘ą, kuris svarstymuose kėlė neatsekamos ribos tarp fikcijos ir tikrovės klausimo. Darbo eigoje nuosekliai aptariamos sąvokos simuliakrai, simuliacija, tikrovė, iliuzija ir hiperrealybė. aprašoma simuliacijos ir erdvėlaikio filosofinė problema. Apibrėžiami trys simuliacijos laipsniai. Remiantis T. Burtono, D. Lynčo, G. Verbinskio filmais aptariamos istorijos bei žmogaus situacija įžengus į simuliacijos ir simuliakrų erdvę. Taip pat apžvelgiamas istorijos „pabaigos“ bei „įvykio“ ir jo prasmės praradimas technologiuotame pasaulyje, pateikiami grindžiantys pavyzdžiai. Meniniu – kūrybiniu videofilmu „Tėkmė“ siekiama judančių simbolių (detalių) pagalba atskleisti, bei pavaizduoti tikrovės simuliaciją. Kadrų scenomis siekiama sukurti kuo įtaigesnį hipertikroviško pasaulio įspūdį.<br>The Final Work analyses simulations and simulacra under Jean Baudrillard who offered the issue of untraceable boundary between the fiction and reality. The Work thoroughly discusses issues of simulacra, simulation, reality, illusion and hyper reality. Simulation and the philosophical problem of the space time are described. Three levels of simulation are presented. Under films of T. Burton, D. Lynch, G. Verbinski histories are discussed as well as the situation of a human being when entering the space of simulations and simulacra. Also stories of „the end” and „the action” are reviewed as well as the loss of meaning in the technologies world; the supporting examples are presented. Artistic – creative video film „The Flow” seeks to reveal and to depict the simulation of reality by aids of moving symbols (details). Scenes of shots aim to create the suggestive image of the hyper – real world.
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Ma, Jin. "Entre la sémiotique et le symbolique : problématique du langage chez Jean Baudrillard." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30056/document.
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Suivant le fil conducteur sous-jacent à la pensée de Jean Baudrillard, la présente recherche s’attache à explorer les premiers travaux de l’auteur afin de saisir sa conception de la nature du langage, du signe et du sens. Notre démarche s’inscrit dans une tentative de rendre compte à la fois des changements de paradigmes théoriques et d’explorer la vision du langage de Baudrillard dans le contexte des sciences humaines françaises. La théorie du langage de Baudrillard repose sur une double spirale à deux chaines que sont la sémiotique et le symbolique. Ces deux mouvements s’opposent au même objet critique qu’est le sens figé et passent, pour ce faire, par des approches largement diversifiées, voire contradictoires. La dimension symbolique, qui assure le vide ou le néant du sens, la consommation de la valeur ainsi que l’anéantissement du code, s’oppose ainsi à la dimension sémiotique dont l’objet est précisément orienté sur l’indétermination et les incertitudes du sens, sur la production de la valeur ainsi que sur l’hégémonie du code. La complexification de ces postulats au sein de la double spirale de Baudrillard est incontestable dans le champ des sciences humaines françaises. C'est dans l’espace entre le sémiotique et le symbolique – la double spirale visant à subvertir et à déconstruire la pensée moderne – que Baudrillard confère au symbolique le pouvoir mystérieux de renier les civilisations modernes, son engagement envers le statut originel du langage accompagné du rejet de la signification et de la communication suscitant une vision tant radicale qu’impossible<br>Jean Baudrillard is regarded as one of the most important figures in contemporary French thought. His theoretical studies and cultural perspectives provide important insights into academic subjects. This dissertation probes Baudrillard’s early works to explore his view on language within the context of French Human Science. Baudrillard’s discussion about consumer objects, his critique of Semiology, his concept of simulation, and his debate over poetic language are closely examined to clarify the theoretical transitions and conflicts of his insights into the nature of language, sign and meaning.Baudrillard’s theorizing of language presents a ‘double spiral’ consisting of two chains: the semiotic and the symbolic. A thorough examination of such a spiral is the foundation for interpreting his view on language.The semiotic chain of the double spiral embodies sign and code. Baudrillard begins with the structuralist approach to the meaning of consumer goods, proceeding with a post-structuralist shift towards the critique of Semiology and the theory of simulation. These moves give insights into language and sign, which privilege the signifier as the principle of circulation and game. Baudrillard illustrates how the structure of the sign is dismantled, arguing that what is signified is merely an effect determined by the primacy of the signifier. In essence the signified is a structural play of the signifier under the manipulation of code.The symbolic chain is Baudrillard’s deepening investigation of primitive cultures as cultures of the symbolic exchange, to the discipline of which converge Mauss’s notion of gift, Bataille’s notion of expenditure and Saussure’s anagrams. Baudrillard claims that the poetic, as the terrain of the symbolic exchange in language, has brought out the antagonistic character of a non-expressive language, and has decentered the primacy of the signifier and the dominancy of code. The signifier in the poetic is dismembered into scattered phonemes, and the doubling up of phoneme and counter-phoneme is conceived as a cyclical cancellation. For Baudrillard, the exact poetic operation is equivalent to the signifier’s death and annihilation, a force proper to the destruction of the final signified or the signified in process, and proper to the extermination of code. Interpreted as a pure expenditure of language and a break with the logic of production, the poetic resolves the signifier, the distinction between the signifier and the signified, and accordingly the mechanism of language activity.Baudrillard’s double spiral, the coexistence and contest between these two chains, aims to reject the definite meaning and seeks to dismantle the structure of the sign and to explode all metaphysical binary oppositions. In spite of spiraling around the same critical object, the semiotic and the symbolic are showing widely divergent approaches. The semiotic chain implodes the unity of the signifier and the signified in the structural play of the signifier. The symbolic puts an end to the structure of the sign and thereby that of code, operating in a realm beyond all distinctions assigned by code. According to Baudrillard, the symbolic stands for the void or nothingness of meaning, the consumption of value and the extermination of code, as an antagonist force against the indetermination or incertitude of meaning, the production of value and the domination of code.There are inevitably positions of a more complex pattern that Baudrillard’s double spiral presents in the field of language studies in French Human Science. Baudrillard adhered to certain features and suppositions of the semiological tradition even as he struggled against it in the institutional settings of structural interpretation<br>鲍德里亚是法国思想界重要的标杆性人物之一，其理论研究和文化视角对当代社会理论和文化研究产生了广泛而深远的影响。本文试图厘清鲍德里亚思想语言维度的双重线索，从他对消费品的探讨、对符号学的批判、对拟真的研究以及对诗学语言的极端推崇来考察其对待语言符号以及意义问题的观点和立场转变，并阐释这些转变的理论根基和内在承接关系，以期在法国人文科学语境下对其思想的语言维度作出深入探索。从坚持意义结构观的消费品符号学到批判符号学的拟真理论，再转向推崇象征性交换的诗学研究，鲍德里亚思想的语言维度呈现出双链螺旋的趋势——符号化和象征性。就符号化螺旋而言，鲍德里亚思想的基点在于符号和符码，他从借鉴现代符号学思想起步，对物品和消费社会进行结构分析，然后以向后结构主义的转变来完成对符号学的批判和拟真理论的建构，这反映出他对现实社会符号、符码以及语言游戏的深度思考。语言的符号化螺旋凸显了能指优势和能指的结构游戏：能指和所指完全断裂，由二者构成的符号不再是一个稳固确定的结构；能指对于游离的所指来说具有压倒性的优势地位，所指意义是符码结构操作下的能指效果和能指游戏；作为符号联结的规则系统，符码结构是构造和生产意义的母体。就象征性螺旋而言，鲍德里亚把莫斯和巴塔耶对原始社会曾经存在的象征性交换方式奉为革命性手段，同时把索绪尔的易位书写笔记融入其中，寄希望于象征性交换方式对抗符号和符码操控下各种权力和价值的积累、生产和再生产。语言的象征性螺旋锁定在诗学语言对能指优势和符码霸权的去除：诗学语言通过易位书写方式把语词分解成零散的能指碎片，通过配对方式对这些能指进行重复，音素和音素的副本（即反音素）之间相互抵消，这种能指返回自身并作用于自身的象征性交换相当于能指的死亡和毁灭。能指的耗费相当于所指的耗费，诗学语言在摧毁能指的同时也摧毁了终极的先验所指以及过程中延异的所指。象征性交换消解了能指，消解了能指和所指的区分，同时也消解了这种区分对立背后的语言活动机制——操控意义生产和再生产的符码。双链螺旋语言研究形成了既共生又对抗的纠缠关系，其核心目标是否定意义确定论，其直接的批判对象是结构主义符号学的符号结构，而深层的批判对象则是形而上学赖以依存的二元对立思维模式。尽管双链螺旋围绕着共同的批判根基而盘旋上升，但不可否认双链螺旋在意义问题上呈现出大相径庭的批判进路。在拆解结构问题上，符号化螺旋是在语言符号学内部批判意义生产的结构，让能指和所指的符号二元结构内爆，突出由符码结构主导的能指游戏；而象征性螺旋则是在语言符号学外部超越意义生产的结构，诗学的象征性交换不仅要驱逐符号结构甚至要把等级二元的根基——符码结构也彻底终结。鲍德里亚视象征性螺旋为消灭能指的物质性和符号学符码规律的革命手段，以意义的空无、价值的耗费和符码的根除来对抗符号化螺旋之意义的不确定、价值的生产和符码的霸权。双链螺旋在法国当代人文科学语言研究的大背景下呈现出微妙的两面性。鲍德里亚虽然批判了结构主义符号学的形而上学但不可否认他还是坚守了结构主义的某些预设和准则；他似乎想靠近后结构主义阵营来反对结构主义，但是又想与后结构主义保持距离凸显个性，这种微妙的态度决定了他的语言研究游走于符号化和象征性之间。鲍德里亚一方面承认意义产生于语言游戏，尤其依赖于符号与符号之间的符码关系结构；另一方面，他孜孜不倦地试图摆脱符号和符码的控制，让语言回到非表意的声音或线条的原初状态，拒绝所有言说和意义。尽管双链螺旋顺应了西方人文科学语境中推翻意义、理性和主体等先验中心的大趋势，但是鲍德里亚在象征性螺旋中所秉持的观点极大地暴露了其思想的极端性和消极性，把象征性交换的耗费抬高为否定一切社会历史文明进步的超然力量，让已经具有了意指和交流功能的语言符号回复到非表意的混沌状态，不足以成为解决现实问题的办法。
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Montesinos, Martínez David P. "El poder y los signos. Baudrillard y la incertidumbre de la crítica." Doctoral thesis, Universitat de València, 2002. http://hdl.handle.net/10803/9847.
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En 1977, el filósofo francés Jean Baudrillard publica en la editorial Galilée el artículo titulado Oublier Foucault (Olvidar a Foucault). Con ello logró provocar una fuerte polvareda en los ambientes académicos franceses, muy especialmente en los distritos universitarios de París, donde Michel Foucault se había convertido en una auténtica leyenda. Más de veinte años después, esta tesis se propone investigar las consecuencias de aquella apuesta. Es preciso tener en cuenta que si ya la obra de Foucault tuvo amplia resonancia desde la década de los setenta, con textos tan influyentes como Vigilar y castigar o La voluntad de saber, es generalizada la sensación de que, a raíz de la muerte del pensador (1984), su importancia no ha hecho sino multiplicarse, hasta el punto de encontrarnos en nuestros días con una verdadera "escuela foucaultiana" de pensamiento, una escuela dotada aparentemente de objetivos de trabajo y métodos específicos e identificables y con dimensiones interdisciplinares. Es este estado de cosas el que nos hizo decidirnos a recuperar el texto de Baudrillard, pensador que, por cierto, ha cobrado también por su lado una innegable popularidad, incluso fuera de los ámbitos de la filosofía, a pesar de que no hay equilibrio entre la masiva traducción y distribución de sus trabajos y la aparición de literatura sobre los mismos. Sospechamos que ello se debe en parte al prejuicio academicista que relaciona la literatura ensayística postmoderna más con un difuso esteticismo sociológico que con la teoría de la racionalidad, pero sobre todo, se debe al carácter asistemático de la obra de este autor, lo que complica extraordinariamente su exégesis. Esta tesis proyectó desde un principio cubrir ese vacío, otorgarle en la medida de lo posible un sentido de discurso, si no homogéneo ni unitario, sí al menos coherente. La idea básica del artículo es la de que Foucault, al igual que los anteriores maestros de la crítica -y Marx es el ejemplo más claro-, fue incapaz de arrostrar con todas sus consecuencias la caída del paradigma de la representación, es decir, no se atrevió a renunciar a una "sustancia original o salvaje" a la que aferrarse para intentar salvar algo a modo de principio de realidad. Desde ese punto de vista, el concepto de "Poder" -análogo para Baudrillard al "Deseo" de Deleuze y Guattari- no es sino la puesta al día del "valor de uso" del marxismo, en suma: la sustancia que resiste al juego de la intercambiabilidad. En el capítulo de conclusiones advertimos las consecuencias más intolerables de esta concepción, que aboca a un nihilismo destructivo, en la medida en que parece reclamar, siquiera de forma metafórica, la suspensión del discurso crítico en nuestros días. Tal cosa es rechazable si se aplica al modelo foucaultiano, y en mayor medida si se extiende a la filosofía crítica en general. Debemos sin embargo dejar un resquicio abierto a la cuestión, pues desde algún sitio recóndito, sin que sepamos muy bien por qué, concluimos en que Baudrillard no sólo diagnostica magistralmente la sociedad de nuestro tiempo, sino que además advierte del peligro de caída en el pozo de la incertidumbre y la simulación que amenaza con fagocitar y metabolizarlo todo en la cultura contemporánea.<br>In 1977 the french philosopher Jean Baudrillard published his article Oublier Foucault (Forget Foucault). The text caused a big scandal in the academic world because Michel Foucault, receiver of the invectives, was at that time on the top of his glory. The objective of the Thesis is to analize and wonder the sense, the philosophic implications and consequences of that controversy. On the first level, more specific, we researched the critics thrown in that article: Baudrillard said the intellectual model of the genealogy, developed in Foucault like an analysis of the power relations and its influence in the truth games, is out of place to understand the postindustrial society dynamics. This task is easier from the characteristic categories of the called postmodern language like the seduction, simulations or hypereality. According to Baudrillard, Foucault would be the last of the great masters in the philosophical critic. On the second level, this concret problem connect with the problem in the background: if Foucault is, according to Baudrillard, a critic theoric, is possible his analysis has been out of place in the simulations society? Even more, all the critic discourse in general has been out of place in the society of the simulations? Confronting both questions is indispensable to this research.
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Zapf, Holger. "Jenseits der Simulation - das radikale Denken Jean Baudrillards als politische Theorie." Berlin Münster Lit, 2009. http://d-nb.info/1000312097/04.
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Tonkiss, Francine. "The end of the political : an analysis of the theory of Jean Baudrillard /." Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09AR/09art665.pdf.
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Cheinman, Ksenia. "Reading Nathalie Sarraute through the lens of Jean Baudrillard : challenging consumers and clichés." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/35853.
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Jean Baudrillard chimed the bell announcing the postmodern death of the subject and the commodification of culture and language at the same time as Nathalie Sarraute was addressing these issues while experimenting with the formal qualities of the Nouveau Roman.
The aim of this thesis is to demonstrate how two works of Nathalie Sarraute, namely the novel Tu ne t’aimes pas (1989) and the play C’est beau (1975), textualize resistance to the consumer society that they are staging as framed by Baudrillard’s seminal text La Société de consommation (1970). The first chapter, dealing with Tu ne t’aimes pas, examines the nature of consumers and by juxtaposing “Consumables” and “Inconsumables” illustrates how Sarraute reanimates the individual through multiplicity. The second chapter, focusing on C’est beau, explores clichés as well as the social tendency to linguistic conformism and simplification which in turn are challenged through abstraction and “thick description”.
I prove that, through an aesthetic of undecidability, Sarraute succeeds in reviving the individual and restoring language from piles of platitudes in a way that the critical dialogues carried on in her writing extend to the present day and into the future.
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Gogan, Brian James. "A Case for Rhetorical Method: Criticism, Theory, and the Exchange of Jean Baudrillard." Diss., Virginia Tech, 2011. http://hdl.handle.net/10919/77371.
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This dissertation uses the case of Jean Baudrillard to argue that successful critics must consider rhetorical method as it relates to theory. Throughout this dissertation, I follow Edwin Black in using the term rhetorical method to describe the procedures a rhetor uses to guide composition. The project's two main goals are, first, to demonstrate how rhetorical method can serve as a foundation for worthwhile criticism, and, second, to outline a Baudrillardian rhetoric. In order to meet these goals, I perform close readings of Baudrillard's oeuvre alongside a wide range of sources, including critical writings, classical works, analogic photographs, contemporary texts, and recent obituaries.
Chapter one introduces my project and the concept of rhetorical method through an anecdote, which compares the later paintings of Andy Warhol to the writings of Jean Baudrillard. Next, I define rhetorical method and distinguish it from the concepts of critical method and rhetorical object. Then, I reveal the importance of rhetorical method in criticism by reviewing three cross-disciplinary interpretations of Baudrillardian rhetoric. I analyze each interpretation according to its argumentative strength, its treatment of rhetorical method, and its engagement with Baudrillard's reputation as a cross-disciplinary, postmodern rhetor. I argue that rhetorical method asks critics to reconsider the foundations of their interpretive claims. To conclude, I analyze one of Baudrillard's own essays that treats Warhol, assessing the degree to which Baudrillard critically engages with Warhol's rhetorical method.
Chapter two demonstrates that understanding rhetorical method opens up new understandings of rhetors and their rhetoric, by critically engaging Jean Baudrillard's dominant rhetorical method: exchange. Baudrillardian exchange radically revises the conventional rhetorical paradigm (to the exclusion of audience) and relies upon the perpetual movement between two agonistic theories of language: (1) the materialist theory—appearance, production, meaning-making; (2) the anti-materialist theory—disappearance, seduction, meaning-challenging. Baudrillard metaphorically describes exchange as a two-sided game and often embraces the anti-materialist theory of language in his writing and photography in order to challenge the materialist theory of language. After providing examples from his aphoristic writing and his analogic photography, I show how Baudrillard mobilizes disappearance as a move in service of his rhetorical method by analyzing one of his last works: Why Hasn't Everything Already Disappeared? I argue that, in this text, Baudrillard's rhetorical move of disappearance shifts in accordance with the posthumanist turn in thought, but his rhetorical method of exchange remains consistent with his earlier works.
Chapter three deploys exchange as a critical method by generalizing and extending this rhetorical method as an interpretive framework that can be applied to texts other than Baudrillard's own. Specifically, I show how Isocrates's Antidosis is successful in its creation of an ambivalent rhetorical space—a space that upends convention, dissolves logics, and ruptures values—and how James Frey's A Million Little Pieces is unsuccessful. In sum, my analysis of these two texts, one classical and one controversial, considers the ability of each text and its surrounding paratexts to challenge the meaning-making system and break with convention. My analysis further positions Baudrillardian rhetoric as a sophistic rhetoric that offers recourse to rhetors, such as Isocrates or Frey, who momentarily occupy the weaker side of the argument. Yet beyond forwarding a strong counterargument, the attention that Baudrillardian exchange pays to value systems proves a framework that is particularly amenable to questions of the public good.
Chapter four offers a metacritical commentary on the use of Baudrillardian rhetoric as a critical method as well as on the construction of Baudrillard as a rhetorical theorist. Focusing on the relationship between method and theory in rhetorical criticism, I argue that rhetorical criticism is a productive enterprise and that existing explanations of this enterprise are insufficient because they abandon method. To better explain the method and theory dynamic that produces rhetorical criticism, I turn to Baudrillard's work on the model and the series in The System of Objects. After demonstrating method's affinity with the model and theory's affinity with the series, I argue that the distinction between the model and the series is a rhetorical distinction. With that distinction in mind, I offer a metacritical commentary about the ways in which rhetorical scholars have treated Baudrillard's writing and constructed him as a rhetorical theorist. To conclude my discussion, I turn to Baudrillard's own critical commentary about his rhetoric as it relates to his notion of the simulacrum. Analyzing his discussion of "the rhetoric of simulation" in The Perfect Crime, I argue that Baudrillard was indeed a rhetorical theorist in the most robust sense, since he engages with both theory and method.
Chapter five argues that critics should consider rhetorical method to be as important to rhetoric as ethos. To support this argument, I examine two instances of criticism which involved unflattering obituaries and their responses: Jonathan Kandell's 2004 obituary of Jacques Derrida and Carlin Romano's 2007 obituary of Jean Baudrillard. I, first, analyze these obituaries in accordance with a conventional understanding of rhetoric as representation and, second, in accordance with each theorist's rhetorical method. While conventional responses to these obituaries could repudiate them for their negative tones and nasty messages, I contend that both theorists actually sanction these admittedly distasteful texts. In other words, the unconventional approaches of both rhetorical theorists to writing—namely, the Derridian différance and the Baudrillardian fatal strategies—seem to endorse the respective obituaries. I argue that these obituaries further suggest two new models of obituary writing, both of which are grounded in revised understandings of poststructuralist epideictic rhetoric: (1) a Derridian model that exposes the inadequacy of the contextual component of epideictic rhetoric; and, (2) A Baudrillardian model that revises the relationship between epideictic rhetoric and the value contemporary society places upon vitality.
In my conclusion, I propose a methodological definition of rhetoric: Rhetoric is the meeting of two methods. As I argue, this definition of rhetoric is not only grounded in the history of rhetorical studies but it also possesses much potential in contemporary times. As contemporary rhetorical studies emerges as an interdisciplinary endeavor, this methodological definition of rhetoric will allow rhetoricians to explain what rhetorical studies actually studies and how those studies are conducted. It will allow rhetorical critics to bracket the questions that forestall the study of rhetoric and explore a variety of methodological interstices. This definition can further imbue rhetorical studies with a research status tied to method that it has so desperately sought at certain historical junctures.<br>Ph. D.
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Andersson, Madeleine. "Upplevd realism i dokusåpans verklighet : En studie om hyperrealitet i Expedition: Robinson." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-22170.
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Denna uppsats studerar dokusåpan Expedition: Robinson som exempel på en hyperrealitet. Syftet är att förtydliga betydelsen av hyperrealitet som teoretiskt begrepp på ett svenskt sammanhang. Uppsatsen börjar därför med en introduktion av Jean Baudrillards teori om hyperrealitet och därefter en fördjupning i dokusåpagenrens historia, innan dokusåpans bemötande i pressen analyseras. Uppsatsen argumenterar för att det finns ett nära samband mellan dokusåpan som medialt fenomen och hyperrealiteten som teoretiskt begrepp, då båda är fiktioner som utger sig för att vara verkligheter: hyperrealitet är ett slags overklighet som ger intryck av förhöjd verklighet och dokusåpa är ett programkoncept som påstås visa verkligheten men egentligen konstruerar den. Uppsatsen undersöker hur och vad produktionen av dokusåpan betonar som ”verklighet”, dvs. vilka faktorer framhävs som verklighetstrogna. Som den första svenska, och tidigt kontroversiella, dokusåpan ligger uppsatsens fokus på Expedition: Robinson; som ett tävlingsprogram utspelad i en exotisk miljö, inspirerad av en litterär förlaga, är effekten av realism särskilt intressant i detta fall. Analysen av Expedition: Robinson koncentreras till produktionen och mediareceptionen främst av säsongerna 1 och 7, som resulterar i en diskussion kring mediebevakningens förändring och huruvida man kan uppfatta ett skifte i hyperrealitet i samband med den utvecklingen.
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Germana, Michael Joseph. "Forget Jerusalem: William Faulkner's Hyperreal Novel." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31763.
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This paper explores the relationality between Modernism and Postmodernism as well as between literature and theory by examining the works of two writers: master novelist William Faulkner, and high priest of Postmodernism, Jean Baudrillard. Specifically, this paper examines Faulknerâ s eleventh novelâ the oft-neglected If I Forget Thee, Jerusalemâ as a proto-postmodern text which, when examined by the light of Baudrillardâ s theory of simulacra and simulations, informs the transition from Modernism to Postmodernism.
This paper treats each authorâ s work as a lens through which to view the other. The result is both a re-vision of Faulknerâ s social philosophy and a re-examination of the epistemic break that separates Faulknerâ s philosophy from that of Baudrillard.<br>Master of Arts
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Staunton, Benjamin. "The Aesthetics and Ethics of the Absent Subject in the Novels of Tom McCarthy." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30084/document.
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Résumé en français : Ce projet s’intéresse à la fois aux œuvres et à la théorie de l’écrivain-artiste Tom McCarthy, précisément en analysant ses livres Remainder (2005), Men in Space (2007), C (2010), et Satin Island (2015), ainsi que ses œuvres théoriques, Tintin and the Secret of Literature (2006) et Typewriters, Bombs, Jellyfish : Essays (2017). Son rapport avec certains styles littéraires d’avant-garde et de modernisme a provoqué des analyses qui l’ont rendu explicit à travers les accueils critiques au sein de et en dehors du monde universitaire, et également a travers ses propres œuvres de théorie. Toutefois, cette analyse de McCarthy prend comme point de vue l’angle de Jean Baudrillard et son regard postmoderne et critique culturel. On a suggéré que les œuvres de McCarthy rejettent le sujet traditionnel du roman moderne et de ce fait éviter les résolutions de l’ordre idéologique ou structurelle, ce qui permet l’émergence de nouvelles façons subjectives. C’est l’affirmation de ce travail que l’éthique et l’esthétique du choix de McCarthy, le refus et l’absence du sujet, sont en fait des expressions d’une positivité et passivité relevant de leurs origines d’une idéologie qui est purement bourgeoise. La première partie s’engage à explorer les conditions du temps, de l’espace, et du destin individuel dans les romans, afin de les lier aux conditions postmodernes. Ces conditions-ci facilitent l’analyse, dans la deuxième partie de ce mémoire, d’une série des styles littéraires et « formalisms », ce qui simule la présence d’un sujet « absent » dans les romans. Avec un regard visé sur la notion de Symbolisme, de l’« a-signification » et de la mélancolie en tant que repère littéraire d’une subjectivité absente, cette deuxième partie élabore l’esthétique de l’absence (d’un perspectif linguistique et technologique), développant l’essentiel de la notion d’une présence simulée. La troisième partie réunit, a travers l’ironie et le personnage mythique du farceur, les conditions et l’esthétique de ce sujet absent sous la formed’une vision d’éthique cyclique, plutôt qu’infini ou discriminatoire, et c’est cette éthique qui produit à la fois la capacite d’un défi mortel et le plaisir de la conformité en même temps.Mots-clés en français : Tom McCarthy, roman, Baudrillard, éthique, esthétique, communication de masse, le postmoderne, absence<br>Résumé en anglais : This study engages with the novels and theory of the English author and artist Tom McCarthy, specifically the novels Remainder (2005), Men in Space (2007), C (2010) and Satin Island (2015), as well as his works of theory, Tintin and the Secret of Literature (2006) and Typewriters, Bombs, Jellyfish: Essays (2017). McCarthy’s literary connection to certain brands of avant-garde modernism has been analysed and made explicit both through their critical reception inside and outside of academia, and through McCarthy’s own works of theory. However, in this study McCarthy’s literary oeuvre is engaged with through the lens of Jean Baudrillard’s particular brand of postmodernity and cultural criticism. It has been suggested that McCarthy’s novels reject the traditional subject of the modern novel, and as such avoid turning to ideological or structural resolutions, leaving open the space for new modes of subjectivity to emerge. It is the contention of this study that the ethics and aesthetics of this refusal and absence are in fact expressions of a specifically bourgeois ideological positivity and passivity. The first section serves to approach the conditions of time, space and individual destiny in the novels, relating these to the conditions of postmodernity. These conditions serve to foster, in the second section of the study, a series of literary modes and formalisms that simulate the presence of the ‘absent subject’ in the novels. Looking specifically at Symbolism, a-signification and melancholy as literary markers of an absent subjectivity, this second section elaborates on the aesthetics of absence (linguistic and technological) that are essential to this mode of simulated presence. The third section brings together, through the figure of irony and the mythic trickster figure, the conditions and aesthetics of this absent subject in the form of a mode of ethics that is cyclical, as opposed to infinite or discriminatory, and which produces both the capacity for fatal challenge and the pleasure of conformity at once.Mots-clés en anglais: Tom McCarthy, the novel, Baudrillard, ethics, aesthetics, mass communication, postmodernity, absence
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Mason, Susan. "Clinical images of the fetus : an attempt to apply the theory of Baudrillard to empirical data." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559265.
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This thesis is an attempt to examine and apply Jean Baudrillard's hypothesis of the changing Western European perception of, the environment which he terms the simulacrum to empirical data. Baudrillard suggests each stage in the development of capital produces its characteristic simulacrum. Based on the mode of production, socio-economic relationships lead to the formation of a dominant code of production, or system of communication, from which arises the simulacrum. This simulacrum forms what we recognise as knowledge of the environment. Thus our knowledge changes with the mode and code of production and objectivity is replaced with a form of social subjectivity. The aim of this thesis is to apply these principles to a particular item of perception and scientific knowledge, clinical images of the fetus. Examination is restricted to two modern (and postmodern) simulacra: the Simulacrum of Production and the Simulacrum of Simulation. Sources are drawn from medical writings, journals and textbooks and contemporary journalism. Methodological examination of both verbal and visual imagery is made - some sixteen images are reproduced. Discussion of the sociological views of other sociologists is made, particularly Merton and Latour. Baudrillard's rejection of objectivity is found to be supported by historical and image data.
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Connell, Daniel James. "Hypermasculinity and the hero in comic book fiction : this is it." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6573.
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This thesis examines occurrences of hypermasculinity in examples from the genre of comic book fiction, utilizing textual evidence to suggest the current collection has re-iterated the more negative hypermasculine components of their source material: comic books. In doing so, the thesis compares the present novels with the creative element of the PhD submission – This Is It – a novel which serves as a critique of the prevalence of hypermasculinity in heroic figures within comic book fiction. By analyzing the sociological reasons behind hypermasculinity, and its subsequent effects, this thesis aims to make apparent the danger inherent with the continued association of hypermasculinity and hero figures in a new medium such as comic book fiction. It will also argue that the development of such a form divergent from comic books allows scope for a deconstruction of the hypermasculine comic book hero.
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Long, Vanessa Abigail. "Winning and losing in the hall of mirrors." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7499.
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Who are we? Why do we do the things we do? These questions are constantly under scrutiny, forever unable to provide us with adequate answers, it seems. Yet, with the continuing rise in popularity of digital media, we are able to situate these questions in a different sphere and see aspects of the self that we were unable to perceive before. Digital media forms have provided us with the capacity to explore whole new worlds, as well as allowing for new and innovative methods of communication. These changes make a huge impact on the daily lives of individuals. This thesis presents a theoretical contribution to both psychoanalytic thinking and to the rapidly expanding field of games studies, with especial reference to avatar-based games. It considers the status of the bond formed between the individual at play (known here as the ‘user’) and the game itself. Furthermore, it presents this as a model which identifies the user’s relation to the game dynamic through an understanding of the key components of a video game, including aspects such as the control mechanism. Elements which cross the boundary between the user/game realities are also considered with relation to hyperreality, thus forming a more complete imagining of this framework. This also allows for an application of this dynamic to what we define as violent (and associated) acts within games. In turn, this allows for a more complete understanding of the game situation, and can be applied to our understanding of the user as well. This thesis provides a standalone framework which can also be utilised in other types of investigation in future.
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Sharp, Alexander V. "The Hyperreal Nature of the Trump Administration's Post-Truth Rhetoric." University of Dayton / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1591216740376073.
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Yijun, Ding. "The aura of the artwork in the digitalization age : An experimental study based on Benjamin and Baudrillard." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325739.
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This thesis explores how the aura of the artworks changes in the age of digital reproduction through the empirical experiments conducted in Uppsala Konstmuseum. By employing the definition of the aura given by Benjamin in The work of art in the age of the mechanical reproduction and The arcade project, this thesis conceptualizes the “aura” into eight dimensions and then operationalizes the eight dimensions in order to find whether audience’s evaluation of the artwork changes when they are given different stimulus in the control experiment. From the control experiment, the quantitative data will be obtained from a questionnaire and non-participant observation. The qualitative data will be obtained from the interviews. By also applying the simulacra theory of Baudrillard to the analysis part, this thesis finds that there exists a small difference in the perception of the aura between the people who see a digital copy and who see a real painting. The aura still has its power. However, such power is really weak, as many dimensions of the aura have been weakened by the digital simulacra. Through this study, I suggest the museums to take cautious steps to digitalize their artworks though there is no evidence that virtual museums can replace real museums.
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Slager, Judit. "Simulation in Dave Eggers’s Memoir." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1234544623.
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Ma, Oi-ming Gloria. "The quest for truth : an examination of simulacra and simulations in Paul Auster's the New York trilogy /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472832.
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Schneider, Ulrich Johannes. "Fraktionierungen des philosophischen Diskurses." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149429.
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Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.
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Lidén, Christer. "The Desert of the Real in Spec Ops: The Line. A Study of Simultaneous Hyperreal Experiences by Protagonist and Player : A Study of Simultaneous Hyperreal Experiences by Protagonist and Player." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125903.
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As an anomaly on the market of military shooters of the 21st century, Spec Ops: The Line entails a journey of undetermined realities and modern warfare consequences. In this study, the narrative is analyzed from the perspective of Jean Baudrillard’s idea that simulations have replaced our conception of reality. Both the protagonist and the player of Spec Ops will unavoidably descend into a state of the hyperreal. They experience multiple possible realities within the game narrative and end up unable to comprehend what has transpired. The hyperreal is defined as the state in which it is impossible to discern reality from simulation. The simulation of reality has proliferated itself into being the reality, and the original has been lost. The excessive use of violence, direct approach of the player through a break with the 4th wall and a deceitful narrator contribute to this loss of reality within the game. Although the game represents simulacra, being a simulation in itself, the object of study is the coexisting state of hyperreal shared between protagonist and player when comprehending events in the game. In the end, neither part can understand or discern with any certainty what transpired within the game.<br><p>Grade: B</p>
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Gormley, Alex T. "The Seven of U.S.: Simulation and the American Suburb." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495801012565906.
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Jefferson, Rosemarie. "The impact of the postmodern on the Christian narrative." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1728402231&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Paes, Fabiano Pures. "Elementos da fundamentação do trabalho em Herbert Marcuse e seus efeitos na lógica social do consumo fundamentada por Jean Baudrillard." Pontifícia Universidade Católica do Rio Grande do Sul, 2010. http://hdl.handle.net/10923/3486.
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Previous issue date: 2010<br>The results of the human work and all its effects are perceived in the consumption society not only as the tool that provides the affluence for it also enjoys of the individuals that of it participates, but as determinative element of the individual behavior while participant observer of the model. This study it aims at to inside present a possible continuity of the related ideas of Marcuse to some elements of its recital of the work of the system of production with the society of consumption of the goods generated for this work and basedby Jean Baudrillard.<br>Os resultados do trabalho humano e todos os seus efeitos são percebidos na sociedade de consumo não somente como a ferramenta que proporciona a afluência para o desfrute dos indivíduos que dela participam, mas também como elemento determinante do comportamento individual, enquanto participante observador do modelo. Este estudo visa apresentar uma possível continuidade das ideias de Marcuse relacionadas a alguns elementos de sua fundamentação do trabalho dentro do sistema de produção com a sociedade de consumo, dos bens gerados por este trabalho e fundamentada por Jean Baudrillard.
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Fredriksson, Sophia. "Abandon All Hope : An Analysis of American Psycho." Thesis, Högskolan Dalarna, Engelska, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-6391.
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Elkin, Daniel K. "Seeking Silence Through GARAP: Architecture, Image, and Connotation." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306501509.
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Paes, Fabiano Pures. "Elementos da fundamenta??o do trabalho em Herbert Marcuse e seus efeitos na l?gica social do consumo fundamentada por Jean Baudrillard." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2010. http://tede2.pucrs.br/tede2/handle/tede/2851.
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Previous issue date: 2010-11-12<br>Os resultados do trabalho humano e todos os seus efeitos s?o percebidos na sociedade de consumo n?o somente como a ferramenta que proporciona a aflu?ncia para o desfrute dos indiv?duos que dela participam, mas tamb?m como elemento determinante do comportamento individual, enquanto participante observador do modelo. Este estudo visa apresentar uma poss?vel continuidade das ideias de Marcuse relacionadas a alguns elementos de sua fundamenta??o do trabalho dentro do sistema de produ??o com a sociedade de consumo, dos bens gerados por este trabalho e fundamentada por Jean Baudrillard.
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Zanini, Claudio Vescia. "The orgy is over : phantasies, fake realities and the loss of boundaries in Chuck Palahniuk's Haunted." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36013.
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Este trabalho tem por objetivo apresentar o romance Assombro, de Chuck Palahniuk, como retrato e sintoma do comportamento da sociedade pós-moderna ocidental, cujos valores correspondem, de acordo com palavras do próprio autor, ao “inverso do sonho americano”. A principal característica de tal sociedade é a dificuldade dos indivíduos em lidar com as exigências e constantes mudanças nos âmbitos individual, social e psicológico, o que se configura na obra do escritor estadunidense através de personagens marginais em busca (na maioria das vezes, aparentemente inconsciente) de autoaceitação ou adaptação social. A leitura desenvolvida aqui se baseia principalmente nos escritos do teórico francês Jean Baudrillard, que apresenta o pressuposto de que o mundo contemporâneo encontra-se num estado de “pós-orgia”, assombrado por três fantasmas que o teórico chama de câncer, travesti e terrorismo, os quais simbolizam questões sociais contemporâneas relacionadas à política, sexualidade, comunicação e relacionamentos humanos, entre outros aspectos. Os conceitos de Baudrillard que norteiam a análise são: 'estado de pós-orgia', 'hiperrealidade', 'simulação', 'virulência' e 'sedução' e 'fantasmas'. O trabalho também apresenta as características da literatura de Chuck Palahniuk e sua recém-iniciada fortuna crítica, apontando os principais aspectos da sociedade pós-moderna presentes em suas obras e culminando em um cotejo de Assombro com o gótico e sua vertente pós-moderna, além de uma comparação entre a dinâmica estabelecida entre as personagens do romance e aquela percebida nos reality shows e falsos documentários (mock-documentaries). A conclusão retoma aspectos na estrutura, imaginário e conteúdo do romance, que permitem defini-lo como retrato e sintoma de uma nova configuração social, resultado das inevitáveis mudanças por que o mundo passa.<br>This dissertation aims at presenting Chuck Palahniuk‟s novel Haunted as a portrait and symptom of the behavior perceived in the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”. The main characteristic of such society is the individuals‟ difficulty in dealing with demands and constant changes in the individual, social and psychological spheres, a fact observed in the work of this American writer through the presence of marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among other aspects. The concepts by Baudrillard that underlie the analysis are: 'post-orgy state', 'hyperreality', 'simulation', 'virulence', 'seduction' and 'phantasies'. The work also presents the features of the literature produced by Chuck Palahniuk and its newly-started critical fortune, highlighting the main aspects of postmodern society present in his works, culminating with an approximation of Haunted to the postmodern variation of Gothic literature, besides a comparison between the dynamics established among the characters in the novel to the one perceived in reality shows and mock-documentaries. The conclusion strengthens aspects in the structure, imaginary and content of the novel that enable the definition of Haunted as portrait and symptom of a new social organization, resulting from the inevitable changes the world goes through.
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Islami, Seyed Yahya. "Architecture of surface : the significance of surficial thought and topological metaphors of design." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4845.
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In the early twentieth century, the modernists problematized ornament in their refashioning of architecture for the industrial age. Today, architects are formulating different responses to image and its (re)production in the information age. In both discourses of ornament and image, surfaces are often the perpetrators: visual boundaries that facilitate false appearances, imprisoning humanity in a shadowy cave of illusion. Such views follow a familiar metaphysical model characterized by the opposition between inside and outside and the opaque boundary that acts as a barrier. This model determines the traditional (Platonic) philosophical approach that follows a distinct hierarchical order and a perpendicular movement of thought that seeks to penetrate appearances in order to arrive at the essence of things. This thesis deploys Gilles Deleuze’s philosophy to advance a different understanding of surface, image and appearance in architecture. Using the Bilbao Guggenheim Museum as a catalyst, the thesis argues that many of the concepts with which commentators and critics analyse contemporary architecture follow models of thought that consider surfaces and their effects as secondary categories. Given the significance of visual (re)production and communication for contemporary society, the thesis proposes a different model based on surface as that which simultaneously produces, connects and separates image and reality. This non-hierarchical approach is inspired by surficial philosophy, which relates to Earth, to geology and topology, conjuring up a diversity of concepts from the thickness of the crust to the smooth fluidity of the seas. The result is an unfamiliar, polemical model of thought that does not define surface as a limit or barrier, rather a medium, a pliable space of smooth mixture. In this model, difference is not in the opposition between the two sides of a boundary line, rather it occurs upon and within the surficial landscape that consumes categories, promoting nomadic movements of thought that offer greater flexibility towards creativity and new possibilities. In surficial thought, images and appearances are not artificial copies of an originary reality, rather they possess a unique reality of their own. This approach allows architectural imagery to be theorised as a positive surfacing of architecture beyond disciplinary lines and the locality of a specific time and place.
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Quam, Steven. "Meaningful Play: Exploring the Possibilities of the Novel in Don DeLillo's White Noise." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1399992271.
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Schneider, Ulrich Johannes. "Fraktionierungen des philosophischen Diskurses: Über Baudrillard, Lyotard und Nancy ; [Rezension zu: Jean Baudrillard: Das Andere selbst. Habilitation (L''autre par lui-même, dt.), Jean-Francois Lyotard: Postmoderne für Kinder (Le Postmoderne expliqué aux enfants, dt.), Jean-Luc Nancy: Das Vergessen der Philosophie (L''oubli de la philosophie, dt.), alle Wien 1987]." Hitzeroth, 1988. https://ul.qucosa.de/id/qucosa%3A12788.
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Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.