Search

This article outlines a new perspective on the role of media in nation branding, drawing on Jean Baudrillard’s post-structuralist media theory. I argue that, following Baudrillard, we can see nation brands in a new light, namely, as simulacra which exist within a transnational media system for the creation, circulation and consumption of commodity-signs. In this capacity, nation brands shed their representational burden of standing in for the nation and, instead, operate as self-referential entities. I use the example of Brand Kosovo to provide illustrations for my theoretical points. However, while the case of Kosovo has its specificities, I propose that the theoretical claims presented here hold beyond its parameters. This article forms part of the Theorizing Media in Nation Branding Special Issue. [ABSTRACT FROM AUTHOR]

Jews and Mormons have pasts as racialized Others. Although they appear dissimilar, both groups have been inscribed historically as non-White. Both groups responded to these inscriptions by attempting to achieve Whiteness, making numerous and radical concessions to U.S. American culture. As a result, both groups became "liminally White." We argue that such liminal status demonstrates the fissures in Whiteness and provides creative new grounds for critiquing Whiteness as a rhetorical construct. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The replacement of living lawns with synthetic (plastic) grass seems to be on the increase in cities. This paper presents some environmental and societal considerations relating to the installation of artificial lawns to encourage research of the phenomenon at this early stage of emergence. After first discussing the development of ‘third generation’ synthetic grasses that have made artificial lawns more appealing, it then considers how the replacement of living lawns with plastic grass represents a potentially concerning step towards ecological simulation, or the replacement of real ecosystems with simulacra that address cultural desires but remove nature altogether. The paper then examines some of the possible environmental and societal impacts that may result from the replacement of living lawns with their artificial counterparts, and concludes with the presentation of a research framework for investigation of the emerging artificial urban lawnscape. [ABSTRACT FROM AUTHOR]

This analysis of Repertorio Español’s 2013 production of Lope de Vega’s Fuenteovejuna in New York City focuses on the elements of communication, space, and violence. In director Julián Mesri’s staging, modern media or technology at times replace the human messengers of the original text, which has the double effect of distancing the audience emotionally from the events reported while calling attention to the mediums themselves and their agendas. In this contemporary urban world of simulacra, space seems compressed and violence appears conceptual. Mesri presents Fuenteovejuna as a Baudrillardian hyperreality, in which representations eclipse “reality.” In doing so, however, he does not so much alter Lope’s original as highlight, with modern touches, a dynamic that pervades the original play, Lope’s corpus, and much of Spanish Golden Age drama. Mesri’s vision may appear strikingly contemporary, yet the mode of representation it foregrounds is classic Lope.

The article for the first time in the Russian Humanities considers the phenomenon of glamour through the prism of universal aesthetic categories. The essence of the conception is to explore the phenomenon of glamour not in the sphere of its existence, but to perform global ontological phenomena to which its genesis leads. Following the methodology of Alexander Baumgarten the author of the article consistently compares glamour to aesthetic categories. In the third part of the research there continues the comprehension of the phenomenon of modern glamour from philosophical positions. This time glamour relates to postmodernism as the matrix of modern culture.

The influence of William Gibson has been of the utmost importance in crafting and spreading many popular imaginaries associated with digital technologies. In his first novels, cyberspace is at the same time a narrative trick to depict a global computer network and an element of a more global investigation of the relationship between geographic space and technology. Between 2003 and 2010, Gibson has published three novels set in the contemporary world, thus apparently relinquishing the SF genre. He nonetheless continues his exploration of the very same topics than in his former novels, recasting cyberspace as a way to envision the technological changes of the last two decades. More specifically, the novel Spook Country uses the image of the “eversion” of cyberspace to describe the way ubiquitous computing is invading urban space. Cyberspace can simultaneously be a purveyor of simulacra, through virtual reality technology, and an invisible agent ensnaring the city in its wireless nets. It provides a particularly fertile ground for the paranoid strain of our contemporary culture.

This article is concerned with the modern design of digital games, in particular their formulation as experiences for consumers rather than players. Utilizing Baudrillard’s concept of the simulacra as an analytical probe, this article discusses the simulations of winning, losing and playing evident in today’s digital game products. Building upon the author’s previous work, which introduced the twin concepts of hyper- and contra-ludicity to game studies, this article argues that the recent invasion of hypo-ludicity into game design sets a dangerous precedent for digital games as games as opposed to entertainment media. While hyper-ludicity empowers and contra-ludicity challenges, hypoludicity is characterized by its emptiness; of empowerment, of challenge, of agency. Anchoring the discussion in analyses of popular game systems, design features and mechanics, the article ultimately illustrates the prevalence of simulacra within today’s digital game products, and how this undermines the very notion of winning, losing and even playing.

This article explores the underlying culture of war sustaining the setting of scenarios within cyberwar games. In particular, it engages with the question of how to simulate a phenomenon that, due to its remoteness, possesses an ambivalent relation to reality. Looking at scenarios of major national and international cyberwar games as illustrations, this article, first, engages with the modes of existence of simulated cyberwar through the conceptual prisms of copy/original and simulation/simulacra. It then explores how these scenarios frame cyberwar in relation to cyberwarfare scholarship and legislations. It then sheds light on how, through operational exercises, these scenarios ultimately reproduce cyberwar as an imagined cultural artifact. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Lope de Vega. Texto, Literatura, Cultura is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"Post-Truth Simulacra" is an artwork created to confront post-truth realities and constructions of meaning in response to the articles in this journal issue. An aerial photograph of Miami is used to depict the way humanity has fully operationalized the territory of the barrier islands. Various overlays are used to think about social theorist Jean Baudrillard's precession of simulacra. Using the lens of Baudrillard's phases of representation from a pedagogical perspective, an analysis of meaning-making processes for each of the articles is discussed. The editorial recognizes the importance of place and autoethnography in the context of Canadian curriculum studies. [ABSTRACT FROM AUTHOR]

Business scandals, environmental disasters, and the growing attention to malnutrition and starvation around the world, are emphasizing the criticism toward capitalism and the way business is approached. Corporate social responsibility (CSR) and sustainability theories are becoming understated, as Porter and Kramer's emerging concept of Creating Shared Value (CSV) has argued. Indeed, CSV is attracting increasing attention from the corporate and professional world as well as getting controversial judgments and reviews by CSR and sustainability scholars. Indeed, CSV appears more a buzzword than a theoretical concept. After outlining the underlying debate, our study critically examines how worldwide organizations have approached and interpreted CSV in their sustainability disclosure practices. In that sense, similarly to Plato and Baudrillard's concept of 'simulacrum', companies adopting CSV create an interpretation of their practical reality through definitions and images. Qualitative and rather innovative techniques are applied to analyze and categorize the narrative and graphical signals provided by a sample of leading organizations within their sustainability disclosure. Our findings show that, overall, CSV is not viewed as something unrelated to CSR, not just philanthropy, but is a strategically oriented shift from sustainability which stresses the inclusion of stakeholders' needs. Given the current lack of research addressing how CSV has been interpreted and disclosed, our study provides a significant contribution to the current academic debate. Copyright © 2017 John Wiley & Sons, Ltd and ERP Environment [ABSTRACT FROM AUTHOR]

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents the analysis of the values of online and network ideology, the specificity of which in interdynamity and interrevolutionarity and fluid world. The purpose of research is to reveal the conditions of the network, the online culture that helps people to adapt. The game which is the model of person`s self-identity, serving a marker of postmodern society is presented in the article. The discussing problems are the analyses of the phenomenon of simulacra, representing the values of virtual- irrational reality. Their basis is in identification of socio–cultural entropy that reflects degradation of virtual and online culture and its values. The used method is axiological approach which allowed to penetrate deeply into the studying the problem. Conclusions - the ideology of the Information Society should be formed, which can oppose the values of social networking and online values, based on distorted values. The scientific novelty of the research is the formation of adaptive abilities to the information society. Self-realization on the Internet does not replace self-realization in reality, but collectively helps people to find themselves and create himself as an aimed personality [ABSTRACT FROM AUTHOR]

This paper examines an unusual type of ‘cultural theme park’, one that is not based on simulating existing cultural diversity or historical places, but based in some senses on a ‘double simulation’. The theme park is based on an historical painting assumed to represent the North Song Dynasty period in Kaifeng, China; however, it is a representation that historians argue may never have existed. Utilising on-site interviews and participant observation, this paper traces the connections between the classic painting (清明上河图) and the actual historical landscape of Bianjing (the first simulation), and in so doing, unravels the links between the painting and the theme park (the second simulation) and the simulacra that are envisioned to form within the spaces of the theme park as a result of the interplay of simulations during theme park visits. The simulations and intended simulacra are ‘consumed’ to various degrees, suggesting that the representations of Kaifeng's historical past and culture have been impactful and (in)authenticity has not been an issue. Moreover, the theme park has served to entertain and, in some cases, inspire through playful appropriations of Kaifeng's past and culture. The resultant simulacra and its double simulations (in simulating both the real Bianjing and the neo-real landscape painting) contrast and simultaneously connect with rampant replications of the Occident in contemporary Chinese residential landscapes, townships and themed spaces. [ABSTRACT FROM AUTHOR]

Agritourism is promoted as a method of offsetting decline in farm incomes, and is defined in different ways which creates difficulties in attracting tourists. The present research contributes to a better understanding of agritourism, based on evidence in Wallonia (Belgium) and Luxembourg. It does so by studying the image held by four groups of actors: (i) farmers who provide ‘agritourist’ experiences; (ii) promotional organisations; and tourists who both (iii) have and (iv) have not engaged in agritourism. A mixed method study is based on data collected through 1148 tourist questionnaires and 65 interviews with farmers and representatives of tourism promotional organisations. The results illustrate that there is a lack of congruence between sectoral images with respect to the concept of agritourism and its development. Agritourism is a muddled concept between realities and stakeholder expectations but opportunities exist for targeting particular niche interests. [ABSTRACT FROM AUTHOR]

It may be suggested that the technological boom had blurred certain elemental social notions, videlicet reality and knowledge construction, and hence had redefined the process of the social construction of reality in a new digitalized fashion. This alternation is noticeable in the realm of teaching English in EFL classes, a milieu where technology, via Internet, serves to the learners novel simulated realities that depict their communities and themselves along certain pejorative simulacra of the Self. To these institutionalized and objectivated realities, learners negatively react by developing certain stereotypes and prejudices towards the Other. [ABSTRACT FROM AUTHOR]

This article aims to understand the ways in which ambivalence toward postcolonial mimetic places is exposed in touristic consumption. This article is a single case study investigating Bà Nà Hills, which was initially constructed by the French colonialists and afterwards developed into an entertainment park in Vietnam. Ethnographic research by using face-to-face techniques such as in-depth interviewing and participant observation was undertaken. Findings show the ways in which ambivalent emotional subjectivities coexist between 'searching for authenticity' and 'embracing simulacra'. This article proposes that a postcolonial equivocatory place generates and regulates tourists' ambivalence between the complexities of authenticity and simulacra and that, ambivalence functions as a bridge and an interpretive and analytic tool between individual emotional experience and social changes. [ABSTRACT FROM AUTHOR]

This essay argues that the digital reanimation of dinosaurs in the Jurassic Park series not only epitomizes mankind’s tortured relationship with other animal species on this planet, but also demonstrates how technology transforms animals into spectral post-animal beings. Both in its diegesis and in its production, the Jurassic Park movie franchise emblematizes humanity’s compulsive desire to control the rest of the planet. This desire has culminated in the most recent addition to the series, in which animatronics were practically completely replaced by digital dinosaurs the filmmakers could control more easily. Yet despite the tangibility, the material reality of the animatronics, throughout the movie series, the spectral dinosaur bodies animated by digital technologies not only seem much more ‘alive’ than their mechanical counterparts, but shape viewers’ conceptions of what dinosaurs are and what they looked like, lending the digital animals a hyperreal quality that stands in stark contrast to their symbolic equation with material nature. In the latest movie, the mosasaurus, I will argue, imagines the return of ‘real’ nature in the face of the artificial nature represented by the Indominus rex. However, the mosasaurus, like all other prehistoric animals roaming Jurassic Park and Jurassic World, respectively, is a genetic hybrid, like the Indominus rex. In this way, the Jurassic Park movie franchise presents a telling example of the conflicted and paradoxical interrelations between technology and spectral animal bodies (and, thus, nature) in the digital age.

The relationship between the individual and the city changes significantly when the city is contemplated from a distance rather than encountered from within. The remote cityscape or urban skyline induces a vision or an alternative reality that sometimes conflicts with and sometimes is an intensification of the reality of engagement with the city at close quarters. The remote cityscape thus enables and becomes a re-imagining of the city and, in so doing, bears some affinity to Baudrillard’s notion of the simulacrum and to the “true simulacrum” of the panorama as described in the “Panoramas” Convolute of Benjamin’s Arcades Project. In its remote perspective, the cityscape, like Jasper’s drug-induced vision of Cloisterham at the beginning of Edwin Drood, variously stimulates and simulates the fears, hopes, desires and ambitions of the onlooker. In the alternative or intensified reality it evokes, it may threaten or quiet, it may be bewildering or controllable. It becomes in this way a dream of the city—divorced from the physical reality from which it is constructed. The discussion focuses on Dickens’s novels, but reference is also made to work by Kingsley Amis, Chagall, Isaac Cruikshank, Grandville, Laisné, Gaskell and Hardy, and to the film The Third Man.

Michel Gondry, a filmmaker who created and directed music videos for Propaganda Films, which produced close to a third of all music videos by 1990, began his career in music video and film during this time, where he experimented with collaging postmodern and commercial filmmaking. In 1936, cultural critic and German philosopher Walter Benjamin argued that art fundamentally changes in the age of mechanical reproduction, creating questions of authenticity and aura. This article argues that Gondry’s video “Let Forever Be,” for The Chemical Brothers, illustrates Benjamin’s argument not only in that the digital video itself artificially reproduces the bodies embedded within it, but also in Gondry’s employment of collage, special effects, and camera-enabled illusions in order to create a simulated and dream-like world.

Utilizando dos películas como pretexto, Blow up de Michelangelo Antonioni y Blow-out de Brian de Palma, en este artículo se abordan distintas teorías postmodernas en relación al impacto de las nuevas tecnologías sobre la distinción metafísica y moderna entre esencia y apariencia. A la luz de los dos films, se estudian y valoran los conceptos de «simulación» y «simulacro», así como los presupuestos del pensamiento débil en relación a la desaparición tecnológica de la realidad.Using two movies as an excuse, Blow up by Michelangelo Antonioni and Blow-out by Brian de Palm, this article will approach different postmodern theories according to the impact of new technologies on the metaphysical and modern distinction between essence and appearance. In the light of both films, the concepts of «simulation» and «simulacra» will be studied, as well as the budgets of «weak thought» in relation to the technological disappearance of reality.

Se han publicado propuestas muy diversas para explicar la función de un singular conjunto de piezas (bautizadas como “muñecos” a principios del siglo XX) que se hallaron asociadas a distintos enterramientos de las necrópolis de Baelo Claudia. En el presente estudio se propone entender los cipos funerarios de Bolonia dentro de un contexto ritual más amplio que permite relacionarlos con el culto a los ancestros (concebidos y representados como una comunidad de carácter indiferenciado), no sólo en la tumba, sino también en ambientes domésticos y en santuarios.

Publié en 1990, Once Were Warriors, le roman néo-zélandais d’Alan Duff, partage avec la fiction britannique de la même époque (celle de Julian Barnes, A.S. Byatt, Charles Palliser, Kazuo Ishiguro ou Jeanette Winterson) le souci de renouveler la présentation romanesque de l’histoire, de retérritorialiser le passé en donnant la parole aux oubliés de l’histoire, aux marginalisés et aux maltraités. Le principe de la rétroaction qui utilise des textes ou des genres du passé pour les réactiver, les relocaliser, les investir de nouvelles significations (Bhaba 1996) conduit inévitablement à ce que Saïd a appelé une "hybridation pluraliste" et qui constitue, selon Linda Hutcheon, une des caractéristiques principales du postmodernisme. Ce qui paraît fascinant pourtant, ce n’est pas tant ce recoupement, aussi fondamental fût-il, entre le roman postcolonial de Duff et la fiction postmoderne que les divergences frappantes: les célèbres attaques contre la nostalgie stérile du postmodernisme, contre son emprisonnement dans le passé, sa logique du simulacre et de la simulation, perdent tout fondement dans le cas de Duff dans la mesure où son roman, loin d’être hypertextuel ou métatextuel, se veut empirique. Il s’avère ainsi plus proche ontologiquement d’une autobiographie fictionnelle ou d’une parabole politique que d’un recyclage palimpsestueux de textes antérieurs. Par sa "violence épistémique" (Spivak, 1988) et par la création d’un nouveau code linguistique, Duff réhabilite la fonction éthique de l’art et se coupe radicalement de l’esthétique ludique et autoréflexive du postmodernisme

The article analyses Salman Rushdie's novel Shame from the perspective of portraying two female characters Bilquis Hyder and her daughter Naveed and how the violence underlying the instability of the images they construct manifests itself. The research is carried out within the theoretical framework of postmodernism with the view to the concept of the postmodern sign elaborated by Jean Baudrillard and Jacques Derrida. The postmodern sign is characterised by the loss of a reference to reality which is masked by the abundance of supplements for reality. The vulnerability of such a sign is revealed through the process of crisis the sign is subjected to, because it uncovers the void underlying the simulacrum of the sign. The portrayal of Hyder women reveals the concept of the simulacrum from the point of view of its reliance on thingness for existence. The indeterminacy of the simulacrum is revealed through the repeated occurrence of the images of the wind and childbirth, which signify the threat of violence underlying the simulacrum.

The aim of the present study is to discuss the criterion by which clinical photography (such as Salpêtrière Hospital's Iconographie photographique, 1 consisting in stances of the asylum's patients in various stages of delirium, agitation, spasms and fits) can be contemplated from an aestethic point of view. The theoretical support for this proposal is the Invention of Hysteria by Georges Didi-Huberman, who, approaching categories of literary and cultural theory, doubled by a keen observation of the unfolding of the clinical practices in the second half of the 19th century and of the emergence of photography, detects a certain fetishization of the hysterical body through the assimilation of the mental image of hysteria with a collection of valid, consecrate picturesque manifestations. [ABSTRACT FROM AUTHOR]

Copyright of Oikos: Lithuanian Migration & Diaspora Studies is the property of Lithuanian Emigration Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this paper is to show that in Western postmodernism, both religion and the university are under the sign of simulacra. Friedrich Nietzsche's "death of God" instigates a discussion of postmodernism and a simulacrum of religion. According to Jean Baudrillard and the theory of the Three Orders of the Simulacra, reality died and "hyperreality" took its place and now governs our existence. If, for Michel Foucault, the religious phenomenon today is outside theological beliefs and traditions, oriented towards the body, power and panoptic supervision, for Jacques Derrida the phenomenon appears more as a negative theology of deconstruction. The theoretical objective seeks to explore the mutations that have occurred both in the academic environment and in religion under the phenomenon of globalisation ("mondialisation") and the technologisation of humanity. Here, the study of religion in universities is a third order simulacrum, the consequence of which is the illusion of knowledge and the unconditional independence of humanity, manipulated by technological evolution. The methodology used is Derridarian deconstruction, Nietzschean nihilism and the Baudrillardian criticism of the postmodern consumerist system. [ABSTRACT FROM AUTHOR]

Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

CONSUMACTOR: ON THE CONDITION OF THE INDIVIDUAL IN THE POSTMODERN CITY. In this short essay on the consumer in the postmodern city we sought to develop three ideas. Firstly, we tried to show that today’s metropolis can be regarded as a centre of consumption. This consumption is raised to “spectacle” status by different urban stakeholders. Being a centre of consumption, the postmodern metropolis nourishes two kinds of landscapes: the cityscape, the built environment or the physical architecture of the city, and the mindscape, the inner landscapes or landscapes of the soul, resulting from the spatial nature of daily practices. The former set the stages and the scenes necessary for consumers’ performances, whereas the latter write the scripts that guide these performances. Secondly, we argue that, in the postmodern urban society, consumers have become both spectators and actors. Combining the flâneur attitude, that of a contemplative traveller, with the persona involved in the acting and experiences of consumption, consumers have assumed their roles as consumactors. In order to capture this multidimensionality of the postmodern consumer, we propose to move beyond the traditional segmentation in multiple market niches and to recognise the individual in a holistic way, respecting our complex biological, psychological and social structures that make us who we are. In the last point of this essay we argue that, in order to peer into the soul of the consumactor, he/she must be observed in his/her habitat. With a nomadic soul derived from the status of “contemplative traveller” and committed to finding aesthetic pleasure in the surface-deep experience of intensities and in the flow of images, the consumactor moves through, wanders, walks on multiple stages but feels a particular draw to shopping malls. Composed of simulacra, arranged scenery, games of seduction and possibilities, shopping malls construct an ideal ambiance for tribal communication, performance and acting. In the eyes of the consumactor no other place in the city seems to better sublimate his/her acting, and that is why shopping malls become their residence, meeting point and place of celebration.

In times of the digital dematerialization of the photographic image, how and to what purpose are present Latin American authors inserting printed photographs in their essays and fictions? A brief survey into the uses of photography in Latin American literature, the present contribution examines the hazy borderline between documentation and fictionalization, and particularly the ironic call into question of the author's identity, in works by Alan Pauls, Jorge Volpi and Mario Bellatin. [ABSTRACT FROM AUTHOR]

Dense syllabary on white spreads in promenades of exposition 'rise' to a climactic surge and then, coast downhill in the falling action to abandon themselves into the cushy embrace of denouement: the true emissaries of author's aesthetic response. Unintentional of a bathetic end to this well-deserving baroque, it is equally cogent to regard an animated cover page as a depicted spirit of the narrative. The author's reputation, his intent and the linguistic grace do bear; nonetheless, an impressive cover page deserves no slight. The depiction of the story on the cover conduces to the readers' experience. This article consults the cover page of Amitav Ghosh's The Hungry Tide and employs Baudrillard's theory of simulacrum and its analogy in Indian philosophy with intent to philosophically rationalize the narrative's aspects with the image and imagery on the cover page with a due respect for the assumed distance between the artist and the narrative's subtleties. Pen and the paintbrush correlated and critically read in a non-essentialist era, invite analyses of sorts to waltz on the free stage called narrative. Such interpretative liberty that assumes readers' impressionability, explains the mood from the cover. However, ars gratia artis befriends a candid disclaimer of the article's interpretative definitiveness and objectivity. [ABSTRACT FROM AUTHOR]

Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The argument presented in this article stems from the experience of being engaged in a debate with schoolteachers, who pointed to the bureaucratisation of schooling as their main concern. Taking their way of formulating this problem as a guidepost for my thinking I have made an attempt aiming at understanding the link between bureaucracy and schooling. Starting from Max Weber classical view, thanks to its critique made by Claude Lefort I try to interpret the bureaucratisation of schooling with reference to Jean Baurillard theory of simulation as the production of the simulacra.

This work aimed to investigate the archetypal potentiality of the stereotypes of communication technology apparatuses, i.e., simulacra in contemporary times. Centered in the area of Social Sciences, this article makes use of the theories of Jean Baudrillard, Muniz Sodre, Edgar Morin, George Miklos, Malena Contrera, Dietmar Kamper, among others. The proposed method is focused on literature and web-literature searches with a focus on the illustrative, technical, and quantitative nature of data to acclimatize and complement the proposed theories. [ABSTRACT FROM AUTHOR]