Search

This study explores the evolving landscape of Indonesian cinema and its profound societal ramifications, focusing on the film 99 Cahaya di Langit Eropa (99 Lights in the European Sky). Using critical discourse analysis and drawing insights from Baudrillard's theoretical framework on simulation, this research systematically unpacks the ideological underpinnings embedded in the film. At the heart of this investigation is the symbiotic relationship between Islam and popular culture as manifested through the film's discursive constructions. The study combines Jäger and Maier's method of critical discourse analysis with Baudrillard's conceptualization of simulacra and simulacrum. It examines how the film's audio-visual elements shape perceptions of Islam within the broader social consciousness. The study brings to light the complex interplay of power dynamics and reveals how societal structures and practices contribute to the formation and perpetuation of these representations. Significantly, the research underscores the transformative potential of popular culture, presented in the film as an imaginative force, to shape the values and perspectives of contemporary young Muslim audiences, providing a new understanding of the role of popular culture in shaping religious identity. [ABSTRACT FROM AUTHOR]

Michel Houellebecq's representations of selfhood, both in his theoretical works and literary oeuvre, depict the self as unstable, decentered or fluid, evoking postmodern theory about the dissociative nature of the self. In his essay "Approaches to Distress" (1997), he posits the notion of the "mutable self," and, for the unmoored protagonists of his novels, self-identity becomes increasingly fractured and fluid as they are engulfed by what the author terms "the market society." Herein, the individual is enjoined to adapt and change (in consonance with market forces, consumer tastes, social trends) while fixed values and identities are swept away by the mutability of capitalism. In his representations of selfhood, Houellebecq evokes the theories of Baudrillard and Jameson concerning postmodern schizophrenia, the latter eschewing clinical definitions of the term to offer a diagnosis of the subject's fractured psychical apparatus and loss of subjectivity in postmodernity. [ABSTRACT FROM AUTHOR]

The paper examines Jean Baudrillard’s conception of society as the silent majority. Thus conceived society has been shaped against the background of digital media transformations. Paying attention to the relationship between citizens perceiving media messages, and the media themselves and the power creating spectacular media messages, became the basis for Jean Baudrillard’s model of the relationship between power and society. This relationship takes on the function of the silent majority. A society with these characteristics emerged as a reaction to the simulative nature of power. For Baudrillard, simulation processes are the starting point of his analysis of the political sphere. Understanding society as the silent majority introduces a diagnosis of the functioning of the politician-voter relationship.

Copyright of Journal of Research in Humanities is the property of Tarbiat Modares University Press 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.)

Nowadays, Augmented Reality (AR) technology is growing rapidly. AR is starting to be used in various lives, such as industry, health, transportation and military. AR not only enters into life, but brings humans to technological progress. On the other hand, AR can trap humans living in a reality dilemma. Jean Baudrillard believes that modern humans live in simulation. In fact, humans strive to live in hyperreality which makes humans live in a world according to their imagination. With this, the question arises whether AR makes humans live in a simulation or has it become hyperreality? How does AR affect contemporary human culture? To answer this, the literature study method is used. In short, it was found that there is a dilemma between the real and the virtual. This dilemma makes human life floating. The real and the virtual have their own advantages. By making the most of both, human life becomes easier and all life's problems can be solved more easily. [ABSTRACT FROM AUTHOR]

Urgency of the research. The real world, subjectively disfigured by contexts, points of view, political-economic predilections, sentiments of the "target audience", etc., has been transformed into an information-virtual plane of communication, cooperation, ideologisation, mediation, recognition, and comprehension in general. The modern hyperreal world needs rational, sceptical, objective analysis - critical analysis, where the significance of critical thinking of the individual in the context of civilisational development requires theoretical conceptualisation and practical implementation. Target setting. The trends in the development of information space, the danger of forming a simulative consciousness, and the distortion of reality in the process of superimposing hyperreality, or virtualisation, create a dubious illusion of transformation of a critically thinking personality. Hence the problem of forming mass consciousness to critically assess information flows, react to the effects of reality (simulacra), and interpret them towards demanipulativeness and objectivity. Actual scientific researches and issues analysis. Postmodernists relied on the basic works of J. Baudrillard, J.- F. Lyotard, J. Derrida considering the philosophical paradigm. In the context of analysing critical thinking, the emphasis is placed on the works of J. Haber, D. Halpern, K. Stanowicz, R. Ennis, M. Scriven, R. Paul and others. The research objective. To conceptualise critical thinking as a type of model of thinking that requires philosophical self-reflection based on the appeal to postmodern discourse. The statement of basic materials. The article conceptualises the essential meaning of critical thinking, its functionality, and prospects of development through the prism of postmodern discourse with a focus on the theory of simulacra by J. Baudrillard. Critical thinking is seen as a means of developing a culture of thinking in a hyperreal/virtualised world, which is oriented towards the principles of rationality, objectivity, credibility, and the processes of intellectualisation, selfreflection, self-awareness, etc. Conclusions. In the postmodern discourse of J. Baudrillard, critical reflection is not an important process and tool of the foundations of philosophical reflection, but informatisation and virtualisation of society have led to such a negative phenomenon as the manipulation of individual/society consciousness. The fact that critical thinking is formed and possessed by the individual is a pledge of intellectual virtues, and impartiality, and stands as an opponent of the hyperreal world. [ABSTRACT FROM AUTHOR]

Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs. The aim of research is by relying on the key concepts of Baudrillard's theories such as simulation and sign value and by examining two examples of Team Lab designer's interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources. The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world. In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created. The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to understand and judge, and the audience becomes a part of artwork and becomes an art object. The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology. [ABSTRACT FROM AUTHOR]

Jean Baudrillard the postmodern social theorist adopted a philosophical approach for explanation of the contemporary world. Baudrillard refers to the current state of affairs in the world as “Hyperreality” and believes that today the simulacra are more real than the reality itself. Art and cinema have also turned into tools of simulation and Baudrillard targets them with his penetrating critiques. The present essay is an effort to discuss Baudrillard’s solution for cinema’s survival. Among the achievements of the current essay, one can mention the fact that according to Baudrillard, contemporary cinema is so immersed in the simulacrum that it has become a means for simulation. Baudrillard is so pessimistic that it does not seem that in his view, there would be a path in the postmodern world to escape the simulacra. As a result, cinema does not also have any path to avoid it. The solutions suggested by the authors are basically focused on taking advantage of the simulation itself; of course, this simulation is intended to expose the simulacra to which we are referring as “simulating the simulacra”. Consequently, in this essay – through continuous references to Baudrillard’s ideas – it becomes evident that “simulating the simulacra” can occur through excessive insistence on simulation. Among the operational approaches that can assist it, one would refer to frequent use of digital special effects or “doubled simulation” toward the exposition of cinema’s simulation.

Problem Definition: Baudrillard's prominent popularity is due to the presence of essential theories such as Simulacrum and Hyperreality. He considers the post-modern world a simulacrum world in which the boundary between reality and representation has disappeared. In matching image and reality, he recounts four stages during which the image goes from the stage of reflecting reality to the stage of concealing reality, then to the stage of concealing the absence of reality. Finally, in the fourth stage, it reaches a stage that has nothing to do with reality and produces Simulacrum. This research explores Baudrillard's philosophy, mentions the four stages of Simulacrum, and reviews it in photography. For this reason, to explain the empirical evidence, Azadeh Akhlaghi's photo series entitled "By an eyewitness" has been chosen to answer the following questions: "What is the function of staged photography? How is Simulacrum depicted in this particular type of photography?"Objective: This research's primary goal is to review Simulacrum in staged photography, specifically in the photo series entitled "By an eyewitness".Research Method: This research is descriptive-analytical, and the data collection method is library-based.Results: This research describes the simulacrum theory and explains its different stages. While introducing staged photography, it concludes that according to the definition of Simulacrum and its function from Baudrillard's point of view, the main focus of the photo series entitled "By an eyewitness", is based on Simulacrum. The photos of this collection, like what Baudrillard mentions in the definition of Simulacrum, are opposed to simulation and have the power to produce reality; thus, they have obviously challenged the reality that happened in the past.

The tumultuous events of the political world have been successfully represented by British play wrights of the past two decades. Of those playwrights, David Hare is the one who has given special consideration to the dramatization of war, violence, and barbarism all around the globe. One of them is the Iraq war. Hare’s 2004 play, Stuff Happens, staged at the National Theater of London, was a striking example of a theatrical piece concerned with Western imperialism that committed crimes in Iraq in the name of democracy. The play makes it clear that the invasion of Iraq is a great fault from many perspectives as this attempt has brought people death, pain, and tears. To prove this statement, Hare has used verbatim techniques throughout the play. The playwright’s meticulous analysis of the war in Stuff Happens also reflects Baudrillard’s concept of simulacrum and his observations on Disneyland. For Baudrillard, Disneyland is a perfect model of hyperreality. In this context, Hare makes it clear that, during the war, Iraq became the hyperreal model of postmodern imperialism. In this study, the presence of the simulation universe in David Hare’s Stuff Happens was analyzed in light of Jean Baudrillard’s thoughts. [ABSTRACT FROM AUTHOR]

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF Dergisi) 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.)

Copyright of Journal of Sociological Context / Sosyolojik Bağlam Dergisi is the property of Journal of Sociological Context 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 essay focuses on Don DeLillo’s novel White Noise with the aim to understand its author’s reaction to the advent of the ‘civilization of appearance’. This analysis shows how DeLillo’s view is ambivalent: despite being indeed fascinated by the coming of the new world, he is still deeply interested in real-life events that can be concretely experienced in opposition to their representations and simulations. What strikes him most is individual death, namely a problem that cannot be subsumed within the symbolic order of the new society. In a certain sense, the novel depicts a ‘return of the repressed’ built on a disturbing ‘return of reality’. The novel oscillates between a sense of tragedy and a sense of irony (if not of the ridiculous). Therefore, on one side, it testifies to the arrival of what will be called ‘postmodernity’; on another side, it criticizes postmodernity by showing how its ideologists might be silly, trivial and grotesque. [ABSTRACT FROM AUTHOR]

What makes a Vice Chancellor a Vice Chancellor? This article assesses – through unobtrusive research methods– the 37 public profiles of Australia Vice Chancellors in the nation’s public universities. I deploy non-reactive methods to locate the characteristics deemed of value in each profile, such as qualifications, research field, teaching expertise, personal life, leisure pursuits, and educational and non-educational experiences. I track similarities and differences between the profiles and ponder the development of a ‘genre’ of shared characteristics. In this first international study, the goal is to assess whether recent controversies about university leadership are the result of a ‘few bad apples’ or a systematic valuing of particular attributes and the neglect of other, crucial necessities of university leadership, particularly after a pandemic.

Jean Baudrillard took the 'object' of everyday experience and developed it into the 'Object' that escapes the subject-object relationship, and in this way formulated a unique version of the theory of materialism. Taken in its extreme form, the later Baudrillard termed it the 'fatal strategy', that is, the strategy for eliminating the subject-object relationship by means of the endless proliferation of objects. This demonstrates the particular ways in which Baudrillard tried to respond to, criticize, and even shatter the subject-object relationship by completely subverting the logic of subjectivism. In his theoretical situating, the 'Object' will chase off the subject through 'seduction', 'disappearance', and 'catastrophe', and this 'revolt of the object' is in his view the only remedy for the crisis of modernity. In the author's view, however, such 'terrorism of objects' does not occur groundlessly, and Baudrillard's extremization of the 'logic of the object' should be viewed as resulting from the Marxism that was constantly evolving and deepening and its inheritance in the West, that were combined with the contemporary realities of capitalism. [ABSTRACT FROM AUTHOR]

Jean Baudrillard's highly controversial book America (published in French 1986, English translation 1988) constitutes the point of departure for an undergraduate class writing project which began in 2020. Students were encouraged to respond to the following prompt: what would an America 2.0 look like today in the midst of the Trump presidency? Here we have assembled and arranged the numerous fragments contributed by the students and the editors as a collaborative enterprise in thinking and writing differently. [ABSTRACT FROM AUTHOR]

The study focuses on the appearance of a distinctive feature of today, called «simulated reality», the defining feature of which is the presence of «multiplicity of realities», that is, countless «realities», the criterion for the truth of which is not verifiable knowledge, but a person's trust in one or another information, which is perceived as reality. It is shown that to a large extent the situation of «simulated reality» is caused by the emergence of the mass media space, which created conditions for the rapid spread of information. Notable features of the mass media such as one-sided presentation of information, uncertainty of the addressees and significant competition were emphasized; under such conditions, there is a need to create resources that will interest as many people as possible; In addition, one of the approaches to influencing the consumer of information is «priming» (focusing attention on the priority) and «framing» (using standard forms). It is clarified that the susceptibility of a person to certain influences, among other things, is made possible by the lack of knowledge outside their specialty, the speaker's use of statements that can captivate people (Gustave Lebon) and the influence on people's emotions through the use of symbols, ignoring specifics (Walter Lippmann). Protection from certain influences is ensured, in particular, through a high level of education and a desire to obtain new information (J. Bryant, S. Thompson). [ABSTRACT FROM AUTHOR]

Copyright of Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers 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.)

This paper considers the engagement by teachers and school leaders in England in educational practices that are both ‘research-informed’ and supportive of inclusive education. We do so by seeking to understand the benefits, costs, and signifying factors these educators associate with research-use. In undertaking the study, we first worked to develop and refine a survey instrument (the ‘Research-Use BCS survey’) that could be used to uniquely and simultaneously measure these concepts. Our survey development involved a comprehensive process that comprised: (1) a review of recent literature; (2) item pre-testing; and (3) cognitive interviews. We then administered this questionnaire to a representative sample of English educators. Although response rates were somewhat impacted by the recent COVID-19 pandemic, we achieved a sufficient number of responses (147 in total) to allow us to engage in descriptive analyses, as well as the production of classification trees. Our analysis resulted in several key findings, including that: (1) if respondents see the benefits of research, they are likely to use it (with the converse also true); (2) if educators have the needed support of their colleagues, they are more likely to use research; and (3) perceiving research-use as an activity that successful teachers and schools engage in is also associated with individual-level research use. We conclude the paper by pointing to potential interventions and strategies that might serve (at least, in the English context) to enhance research-use, so increasing the likelihood of the development and use of effective inclusive practices in schools.

In 2008 visual artist Jon Cattapan was deployed to Timor-Leste as an official Australian war artist. The fact that the Australian soldiers were conducting peacekeeping activities in Timor-Leste meant Cattapan could accompany them on patrols outside military bases. While on night patrols Cattapan, like the soldiers, wore a night vision monocle. This article addresses how, in subsequent paintings, Cattapan's saturation of night vision green paint speaks to broader issues of accelerating developments in contemporary militarised technology. Particular attention is paid to militarised technologies designed to augment or replace the capabilities of human vision. Jean Baudrillard's ideas of the 'violence of the global' are used to interrogate how Cattapan's paintings Night Patrols (Around Maliana) (2009) and Night Figures (Gleno) (2009) pose questions about current and future ramifications of perpetual war fought in physical and virtual spaces. This interrogation is conducted through close visual analyses of the two paintings. [ABSTRACT FROM AUTHOR]

Copyright of Contributions to Oriental Philology / Prilozi za Orijentalnu Filologiju is the property of Orijentalni institut 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.)

America is a literary work bringing a radical dimension to the reckoning of European and US culture based on travel observations. How the author conveys the reality presented / reflected to the reader is essential. Therefore, the overall aim of this study is to interpret and evaluate the concepts in "America" such as Hyperreality and Simulation with different perspective of Baudrillard on the American lifestyle and culture. In this study, Baudrillard's definition of "Astral America", apart from social and cultural elements, and the new meaning and perspective he wants to create in the reader are discussed. It also includes the investigation, questioning, and research of the modern Western understanding of the failed Europe and hyperreal America, characterizing the new order and free life. Whilst Europe is the unsuccessful party of utopia by creating a certain type of feudalism, aristocracy, bourgeoisie, ideology and revolution, America is where utopia is achieved. [ABSTRACT FROM AUTHOR]

The paper explores and critically interrogates the proliferation of online games as showcased in the rise of augmented reality (AR) games such as Harry Potter: Wizards Unite and the like using the concepts of "cybernetics" and "simulacra." These are two powerful notions evident in contemporary times that when combined can be used to unmask the inner workings of AR games and to critique 21st century's overdependency on and overdetermination of technology. The first task of the paper is to analytically decode AR game using the idea of cybernetics and John Cormack's creative ecosystem. Side by side this immanent exposition is the unmasking of such creative ecosystem that brings to light Jean Baudrillard's idea of hyperreality. The second task is to critically examine the philosophical underpinnings of AR that reiterates a transcendent critique by showing its implications and significations towards understanding the heterogeneity of human and machine interplay within the context of digital capitalism. [ABSTRACT FROM AUTHOR]

Drawing on interviews with 30 residents, users, and traders in Bankstown's town center, this article examines how built form facilitates a certain staging of the community, underpinning simulated encounters with the other. The article describes how the interviewees celebrate "differences" and "diversity" in their community, even as they reveal a certain indifference; signs of "difference" are substituted for genuine, reciprocal exchanges with the other, to the extent that the latter primarily appears in simulated form. Drawing on Baudrillard's concept of implosion, different ways in which otherness is simulated are discussed, ranging from programmed "cultural events" to staging of the other-as-victim. [ABSTRACT FROM AUTHOR]

The history of the twentieth century is filled with examples of mass murder and destruction of entire nations. Survivors of those traumatic events have horrific memories, which cannot be compared to anything that may happen in the course of an ordinary quiet life. However, coping strategies for overcoming the consequences of such traumatic experience were also developed in the twentieth century. It was made possible by conceptualisation of trauma as a cultural and psychological phenomenon at the level of theory and practice in various sciences. Introduction of this concept into the flesh and blood of modern (popular) culture, or rather its inclusion in the fabric of everyday cultural practices, transformed the concept of trauma into a mechanism of culture. Trauma developed into a concept, as we know it, because it functioned as one of the cultural clichés of the era, according to which economics, politics, science, literature, etc., are built. Of course, mass exterminations of people took place even before the twentieth century; however, they were not interpreted as historical traumas as we interpret them now because, firstly, a sense of distance from the event was not developed, which is characteristic of traumatic interpretation, and, secondly, the narratives corresponded to other cultural clichés (typical of those epochs), which served as the basis for political mechanics, economic processes, etc. This article identifies the main features characterising the functioning of trauma as a cultural mechanism. This objective is achieved by appealing to political economy and Baudrillard's and Derrida's critique of the victim order. In this study the term "loss" is used as an umbrella term for various traumatic constructs, such as the victim and the trauma itself. They are characterised as objects of a credit relationship between subjects (both individual and collective), according to which the victim (trauma) construct could be described as a debt obligation that must be fulfilled by paying off a symbolic debt. The study identifies all the acting forces (parties) in the trauma construct, which give form to this construct. The author draws attention to the spatial (topographical) accent of the traumatic narrative, as well as to the necessity of toponymic localisation of the active forces in space. [ABSTRACT FROM AUTHOR]

An attempt has been made to apply the scientific approaches of Jean Baudrillard’s anti-social theory, as well as the concepts of hyperreality, simulacra and simulation, used by him for the understanding of social phenomena, occurences and processes in the modern virtual space. The following interpretation of the characteristics of the Internet space has been proposed: a) the Internet can be considered within the framework of Jean Baudrillard’s concept as an example of antireality, since it is possible to preserve anonymity, invent a new life, use other people’s photos, etc.; b) communication in the virtual Internet is, in its essence, a simulation of communication, that is, its surrogate (simulacrum); in this case, the former contact form of communication is replaced by indirect – communication is carried out through social networks and messengers; c) there is a depletion of content and primitivization of expression of emotions, as in virtual communication uses a set of standard phrases, standard themes, emoticons, pictures, exchange of memes and other simulacra that are included in everyday social practices. On the example of the analysis of the results of the sociological research project, implemented at the State University of Management, the practical procedures of their interpretation within the framework of the scientific concept of Jean Baudrillard have been carried out. For example, it has been revealed, that despite the life experience of respondents in the majority of fake Internet content, they all also largely feel comfortable in a virtual, potentially dangerous environment. Moreover, this environment becomes vital for them: young people spread their lives, their thoughts, desires, value systems, hidden hopes and dreams on public display. This image of social activity becomes for the majority so necessary element of self-realization, that ceases to be a part of this process, and becomes independent, integral, lying outside the person phenomenon.

Los obituarios de intelectuales de renombre constituyen un tipo de noticia periodística con una organización temática y estructura textual específicas. Con el propósito de explicitar el discurso de la necrológica intelectual, se realizó un análisis de los obituarios de Jean Baudrillard publicados en tres diarios españoles: ABC, El Mundo y El País. Los resultados permiten discutir el modo en que la construcción de la noticia resulta modelada por los marcos ideológicos de los distintos medios, como si hubieran fallecido intelectuales diferentes; también se abre la discusión sobre el estatuto del intelectual en los imaginarios públicos contemporáneos.

Abstract: : This article discusses the role of language, especially the hyperbolic assembly, in the formation of a hyperrealist society, namely a society wrapped up and confined to imagination. This article is based on literary research with the subject of Indonesian-language online news media with the object of news titles that contain hyperbolic meanings. Furthermore, it was analyzed using Jean Baudrillard's hyperreality simulakra theory through four stages, namely (1) a sign that was originally a representation of reality, which then (2) distorted reality. In the next stage (3) the reality will be increasingly blurred and lost, so that (4) the sign becomes a representation of the representation itself. The results of the analysis show that the hyperbolic news titles presented by online media become agents of simulakra which lead the imagination of the public to think of hyperrealism. Hyperbole is a media tool for extracting economic benefits from a reality that may not be worthy of consumption to become news that is excited and viral. Supported by increasingly massive use of social media behavior, the hyperreality created through simulakra imagination becomes more perfect in the midst of society. Abstrak: Artikel ini membahas tentang peran bahasa, khususnya majas hiperbola, dalam pembentukan masyarakat hiperrealis, yaitu masyarakat yang terbungkus dan terkungkung dalam imajinasi. Artikel ini berbasis pada penelitian literer dengan subyek media berita online berbahasa Indonesia dengan obyek judul-judul berita yang mengandung makna hiperbola. Selanjutnya dianalisis menggunakan teori hiperrealitas simulakra Jean Baudrillard melalui empat tahap yaitu (1) tanda yang pada awalnya representasi realitas, yang kemudian (2) mendistorsi realitas. Pada tahap selanjutnya (3) realitas akan semakin kabur dan hilang, sehingga (4) tanda menjadi representasi atas representasi itu sendiri. Hasil analisis menunjukkan bahwa judul berita hiperbola yang disajikan oleh media online menjadi agen simulakra yang menuntun imajinasi masyarakat berfikir hiperrealisme. Hiperbola menjadi alat media untuk mengeruk keuntungan ekonomis sebuah realita yang bisa jadi tidak layak konsumsi menjadi berita yang heboh dan viral. Didukung dengan perilaku penggunaan media sosial yang semakin massive, maka hiperrrealitas yang tercipta melalui imajinasi simulakra menjadi semakin sempurna berada di tengah-tengah masyarakat.

Las tecnologías fotoquímicas de representación coincidieron con el desarrollo del telégrafo, verdadera externalización del sistema nervioso central. En ese mismo periodo, se inició la configuración de los impulsos eléctricos para el intercambio de información, lo que propició el desarrollo de un nuevo sistema de comunicación, un sistema acéntrico que liberaría la humanidad de un régimen comunicativo jerárquico. La nueva fórmula informativa, fundada sobre la hipotética libre y directa interacción entre individuos, se vio potenciada cuando la estructura de red, ejemplificada con los cables interoceánicos, se sirvió de la imagen cinematográfica y su aura de objetividad. Es en ese contexto, y bajo esa misma remediación que conjugaba el telégrafo con la imagen cinematográfica, que vemos el surgimiento de narrativas que se expresan a través de un cierta estética de database. En este ensayo analizaremos, entre otras, la obra de Dziga Vértov y su interés en desarrollar un sistema en el que el sentido es producido de manera abierta y libre en la interconexión global permitida por una red eléctrica. Veremos la forma en que la narración en la era eléctrica inició progresivamente a basarse exclusivamente en la imagen en movimiento. También analizaremos la forma en que Georges Méliès materializó un sistema de relaciones sociales de entretenimiento e información, así como la forma en que este gran ilusionista articuló la tecnología cinematográfica con la telegráfica, para así poner en movimiento una red de información social basada en las representaciones de la realidad, en pocas palabras, una sociedad del espectáculo.

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.)

This essay begins with a line from Friedrich Nietzsche's Beyond Good and Evil: "Assuming truth is a woman - what then?" As Nietzsche was the first Western philosopher to famously proclaim that truth is a lie, it seems appropriate to return to him in the post-truth era. Here I focus specifically on the links in Nietzsche among truth, woman, and seduction, bringing in Jean Baudrillard's work Seduction, in which he makes similar moves, referring specifically to what has befallen true seduction in the digital age. I then move to Alex Garland's 2014 film Ex Machina to argue that the Artificial Intelligence featured there reveals to us the links that still exist among truth, woman, and seduction, and she does so precisely through the medium in which "alternative facts" and "fake news" are propagated. She represents a counter-force to these deceptions. [ABSTRACT FROM AUTHOR]

Copyright of Diyalektolog - Uluslararası Sosyal Bilimler Dergisi is the property of Diyalektolog 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.)

Miron Białoszewski was a Polish poet, novelist and playwright. He left two narratives of his trip to the United States in the fall of 1982: the first one is a travel log entitled AAmeryka [Aamerica] published in 1988, five years after Białoszewski's death: the second one is a part of his Tajny Dziennik [Secret diary], published in 2012. One could say about America, that it is an "anti-diary." We can better appreciate the uniqueness of this book, if we compare his depiction of the New World, with what we can find in America [Amérique], antoher "anti-diary," written by Jean Baudrillard and published in 1986. Białoszewski contemplates America, maybe with some preconceived ideas, but he is shaped by his own historical experience and worldview. In his American trip, Baudrillard finds, above all, a confirmation of his catastrophist predictions. [ABSTRACT FROM AUTHOR]

Copyright of Contributions to Oriental Philology / Prilozi za Orijentalnu Filologiju is the property of Orijentalni institut 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.)

Copyright of Ekstasis: Revista de Hermenêutica e Fenomenologia is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

In The Crying of Lot 49, Thomas Pynchon presents a postmodern society of a huge replication of puzzling out of symbols and ciphers of entropy, which result in an immense number of interpretations and reflections. Therefore, the authentic interpretative communities of these allusions in Pynchon's narrative are both overwhelmingly definite and entropic. The Cryings sole protagonist, Oedipa, is loaded by a chaotic information overflow that yields anarchy and uncertainty. She also cannot find convincing answers to the mysterious yet realistic questions, hence, she gets alienated in the hyperreal puzzling world of uncorrelated information. Oedipa becomes mentally disoriented and indifferent as a result of the dominant hyperreality in the postmodern world. To trace this novels confusing symbols and allusions, which trap Oedipa as the most significant hyperreal source of this paper argument. There is a significant themato-intertextual analogy between Baudrillards America, with the notions of sign-based hyperreality and postmodernism and Pynchon's The Crying of Lot 49, for the latter portrays a modern society full of codified signs and simulation. This study used qualitative research method to trace and explain the various analogies and commonalities between the two authors and their postmodernist texts. [ABSTRACT FROM AUTHOR]

This article situates the recent concept of 'sharenting' in relation to the literature on the 'parenting culture'. Jean Baudrillard's notion of the ecstatic is then introduced and used as a lens through which to understand and critique this contemporary parenting culture. The discussion that follows covers: (1) ways in which social media (Facebook in particular) contribute to the development of new iterations of the individual subject (specifically, the archival subject and the shareveillant subject) and their relationship to parenting culture; (2) the congruence between those forms of subjectivity and Baudrillard's notion of the ecstatic; and (3) the resulting notion of ecstatic parenting. [ABSTRACT FROM AUTHOR]

En el presente artículo se analiza un aspecto de la obra del sociólogo francés Jean Baudrillard, específicamente la noción de equivalencia, la cual funciona como principiodual válido en tres disciplinas: la lingüística, la economía y el psicoanálisis. Este principio es de naturaleza dual y se presupone como noción fundamental del paradigma moderno, de modo que estas disciplinas se hallan aquí representadas por tres autores fundamentales de la modernidad: Ferdinand de Saussure, Karl Marx y Sigmund Freud. Las equivalencias aquí estudiadas sonel signo lingüístico (significante-significado) en Saussure, la teoría del valor (valor de uso-valor de cambio) en Marx y la identidad del sujeto (o latente y lo patente) en Freud. Se hace una revisión del modo en que Baudrillard lee a estos tres autores con el objetivo de asociar aquel a la posmodernidad como crisis intelectual. This article will analyze an aspect of the work of the French sociologist Jean Baudrillard, specifically the notion of equivalence, which serves as a valid dual principle in three disciplines: Linguistics, Economics and Psychoanalysis. This principle is of a two-pronged nature, and is presupposed as a fundamental notion of the modern paradigm; these disciplines are therefore represented in this work by three fundamental authors of modernity: Ferdinand de Saussure, Karl Marx and Sigmund Freud. The equivalences studied here are the linguistic sign (signified and signifier) in Saussure; the labor theory of value (value in use and value in trade) in Marx, and the identity of the subject (or latent and patent) in Freud. A review is made of the way in which Baudrillard reads these three authors with the aim of associating his body of work with the idea of postmodernity as a crisis of the intellect.

For most contemporary theorists, the death of postmodern thought as a theoretical impulse and critical divide has become a given. Yet, since the end of the 1990s a variety of important strands of social and political thought—queer theory, feminism, and postcolonialism to name but a few—have taken up and advanced poststructuralist emphases on language and discourse that are derivative of postmodern theory. In this context, the article considers two of the most central and original postmodern thinkers, Jean-François Lyotard and Jean Baudrillard, to illustrate the political entanglements of postmodern and liberal thought. Through this investigation the article illuminates the way these authors' works on the political potencies of language raise important questions for the relevancy of poststructuralist political thought for contemporary critical thinking in the context of the global expanse of neoliberal capital. The article initiates an original dialogue between two poststructuralist authors and raises this to a second engagement with current debates over the crises of critical thought and, by extension, carries contemporary relevance as well. [ABSTRACT FROM AUTHOR]

In this essay, Kip Kline and Kathleen Knight Abowitz use Walker Percy's novel The Moviegoer to examine the existential plight of young Americans today who, as they turn the broad and long corner from youth to adulthood, are engaged in a search for self‐knowledge and identity construction. They are particularly interested in the young adult as "college student," engaged in the work of postsecondary education, autonomous from but often still very closely connected to their family of origin in a culture saturated by late‐capitalist consumerism and commercial media. Kline and Knight Abowitz interpret this novel in order to examine a malaise specific to our current historical moment that may characterize how young people experience institutions such as U.S. colleges and universities as well as the institution of the contemporary American family. They also wish to show that particular themes in existentialism, which can be teased out in novels such as The Moviegoer, can assist our analysis of the contemporary malaise of the college student and provide theorists, educators, and advocates with possible ways of responding to it. [ABSTRACT FROM AUTHOR]

In his book City of Quartz from 1990, the urban theorist Mike Davis criticized Bertolt Brecht for having failed to explore the "real-life Mahagonny" and "thriving local labor movement" of Los Angeles while he lived there from 1941 to 1947. For someone who considered himself a dialectical thinker, Brecht showed surprisingly little interest in the specific historical dialectic that had shaped Los Angeles. Shortly after moving there, he had already accepted the myth of the "City of Angels" as a hellish materialization of advanced capitalism. The purpose of this essay, which mostly draws upon Brecht's journal entries, is not to refute Davis's assessment but to take a closer look at Brecht's preconceptions and perceptions of American culture and politics to better grasp why he largely ignored, or refused to engage with, the politically progressive developments and working-class movement in a place where he spent six years of his life. [ABSTRACT FROM AUTHOR]