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Develops a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure. This book represents an effort to rethink cultural theory from the perspective of a concept of cultural materialism, one that radically redefines postmodern formulations of the body.
Jean Baudrillard is one of the most celebrated and most controversial of contemporary social theorists. This major work occupies a central place in the rethinking of the humanities and social sciences around the idea of postmodernism. It leads the reader on an exhilarating tour encompassing the end of Marxism, the enchantment of fashion, symbolism about sex and the body, and the relations between economic exchange and death. Most significantly, the book represents Baudrillard′s fullest elaboration of the concept of the three orders of the simulacra, defining the historical passage from production to reproduction to simulation. A classic in its field, Symbolic Exchange and Death is a key source for the redefinition of contemporary social thought. Baudrillard′s critical gaze appraises social theories as diverse as cybernetics, ethnography, psychoanalysis, feminism, Marxism, communications theory and semiotics. This English translation begins with a new introductory essay.
Simulations never existed as a book before it was "translated" into English. Actually it came from two different bookCovers written at different times by Jean Baudrillard. The first part of Simulations, and most provocative because it made a fiction of theory, was "The Procession of Simulacra." It had first been published in Simulacre et Simulations (1981). The second part, written much earlier and in a more academic mode, came from L'Echange Symbolique et la Mort (1977). It was a half-earnest, half-parodical attempt to "historicize" his own conceit by providing it with some kind of genealogy of the three orders of appearance: the Counterfeit attached to the classical period; Production for the industrial era; and Simulation, controlled by the code. It was Baudrillard's version of Foucault's Order of Things and his ironical commentary of the history of truth. The book opens on a quote from Ecclesiastes asserting flatly that "the simulacrum is true." It was certainly true in Baudrillard's book, but otherwise apocryphal.One of the most influential essays of the 20th century, Simulations was put together in 1983 in order to be published as the first little black book of Semiotext(e)'s new Foreign Agents Series. Baudrillard's bewildering thesis, a bold extrapolation on Ferdinand de Saussure's general theory of general linguistics, was in fact a clinical vision of contemporary consumer societies where signs don't refer anymore to anything except themselves. They all are generated by the matrix.In effect Baudrillard's essay (it quickly became a must to read both in the art world and in academe) was upholding the only reality there was in a world that keeps hiding the fact that it has none. Simulacrum is its own pure simulacrum and the simulacrum is true. In his celebrated analysis of Disneyland, Baudrillard demonstrates that its childish imaginary is neither true nor false, it is there to make us believe that the rest of America is real, when in fact America is a Disneyland. It is of the order of the hyper-real and of simulation. Few people at the time realized that Baudrillard's simulacrum itself wasn't a thing, but a "deterrence machine," just like Disneyland, meant to reveal the fact that the real is no longer real and illusion no longer possible. But the more impossible the illusion of reality becomes, the more impossible it is to separate true from false and the real from its artificial resurrection, the more panic-stricken the production of the real is.
Examines modern critical theory, feminism, and psychoanalysis, and discusses the modern concept of sex roles and the political aspect of human sexuality.
Jean Baudrillard (1929-2007) was a controversial social and cultural theorist known for his trenchant analyses of media and technological communication. Belonging to the generation of French thinkers that included Gilles Deleuze, Jean-François Lyotard, Michel Foucault, and Jacques Lacan, Baudrillard has at times been vilified by his detractors, but the influence of his work on critical thought and pop culture is impossible to deny (many might recognize his name from The Matrix movies, which claimed to be based on the French theorist's ideas). Steve Redhead takes a fresh look at Baudrillard in relation to the intellectual and political climates in which he wrote. Baudrillard sought to produce a theory of modernity, but the modern world of the 1950s was radically different from the reality of the early twenty-first century. Beginning with Baudrillard's initial publications in the 1960s and concluding with his writings on 9/11 and Abu Ghraib, Redhead guides the reader through Baudrillard's difficult texts and unorthodox views on current issues. He also proposes an original theory of Baudrillard's relation to postmodernism, presenting the theorist's work as "non-postmodernist," after Bruno Latour's concept of "non-modernity." Each section of the Reader includes an extract from one of Baudrillard's writings, prefaced by a short bibliographical introduction that places the piece in context and puts the debate surrounding the theorist into sharp perspective. The conflict over Baudrillard's legacy stems largely from the fact that a comprehensive selection of his writings has yet to be translated and collected into one volume. The Jean Baudrillard Reader provides an expansive and much-needed portrait of the critic's resonant work.
Containing two previously unpublished essays by Jean Baudrillard, this book provides a series of dazzling demonstrations of the power of Baudrillard’s thought from many of his most accomplished commentators.
"This is the first full-scale critique in English of the work of Jean Baudrillard, a fascinating French thinker who has, during the past twenty years, opened new lines of cultural thought and discourse while sharply questioning many of the Marxian, Freudian, and structuralist positions that were characteristic of the previous era of radical social theory. ... The author argues that through today, Baudrillard is celebrated as one of the most innovative thinkers in the discourses of poststructuralism and postmodernism, his reception has been remarkably uncritical and ahistorical. There has been little analysis of his complex intellectual trajectory, of his involvement in a series of debates within the French post-May 1968 intellectual scene, and of his dramatic transformations in thinking and writing in the 1970's and 1980's. In this book, the author begins the process of mapping out, contextualizing, and critically appraising Baudrillard's trajectory. He deals first with Baudrillard's early writings, notably The System of Objects and the Consumer Society, which form the original matrix of his thought. The remainder of the book is organized thematically, analyzing Baudrillard's early development of a neo-Marxian social theory (The Mirror of Production), his break with Marxism (Symbolic Exchange and Death), his turn to a postmodern position (Forget Foucault and Of Seduction), and the surprising developments in his work of the 1970's and 1980's (America and The Devine Left)."--Cover.
Jean Baudrillard is one of the most famous and controversial of writers on postmodernism. But what are his key ideas? Where did they come from and why are they important? This book offers a beginner's guide to Baudrillard's thought, including his views on technology, primitivism, reworking Marxism, simulation and the hyperreal, and America and postmodernism. Richard Lane places Baudrillard's ideas in the contexts of the French and postmodern thought and examines the ongoing impact of his work. Concluding with an extensively annotated bibliography of the thinker's own texts, this is the perfect companion for any student approaching the work of Jean Baudrillard.
"In 1996 Jean Baudrillard scandalized the art world by denouncing a "conspiracy" of art. But most missed the point. He wasn't attacking art, because art has ceased to exist - only its claim to privilege. Spiraling from aesthetic nullity to commercial frenzy, art has entered a "transaesthetic" state. The Conspiracy of Art examines its complicitous dance with politics, economics, and media, including Abu Ghraib's reality show. Baudrillard reveals the premises of his "radical thought" in the absurdist logic of pataphysics (his first unpublished text on Alfred Jarry), and in the Theater of Cruelty (a talk on Antonin Artaud with life-long collaborator Sylvere Lotringer)."--BOOK JACKET.
Working his way through the various spheres and systems of everyday life-the political, the juridical, the economical, the aesthetic, the biological, among others-he finds that they are all characterized by the same non-equivalence, and hence the same eccentricity. Literally, they have no meaning outside themselves and cannot be exchanged for anything. Politics is laden with signs and meanings, but seen from the outside it has no meaning. Schemes for genetic experimentation and investigation are becoming infinitely ramified, and the more ramified they become the more the crucial question is left unanswered: who rules over life? Who rules over death? Baudrillard's conclusion is that the true formula of contemporary nihilism lies here: the nihilism of value itself. This is our fate, and from this stem both the happiest and the most baleful consequences. This book might be said to be the exploration, first, of the 'fateful' consequences, and subsequently-by a poetic transference of situation-of the fortunate, happy consequences of impossible exchange.
