HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE.

Presented as Partial Fulfillment of the Requirements for the Attainment

of the

Sarjana Sastra

Degree in English Language and Literature

By:

Azzan Wafiq Agnurhasta

08211141012

STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE

DEPARTMENT OF ENGLISH LANGUAGE EDUCATION

FACULTY OF LANGUAGES AND ARTS

YOGYAKARTA STATE UNIVERSITY

ii

q

ur t

Approved on 11 June 2014

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

Eko Rujito Dwi Atmojo, M. Hum.

NIP 19760622 200801 1 003

ii

q

ur

t

!

Approved on 11 June 2014

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

Eko Rujito Dwi Atmojo, M. Hum.

NIP 19760622 200801 1 003

ii

q

ur t

Approved on 11 June 2014

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

Eko Rujito Dwi Atmojo, M. Hum.

NIP 19760622 200801 1 003

iii

q

ur

Accepted by the Board of Examiners of Faculty of Languages and Arts of

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

degree in English Language

and Literature.

o

o

xaminers

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

: Eko Rujito D. A., M. Hum. _________________

First Examiner

: Ari Nurhayati, M. Hum.

_________________

Second Examiner : Sugi Iswalono, M. A.

_________________

Yogyakarta, 14 July 2014

Faculty of Languages and Arts

Yogyakarta State University

Dean

Prof. Dr. Zamzani

NIP. 19550505 198011 1 001

iii

A THESIS

By:

AzzanWafiqAgnurhasta

08211141012

Accepted by the Board of Examiners of Faculty of Languages and Arts of

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

degree in English Language

and Literature.

Board of Examiners

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

: Eko Rujito D. A., M. Hum. _________________

First Examiner

: Ari Nurhayati, M. Hum.

_________________

Second Examiner : Sugi Iswalono, M. A.

_________________

Yogyakarta, 14 July 2014

Faculty of Languages and Arts

Yogyakarta State University

Dean

Prof. Dr. Zamzani

NIP. 19550505 198011 1 001

iii

A THESIS

By:

AzzanWafiqAgnurhasta

08211141012

Accepted by the Board of Examiners of Faculty of Languages and Arts of

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

degree in English Language

and Literature.

Board of Examiners

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

: Eko Rujito D. A., M. Hum. _________________

First Examiner

: Ari Nurhayati, M. Hum.

_________________

Second Examiner : Sugi Iswalono, M. A.

_________________

Yogyakarta, 14 July 2014

Faculty of Languages and Arts

Yogyakarta State University

Dean

Prof. Dr. Zamzani

iv

NIM

Program

StudiFakultas

Judul

:

:

:

:

08211141012

Bahasa dan Sastra Inggris

Bahasa dan Seni

HYPERREALITY IN RADIOHEAD S

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

TO CAPITALISM, CONSUMERISM, AND

MECHANISATION IN POSTMODERN CULTURE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penyelesaian studi akhir di perguruan tinggi lain, kecuali pada bagian-bagian

tertentu yang saya ambil sebagai acuan dengan mengikuti tata cara dan etika

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Yogyakarta, 12 Juni 2014

Penulis,

AzzanWafiqAgnurhasta

iv

NIM

Program

StudiFakultas

Judul

:

:

:

:

08211141012

Bahasa dan Sastra Inggris

Bahasa dan Seni

HYPERREALITY IN RADIOHEAD S

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

TO CAPITALISM, CONSUMERISM, AND

MECHANISATION IN POSTMODERN CULTURE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penyelesaian studi akhir di perguruan tinggi lain, kecuali pada bagian-bagian

tertentu yang saya ambil sebagai acuan dengan mengikuti tata cara dan etika

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Yogyakarta, 12 Juni 2014

Penulis,

AzzanWafiqAgnurhasta

iv

NIM

Program

StudiFakultas

Judul

:

:

:

:

08211141012

Bahasa dan Sastra Inggris

Bahasa dan Seni

HYPERREALITY IN RADIOHEAD S

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

TO CAPITALISM, CONSUMERISM, AND

MECHANISATION IN POSTMODERN CULTURE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penyelesaian studi akhir di perguruan tinggi lain, kecuali pada bagian-bagian

tertentu yang saya ambil sebagai acuan dengan mengikuti tata cara dan etika

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Yogyakarta, 12 Juni 2014

Penulis,

v

believe.

We end our life when we stop thinking.

Once you are frightened, at that time you will be killed.

Don t complaint; everyone has but .

Patience has no limit, what is limited is human s power to

be patient.

Accept who you are and be grateful for what you have.

Right there, happiness will followyou.

(Anestiya F. Rosyada)

Baik jadi orang penting, tetapi lebih penting jadi orang

baik.

vi

vii

thesis. My sincere gratitude is also delivered to:

1. Sugi Iswalono, M.A., as my first consultant and, Eko Rujito, M. Hum., as

my second consultant, who have given me priceless and valuable

knowledge, time, guidance, and patience so that I could write this thesis;

2. Dr. Widyastuti Purbani, M.A., as my academic supervisor and my second

mother, who has guided me during my study in this university;

3. all my lecturers who have given me valuable knowledge so that I could

write my thesis;

4. my parents, Agus Haryadi and Noor Anis Kundari, who always pray the

best things for me and who always give every struggle for my best;

5. my grandfather, the toughest person I have ever met, Lasiman B.A. for

inspiring me much;

6. my siblings, Yusa, Fahma, and Risa, for the annoyance and noise;

7. Grace, my lovely guitar, for all the notes we have;

8. my only sun, my stars, and my candles, thanks for the light;

9. Thom Yorke, who inspires me much both in music and life;

10. Steven Gerrard and Liverpool, for being my spirit, YNWA!;

11. all my friends in Literature class 2008, Elite FC, Bodreg FC, Happy Tree

Friends, KKN 41, and ex-Jewel of Heaven band; and

12. all people, whom I cannot mention by name, who helped me in finishing

this thesis.

Writing this thesis would have been impossible without their assistance. I do

realise that my thesis has not been perfect yet. Thus, any suggestions and criticism

are indeed needed to improve my thesis.

Yogyakarta, 12 June 2014

Azzan Wafiq Agnurhasta

viii

RATIFICATION SHEET ... iii

SURAT PERNYATAAN

... iv

MOTTOS ... v

DEDICATIONS ... vi

ACKNOWLEDGEMENTS ... vii

TABLE OF CONTENTS ... viii

LIST OF FIGURES ... xi

LIST OF APPENDICES ... xii

ABSTRACT ... xii

CHAPTER I INTRODUCTION ... 1

A. Background of the Study ... 1

B. Research Focus ... 5

C. Research Objectives... 6

D. Research Significance ... 7

CHAPTER II LITERATURE REVIEW ... 8

A. Theoretical Review ... 8

1. Jean Baudrillard s Theory of Postmodernism... 8

a. The Orders of Simulacra ... 10

1) Counterfeit ... 10

2) Production... 10

3) Simulation... 11

b. The Causes of Hyperreality... 13

1) Media Power... 13

2) Technological Advancement ... 16

3) Hegemonic Capitalism... 17

4) Commercialism and Consumerism... 18

ix

5) Fantasy over Reality ... 21

2. Postmodern Culture... 22

a. Capitalism... 23

b. Mechanisation ... 27

c. Consumerism... 29

3. Radiohead... 31

a.

The Bends ...

33

b.

OK Computer ...

35

c.

Kid A...

37

B. Previous Research Findings... 39

C. Conceptual Framework ... 39

CHAPTER III RESEARCH METHOD ... 42

A. Type of the Research... 42

B. Data and Source of Data ... 43

C. Research Instrument... 43

D. Data Collecting Technique... 44

E. Data Analysis Technique ... 45

F. Data Trustworthiness ... 45

CHAPTER IV FINDINGS AND DISCUSSION ... 47

A. Hyperreality in Radiohead s

The Bends, OK Computer,and

Kid A

Albums... 47

1. Street Spirit (Fade Out)

..

47

2. Paranoid Android

..

. 50

3. (Nice Dream)

..

... 52

4. Fake Plastic Trees

...

.. 53

5. High and Dry

...

... 57

x

B. The Causes of Hyperreality in Radiohead s

The Bends, OK Computer,

and

Kid A

Albums... 72

1. Media Power ... 72

2. Technological Advancement... 77

3. Hegemonic Capitalism... 80

4.Commercialism and Consumerism ... 83

C. The Impacts of Hyperreality in Radiohead s

The Bends, OK Computer,

and

Kid A

Albums ... 85

1. Automatism... 85

2. Terrorism... 86

3. Pessimism... 87

4. Consumer Society ... 89

5. Fantasy over Reality... 91

CHAPTER V CONCLUSIONS ... 94

REFERENCES ... 98

APPENDICES ... 101

xii

Albums

..

.. . 104

B. The Causes of Hyperreality in Radiohead s

TheBends, OK

Computer,

and

Kid A

Albums

... 107

C. The Impacts of Hyperreality in Radiohead s

The Bends, OK

Computer,

and

Kid A

Albums

... 111

Appendix II. Radiohead s

The Bends, OK Computer,

and

Kid A

Selected Lyrics

xiii

ABSTRACT

This research aims to identify the phenomena of hyperreality in

Radiohead s three albums,

The Bends, OK Computer,

and

Kid A, and to explain

the causes and the impacts of hyperreality in relation with capitalism,

consumerism, and mechanisation in postmodern culture. To answer the objectives,

this research employed the theory of postmodernism by Jean Baudrillard.

The research is qualitative in nature. The main source of this research is

three albums of Radiohead entitled

The Bends

(1995), OK Computer

(1997),

and

Kid A(2000). The data are some phrases, clauses, and sentences related to the

orders, the causes, and the impacts of simulacra in relation with capitalism,

consumerism, and mechanisation in postmodern culture. The data analysis was

conducted through five steps: listening to the albums, scrutinising the lyrics,

comparing the lyrics to Baudrillard s theory of simulacra and hyperreality,

making a data sheet, and analysing and interpreting, making the interrelation

between the description of the data and the theory. To obtain trustworthiness, the

researcher used peer debriefing method. To gain more credibility, the researcher

used source triangulation techniques by collecting data from some particular

books related to postmodern culture and Radiohead s

The Bends, OK Computer,

and

Kid A

albums.

The findings of this research show that there are ten songs that represent

the third order of simulacra in the form of hyperreality: (1) Street Spirit (Fade

Out) , (2) Paranoid Android , (3) (Nice Dream) , (4) Fake Plastic Trees , (5)

High and Dry , (6) Airbag , (7) Climbing Up the Walls , (8) Fitter Happier ,

(9) Motion Picture Soundtrack , and (10) In Limbo . From the analysis, it can

be concluded that there are four causes of hyperreality: (1) media power, (2)

technological advancement, (3) hegemonic capitalism, and (4) commercialism and

consumerism. Meanwhile, there are five impacts of hyperreality: (1) automatism,

(2) terrorism, (3) pessimism, (4) consumer society, and (5) fantasy over reality.

Keywords: hyperreality, Radiohead s

The Bends, OK Computer,

and

Kid

Aalbums, capitalism, consumerism, mechanisation, postmodern culture

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from the collection of

working-class songs in the 1940s, the BBC's broadcast of radio

balladsin the 1950s and the folk clubs of the 1960s - can be understood

as a rather crude attempt by the British Communist Party (CP) to

dominate radical politics.

Since then, the lyrics had been tending to be more political and containing more

social, economic, or environmental issues, which were started in 1960s by

musicians like The Beatles, Sting, and Bob Geldof. Then, the issues were further

developed in 1970s by some bands, such as Pink Floyd and Led Zeppelin. Both of

the bands mostly criticise the early postmodern world which is controlled by

money and capital power through their songs. Inspired mostly by those two bands

(Footman, 2007: 31), Radiohead have continued their idea since the 1990s. The

band exactly inherits what their predecessors have done in the past, especially The

Beatles whose

White Album

becomes their major influence.

Radiohead are an English alternative rock band from Abingdon, Oxfordshire

formed in 1985. The band consists of Thom Yorke (lead vocals, rhythm guitar,

piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed

O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar, synthesisers) and

Phil Selway (drums, percussion). They have made eight albums:

Pablo Honey

(1993),

£

h

¤

B

¤

n

¥¦

(1995),

§ ¨

Comput

¤

r

(1997),

¨

i

¥

A

(2000), Amn

¤

si

©ª

(2001),

«© ¬

l to the Thief

(2003), In Rainbows

(2007),

and

The King of Limbs

(2011).

Among those eight albums made by Radiohead, the researcher focuses on music

in maintaining ideology in Radiohead s three albums,

The Bends, OK Computer,

and

Kid A.

Radiohead exactly develop what their predecessors have done in the past and

do more works to satirise the postmodern world by using enigmatic philosophy

through their albums. The targets they attack are the consumerism, capitalism, and

mechanisation in the postmodern world, especially in the British postmodern

culture. Thom Yorke, the main songwriter in the band, often puts some unique

words and metaphors to represent the social phenomena happening in the society,

especially in those three albums which are closely related to Jean Baudrillard s

concept of postmodern culture.

In

The Bends

album released in 1995, Radiohead firstly used Baudrillard s

concept of postmodern culture. The phrase the bends as the title is a metaphor of

comparing the early success of the band to the disease that occurs from rapidly

changing pressure (Randall, 2000: 98). Although the music sounds mainstream in

Brit Pop genre, the lyrics are beyond what people imagine. For example, in their

second single, Fake Plastic Trees , with a lovely and smooth sound people will

imagine that it is only a usual love song, but it is not about a usual love because it

talks about a love for gold or can be defined as consumerism which is one of

Baudrillard s key concepts in postmodern culture.

Next, in

­®

Comput

¯

r

album released in 1997, Radiohead focused not only

on consumerism like in the previous album, but also on the effects of capitalism

and mechanisation to people s life. Consumerism, capitalism, and mechanisation

are the evil products of modernisation that have powerful effects in human s life

until now. What the band tries to criticise in the album are the human s

dependence to technology or machine and the effects of capitalism that create

desperation to innocent people. The first track of the album, Airbag , perfectly

shows their opinion on how machine or technology is designed not only to help

people, but also to harm or maybe to kill people. Another song, No Surprises ,

shows how a person is entrapped in a great desperation because of the evil

capitalism. The person finally decides to commit suicide rather than keep living in

a capitalist world, although it seems a bit controversial as it talks about the beauty

of suicide. What is drawn in the song is the representation of Baudrillard s

statement that the power of capitalism is too strong as it is hegemonic and the

victims are weak people who can only be entrapped in desperation with no way

out to escape from the power of it.

The next album,

®

i

°

A, is the most successful album of Radiohead as it led

them to Grammy glory by winning the best alternative album of 2001. Also, it

debuted to be the king in Billboard chart, a rare success for a British band in US

music world. Beside its commercial success, the album perfectly captures the

social changes in the 20

th

_{century that refer to what Baudrillard calls as simulacra}

and hyperreality. The seventh track, In Limbo , with the chorus which is

repeated in a number of times, You re living in a fantasy world, gives a perfect

example that what people face is not real as it is only a fantasy. Therefore, it is in

line with Baudrillard s concept of simulation where capitalist society is saturated

by fantasies and, specifically, representations (Kaye in Reisch and Forbes, 2009:

122).

Overall, Radiohead s albums are a real representation of what Baudrillard

calls as simulacra and hyperreality. Then, the research focuses on how

Radiohead s

±

h

²

B

²

n

³´µ ¶ ·

Comput

²

r,

and

·

i

³

A

albums satirise consumerism,

mechanisation, and capitalism in postmodern culture by relating them to

Baudrillard s concept of postmodernism: simulacra and hyperreality.

B. Research Focus

Consumerism, capitalism, and mechanisation are some key issues in

postmodern culture. Since the emergence of modernisation, they become a part of

the greatest globalisation problems. Radiohead, an alternative rock band from

England, try to speak how dangerous the problems are throughout their three

albums,

±

h

²

B

²

n

³´µ ¶·

Comput

²

r,

and

·

i

³

A.

They use music media to satirise

the globalisation problems. Enriched with so many philosophical values, they use

their album to increase people s awareness on the topics and to show how the evil

effects of globalisation influence culture and society.

The theory used to analyse the topic is Jean Baudrillard s concept of

postmodernism, taken from his book

¸¹

mulacra and Simulation. Baudrillard is one

of writers who speak about the world s postmodern condition. His point is that

people are lost contact with realities. The reason is because people are controlled

by a strong capitalist power and its hegemony (Baudrillard, 1994: 105). As stated

by Kaye (in Reisch and Forbes, 2009: 122), capitalist society is saturated by

fantasies and, specifically, representations. The representations are too strong to

break as they have a very great power so that people cannot distinguish the reality

and the representation and it is known as what Baudrillard calls as simulacra and

hyperreality.

Then, the object of analysis of the study is the satire of consumerism,

capitalism, and mechanisation in postmodern culture found in the landmarks of

the 1990 s recording,

º

h

»

B

»

n

¼½

and

¾ ¿

Comput

»

r,

and also an album which

brought postmodernism in music culture,

¿

i

¼

A. The research identifies how the

idea of postmodernism can be developed in the albums and how they satirise the

issues through some unique symbolism.

C. Research Objectives

Based on the research focus above, the objectives of this research are as follows:

1. to reveal how the phenomena of hyperreality as theorised by Jean

Baudrillard is enacted in Radiohead s

º

h

»

B

»

n

¼½ À ¾ ¿

Comput

»

r,

and

¿

i

¼

A

albums.

2. to analyse the causes of hyperreality employed in Radiohead s

º

h

»

B

»

n

¼½À ¾ ¿

Comput

»

r,

and

¿

i

¼

A

albums in relation with capitalism,

consumerism, and mechanisation in postmodern culture.

3. to explain the impacts of hyperreality employed in Radiohead s

Á

h

Â

B

Â

n

ÃÄÅ ÆÇ

Comput

Â

r,

and

Ç

i

Ã

A

albums in relation with capitalism,

consumerism, and mechanisation in postmodern culture.

D. Research Significance

The study is expected to give some contributions to the following parties:

1. Theoretically

It is expected that this research will give more information about

postmodernism, especially in the British modern music. For this

research carries out the forms, functions, and the significance of the

Baudrillard s concept of postmodernism used in British modern

music s song, this research is expected to give contribution as a

valuable source or reference to related study.

2. Practically

It is expected that the research gives a better understanding of

postmodernism that it teaches the readers about the song making

technique of a great band and gives the readers the way how to

represent their idea in a song by a specific ideology.

8

ÑÒÓÔ ÕÒÖ×Ø ÙÚ

,

Û ÒÓ ÕÒ ÜÙÖÝÔ Û ÓØ Ò Ý ÓØÙÚÖØ ÞÚÙ ÚÙßÓ ÙÛ

,

ÓÔ ÜÓ ßÓÜÙÜ ÓàØ á âá ÞÚ × ÖÚØÔ ã ÑÒÙâÓ ÚÔ Ø× Ö ÚØÓÔ ØÒÙØÒÙá Ú ÙØ Ó ÕÖÝÚÙßÓ ÙÛÛÒÓÕÒ Õá àÔÓÔ ØÔáâäÙÖàåÖÞÜ ÚÓÝ ÝÖÚÜæÔØÒÙá Úç áâ ×áÔ Ø èá ÜÙÚàÓÔ è ÖàÜ ×áÔ Ø èá ÜÙÚà ÕÞÝØÞÚÙ

(

Ó àÕÝ ÞÜÓ àé Õá àÔÞè ÙÚÓÔ è

,

ÕÖ×ÓØÖÝÓÔ è

,

ÖàÜè ÙÕÒ ÖàÓÔ ÖØ Óá à

).

Ñ ÒÙÔÙÕá àÜ×ÖÚØÓÔØÒÙêÖ Õë éÚá ÞàÜáâì ÖÜÓá Ò ÙÖÜæÔí îïðïñòóô õö÷øù

put

ï

r,

ÖàÜöú òûÖÝ êÞèÔ

.

Ñ ÒÙØÒÓÚÜ× ÖÚØÓÔØ ÒÙÚÙßÓÙÛáâ× ÚÙßÓá ÞÔÚÙÔ ÙÖ ÚÕÒ â ÓàÜÓ àéÔ

.

Ñ Ò ÙÝÖÔ Ø×ÖÚØÓÔÕá àÕÙ×ØÞÖÝâ ÚÖèÙÛá ÚëÛÒÓ ÕÒÔ ÒáÛ ÔØÒÙèÓ àÜèÖ×áâÒáÛ Ø ÒÓÔÚÙÔÙÖÚ ÕÒÓÔÕá àÜÞÕØÙ Üã

A

ü Ë ý þ

or

þ

ti

ÿ Ìþ

vi

þ

w

ü

J

þ

rill

Ëý þ

s

ory

Ê

ostm

þ

rnism

äÙÖàåÖÞÜÚÓ ÝÝ ÖÚÜÓÔÖÚÙ àÕÒ× ÒÓÝáÔ á× ÒÙÚÛÒáÛ ÖÔêá Úà Ó àì ÙÓ èÔá à

27

äÞÝç

1929.

Ù ÓÔ Óàâ ÝÞÙàÕ ÙÜ êç ÙÚèÖà Úá èÖàØÓÕÔ ÖàÜ × ÒÓ ÝáÔ á× ÒÙÚÔ

,

Ô ÞÕÒ ÖÔ ÚØ ÒÞÚ ÕÒá× ÙàÒÖÞÙÚ

,

ÚÓÙÜ ÚÓÕÒ Ó ÙØ ÔÕÒÙ

,

ÖàÜ ÖÚØÓà ÙÓÜÙééÙÚ

(

Öà Ù Ó à Öà Ù

, 2000:

3).

Óë Ù ÓÙØ ÔÕÒÙ ÖàÜ ÙÓ ÜÙééÙÚ

,

ÒÙ ÖÝÔ á Õá èè ÙàØÔ á à ÖÚÓÔ è

,

êÞØ Ó à Ö

ÜÓââ ÙÚÙàØ× Ù ÚÔ × ÙÕØÓßÙ

.

Ùâá ÕÞÔÙÔÒÓèÔ ÙÝâØ áÖØØÖÕëÕá àÔÞèÙÚÓÔ èê çÕá è êÓàÓ àéØ ÒÙ Õá àÕÙ×ØáâØÒÙ á ÝÜæÖÚÓÔèÛ ÓØ ÒÔ ØÚÞÕØ ÞÚÖÝÓÔ èÖàÜÔÙèÓáØ Ó ÕÔ ã ÙØ ÒÙàÓ àâÙÚÔØÒÖØ Ø ÒÙ ÓàÜÓ ßÓÜÞÖÝ ÔÞê ÙÕØ ÓÔ × ÚÙÕÙÜÙÜ êç Ø ÒÙ ÔáÕÓ ÖÝ ÔçÔ Ø Ùè

(

ÖàÙ

, 2000: 76).

ÞÚØ ÒÙÚèáÚÙ

,

Ò Ù Ö ÚéÞÙÔ Ø ÒÖØ × Ùá× ÝÙ ÖÚÙ á àÝ ç Ùß ÙÚ éÓ ßÙà ØÒÙÓÚ ÓÜÙàØ ÓØ Ó ÙÔ ê ç Ø ÒÙ Ô á ÕÓ ÖÝ ÔçÔ ØÙèÔ ØÒÖØ × ÚÙÕ Ù ÜÙ ØÒÙè

.

á Ú ÓàÔ Ø ÖàÕÙ

,

×Ùá× ÝÙ Û Òá Ö ÕÕÙÔ Ô Ó àØ ÙÚà ÙØ áâØ Ùà ÖàÜ Ô × ÙàÜ ØÒÙÓÚ Ø Ó èÙ Þ×ÜÖØÓàé Ø ÒÙèÔ ÙÝ ß ÙÔ Ó à Ô á ÕÓ ÖÝ è ÙÜÓ Ö Ö ÚÙ Õá àÔ Ó ÜÙÚÙ Ü Ô á èÙ

!

,

" # $% &" !

' # ( ) *)% ! "

.

+, % %

,

#% -"

" , )%& -

.

. # # " ! ( - /)% % # #" *# % -

.

0

# # ) "" 1 # %# %

( 2#( # " ## )" * -

(

3

, 2000:27).

0 ## , %'" * # % - " # * # )"

# -

.

0 1 ) ." # # *

1950

4 " '%

,

! " , $ %* & %-(#" %% )*' %* # )%

" 1 # ) *

.

0 ' " ' , ** - *

-" #

.

5 )

,

/ )% %

(

3

, 2000: 29-30)

" 6

7 %*!*8 9:;' ( ) )(% "

,

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,

* #

.

= !

' # * * ) " '' % % #

,

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,

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7 ' " #%%- " % -& ' # ) ' )(% #

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,

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,

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.

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?@AB CD

r

E C

r s

FGH

imul

?I

r

? JKL

ount

C

r

GC

it

MN O P NQR SO TP N UTV RT US PO WXYZ[ TZ \ QO[ Q O P NQR V UWO ]Z ]N P[ QRWR US NQR [YZ PPO [Z Y

or pre-modern period, from the Renaissance to the Industrial

Revolution. It is based on the natural law of value in whichthe value is still

considered as a value, not as a reality, so that it is based on the natural law of

value. It is an obvious copy of reality, e.g. novel, painting, or map. In other words,

it does not precede the reality as it is only an obvious copy of reality. For instance,

a painting of a war is only considered as an art work, not as a reality. Another best

example is a map of country which only shows the territory of the country and all

inside it and it is based on a scientific study that will not include any fictional

place as it is usually used to study about geographical condition of the country.

^K_` FE

u

I

tion

It is the dominant scheme of the industrial era. Also, it is based on the

commercial law of value in which the simulacra are productive and its

materialisation is created by the machine and in the whole system of production.

This second order of simulacra is aimed to reach continuous globalisation and

expansion. It is a very good copy of reality, so it blurs the boundaries between the

representation and the reality. Baudrillard (1994: 2) uses Borges fable to represent

this second order of simulacra. In his story entitled

a

n

b cde

t

f

t

ghi f

n

jefi kei

,

Borges draws a story about an Empire that makes a fictional map in which the

cartographers of the Empire draw up a map so detailed that it ends up covering the

territory precisely. In other words, the map and reality are no longer discernible as

lmn opqmpr sn tuo npr v npwpr lmn v npw xly

(

zp{n

2000: 86).

| {ulmn v n} p oqw n l mp l xr ~ux {~ l u sn n€nwuq n lupy xr vusul sntprn xl mpr o xonl xt tpqp sxwxl xnr u‚ snx{~ mop { pr xl tp { u ƒ mp l mop { tp { u

,

x {twx{~ vnqvutl xu{ u‚ lmn r q ntx nr

(

zp{n

, 2000: 35)

ƒ mxtmxrp„ nytm pvptlnvx rlx tu‚mop {snx {~

.

… u†xlswvr lmnsu{p vxnrsnl ƒ nn{lmnvnpw

(

mop {

)

p {lm nv nq vnr n{l p lx u{

(

vusul

).

‡ˆ‰Š‹

imul

ion

Œl xr l mn vnx~{x {~rt mnon u‚ lmn tvvn{l q mp r n lmp l xr tu{lvuw w n s ylmn tun

.

… x ow pl xu{ xr spr n u{ lmn rlvtlvpw wp ƒ u‚ €pw  n

.

p vxww pv prr utxp l nr x l ƒ xlm q urlo unv{ p~n ƒmn{ l mn vnqvnrn{l p lx u{ q vn tnnr p { nlnvo x{nr lmn vnp w

.

Ž mxr lmx v uvnv u‚ rx ow ptvp xr ƒmn{ lmn tuqy q vntn nr lmn tu{r l vtl n ƒuvw uv x l unr {ul snw u{~ lu lmn vnpw x l y pr xl xr q vn rxo wp lx u{

.

Œl t vnp lnr p q mn{u o n{u{ tpwwnmyqnvvnpw x lyx {ƒm x tmx lxrxn{lx ‚x ns ylmnpqq np vp {t nu‚oprro nxpx {lmn ‚uvor u‚ l nw n€xr x u{r p { tuoq l nvr

.

Ž m n tu{tnq l u‚ myq n vvnpw x l y svx {~r lmvnn u‚ p vxww p v rl mnop lx trlu~nlmnv

(

… o xl m†

2010: 95-96).

Ž mn‚x vr l xr lmp lmyqnvvnpwxly xr suv{ ƒ xlm l mn l mxv uv nv u‚ rx ow p tvp

,

p rlp~ n x{ ƒmx tm l mn vnpw p sr u vsr lmn xop~n

.

Ž m n rntu{ xr lmn ƒpy x{ ƒ mxtm o unv{ twlvnr xoqw un

,

x { ƒmxtmlmny ƒxq n ul p~ n

-

uw  su{pvx nr uv l vp{r ~vnr r su{p vx nr

(

l uƒp vr lmnlvp {rq uwxl xtpw 

).

Œ{ lmxr r ntu{ xn{l x‚xtp lx u{ u‚ m yq nvvnpw x ly

,

p  vxw wp v n} p ox {nr lmn ounv{ p vl ƒuvw x{ ƒmx tm lmn xop ~n p sruvsr lmn vnpw

,

r u lmp l x l xr {ul u{wy l mn q mprn ƒ m n{ lmn x op ~n xr ouvn v npw lmp { l mn v npw

,

sl p wr u lmn xr pqq np vp {tn u‚xwwrxu{ x { p srl vptl xu{xr o p { rx ow pl xu{xr o

.

Žmn lmx v xr lmn nonv~n{ tnu‚pq uq wp vt w l vnƒmx tmsvnp„ruƒ{ lmnx‚‚nvn{ tnsnl ƒn n{l mnvnpw p {l mnpvl x‚x tn

.

p vxw w p vq lr‘xr{nyw p {prpq nv‚n tln} p oqw nu‚l mnlm x v

.

’uv

“”•

,

– ”— ˜™ š›œ˜ ™ž” —Ÿ — ”˜ ¡ ™¡ Ÿ  “” ™ Ÿ“™¢œ£ Ÿ Ÿ“ œŸ ” Ÿ” — Ÿ“™ ¤¡™œ›¥£  ¦˜Ÿ ¡š

,

œ› ›  ¢ ¤¡™œ›¥§ • ™¡”£ œŸ“œŸ” —–”— ˜™ š› œ˜

(

¨œ¦ ¡”› ›œ¡©

1994: 9).

ª ™¢¦¡Ÿ“ ™¡•™˜Ÿ” ˜—Ÿ “œŸ – ” — ˜™š› œ˜ • œ«™ — ¬ ™ ¬ ›™ ­™›” ™®™ Ÿ“œŸ œ› › ” ˜— ” ™ ” Ÿ œ¡ ™ ¡ ™œ›

,

¯“™¡ ™œ— œ› ›  ¢ ° — § ˜±™› ™—œ˜§ •™¡”£ œœ¡™˜ › ˜±™ ¡¡™ œ›

,

­¦Ÿ­™› ˜±Ÿ  “š¬ ™¡¡™œ› ”Ÿš

.

²“™ Ÿ“” ¡  ¡™¡  ¢ — ”• ¦›œ£ ¡œ œ˜ “š¬™¡¡™ œ› ”Ÿš ­™£  •™ Ÿ“™ « ™š ”˜ Ÿ“” — ¬  — Ÿ•   ™¡˜ ¯ ¡› œ— ˜ ¯ • ™ ”œ ­› ¦¡ Ÿ“™ ˜ Ÿ”  ˜  ¢ œ¦Ÿ“™˜Ÿ ”£ ”Ÿš ¯ ”Ÿ “ £ œ¬ ”Ÿ œ› ”— Ÿ ¬  ”˜Ÿ  ¢ ® ” ™¯— ¢¦›¢” ›› ”˜± Ÿ “™ ¯  ¡›

.

¨ œ¦ ¡”› ›œ¡

(1994: 10)

Ÿ“™˜ £ •¬ œ ¡™— Ÿ “™ £  ˜£ ™¬ Ÿ ¢“š¬ ™¡¡™œ› ”ŸšŸ ¬  ›” Ÿ”£—³ª ™Ÿ œ« ™—Ÿ“™´ œŸ™¡±œŸ™—£œ˜œ›œ—Ÿ “™™žœ•¬ ›™

.

§ —”Ÿ”—« ˜ ¯˜©´œŸ ™¡±œŸ ™ ” —œ—£ œ˜ œ› ”˜®  ›® ” ˜ ± µ ”£ “œ¡ ¶ ”ž ˜©Ÿ “™· ¸¬¡™— ” ™˜Ÿ œŸ Ÿ“œŸ Ÿ” •™

.

ª™ œ˜ “ ”— • ™˜ ¯™¡™ œ£ £¦— ™ ¢ ¡ ­¡™ œ« ”˜± ” ˜ Ÿ “ ™ ¤´œ Ÿ ™¡±œŸ ™¥ ­¦”› ”˜± ˜

17

¹¦˜™

1972

”˜´œ— “”˜±Ÿ  ˜©– º

.

²“™—£ œ˜ œ››™“” •Ÿ ¡™— ” ±˜¢¡ • Ÿ“™ ± ®™¡˜•™˜Ÿ

,

Ÿ“¦— Ÿ “™¢ ”¡—Ÿ ·¸ ¬ ¡™— ” ™˜Ÿ ¯ “  £ “  — ™ — Ÿ  ¡ ™—” ±˜

,

¡œŸ “™¡Ÿ “œ˜ Ÿ  ¢ œ£ ™”•¬ ™ œ£“• ™˜Ÿ

(

°œ˜™

, 2000: 83-84).

¨ œ¦ ¡”› ›œ¡

(1994: 11)

¬  ” ˜Ÿ— ¦Ÿ

:

´œŸ ™¡±œŸ™ ” — ˜ Ÿ œ —£œ ˜ œ›

,

Ÿ“” — ” — ¯“œŸ • ¦— Ÿ ­™ — œ” Ÿ  œ› › £  — Ÿ—© ­™£ œ¦— ™ ” Ÿ ” — ¯ “œŸ ™® ™ ¡š ˜ ™ ”— ­¦—š £ ˜£ ™ œ›” ˜±

,

Ÿ“”—  ” —— ”• ¦›œŸ ” ˜ •œ—« ”˜± œ — Ÿ¡ ™˜ ±Ÿ“™˜”˜ ±  ¢ • ¡ œ›” Ÿš

,

 ¢ œ •  ¡œ› ¬ œ˜”£ œ—  ˜™ œ¬¬ ¡ œ£ “ ™— Ÿ “™ ¬ ¡” •” Ÿ”® ™

(

• ”— ™ ™˜

)

—£ ™˜ ™  ¢ £ œ¬”Ÿ œ›

:

” Ÿ— ” ˜— Ÿ œ˜Ÿ œ˜™ ¦— £¡¦™›Ÿš

,

” Ÿ—”˜£  •¬ ¡™“™˜— ”­› ™¢™¡ £” Ÿš

,

” Ÿ—¢ ¦˜ œ•™ ˜Ÿ œ›” ••  ¡œ› ”Ÿš»Ÿ“œŸ ”—¯“œŸ” ——£ œ˜ œ› ¦—³³³

¨œ¦ ¡” ›› œ¡ —¦ ±±™— Ÿ— Ÿ“œŸ ¯ “œŸ ” — —£ œ˜ œ›  ¦— ” — ˜ Ÿ Ÿ “™ —£ œ˜ œ› ” Ÿ— ™›¢  ¡ Ÿ“™ £  ¡¡¦¬ Ÿ”  ˜ ” ˜®  ›® ” ˜± ¶ ”ž ˜© ­¦Ÿ Ÿ “™ ¢ œ£ Ÿ Ÿ“œŸ ¯“œŸ ´ œŸ™¡ ±œŸ ™ ¡™®™œ›— œ­ ¦Ÿ ± ® ™ ¡˜• ™˜Ÿ ” — Ÿ“™˜ £ ˜—” ™¡™ œ— Ÿ“ ™ £ ˜— Ÿ ”Ÿ¦Ÿ ”® ™ Ÿ¡¦Ÿ“  ¡ ¡™œ›” Ÿš¼ ”Ÿ ” — œ ¡™ œ› ™žœ•¬ › ™  ¢ œ — ”• ¦›œŸ ” ˜ ¯ “™˜ Ÿ“™ ¡™¬ ¡ ™—™˜ŸœŸ”  ˜ ¬ ¡™£™ ™— Ÿ“™ ¡™ œ›” Ÿ š

.

½  ¡ ¨œ¦ ¡” ›› œ¡

(1983: 23),

´ œŸ™¡±œŸ ™ ” — ” ˜ Ÿ“™ — œ• ™ —£ ™˜œ¡”   œ— – ” — ˜™š› œ˜ œ— ­ Ÿ“ œ¡™” •œ ±” ˜œ¡š™¢ ¢™£ Ÿ—£ ˜£ ™œ›” ˜ ±Ÿ“œŸ¡™œ› ”Ÿš˜ • ¡™™ž”— Ÿ — ¦Ÿ— ” ™Ÿ “œ˜”˜— ” ™Ÿ “™ ­ ¦˜ —  ¢ Ÿ“™œ¡Ÿ”¢”£ ” œ› ¬™¡” •™Ÿ ™¡

.

´œŸ ™¡±œŸ™” —   ˜™  ¢ Ÿ“ ™ —£œ˜ œ›—— “ ¯”˜±“  ¯

¾¿ÀÁÂÃÄ Å¿ÆÇÈÀ ÀÉÊÂÉ ¾Ã ÂÄÄÀÅÈ ËÌÂÄ Í ¾Í ÊÆÄÍÉ ¾Àà ÀÇ ¾Á Í ¾¿ÊÆÌ Í ¾ÆÄÍÇ ¾Î ÍÉ ÅÊÂÉ ¾ÃÂľ ¿Æ¾ ÃÏÄ ÀÇ ÂÐ Àà ¾ ¿ À ÁÂÃÄ Å

,

ÀÇ Ì ÀÊÍÆÄÄË ¾¿ÃÂÏÑ¿ ÎÀÅÍ Æ ÆÇ Ì ÀÂÌÄ À È ÀÄÍÀÐ À ¾¿Æ¾ Á ¿Æ¾ Æà À Ìà ÀÇ ÀÉ ¾ÀÅ ÍÉ É ÀÁÇ Ì ÃÂÑà ÆÎ ÂÃ É ÀÁ ÇÌ ÆÌ Àà Æà À ¾Ã Ï À

.

Ò ¿Æ¾ Í Ç ¾ÃÏ À ÍÇ ¾¿Æ¾ ÎÀÅÍÆ ÇÏ ÊÊÀÇ ÇÓÏÄ ÄË Êà À ƾ À ¿ËÌÀà à ÀÆÄ;ÍÀÇ

.

ÔÆÏ ÅÃ ÍÄ Ä ÆÃ Å

(

ÍÉ ÕÆÉÀ

, 2000: 90)

¾¿ÀÉÌ ÍÉ ¾Ç ÂÏ ¾ ¾¿Í Ç ÓÆÊ¾È Ë ÊÃÍ ¾Í ÊÍÇ ÍÉѾÁ Ö×ØÙÚ ÛÜÝÞ Û ßÞ Ø Ý àÂÏÃÉ ÆÄ Í Ç ¾ÇáÔ ÈÒ ÅÁ Æà ŠÆÉ Å â ÆÃÄ ÔÀÃÉ Ç ¾ ÀÍÉ

,

Á¿ÂÁ ÀÃÀÎÆÉÍÌÏÄƾÀÅÈ Ë¾¿ÀÊÆÌ Í¾ ÆľÂÑÀ¾Ã Í ÅÂÓã ÍäÂÉ

.

å æçè éêëì í é

s

îïð

yp

ééë ñ

rr

ity

òÇ ÔÆÏ ÅÃÍÄÄÆÃÅ

(1994: 19-106)

Ç ÆËÇá ¾ ¿À ÅÍ Ç¾ÍÉ Ê¾ ÍÂÉ ÈÀ¾ÁÀÀÉ ÃÀÆÄÍ¾Ë ÆÉ Å ¾¿À à ÀÌà ÀÇÀÉ ¾ ƾÍÂÉ Âà ¾ ¿ À Ç ÍÎÏÄ Æ¾ ÍÂÉ ¿ÆÇ ÈÀÀÉ ÈÄÏÃÃÀÅ

.

ó À Î ÀÉ ¾ÍÂÉ Ç Ç ÎÀ Ì ÍÉ ¾Ç ¾¿Æ¾ Èà ÍÉ ÑÆÈÂ Ï ¾¾¿ÀÌ ¿ÀÉ ÎÀÉÂÉ

:

ôõöé÷

i

ëø

ow

é

r

Ò Æ¾Àà Ñƾ À ÍÇ ÂÉÄË Æ ÇÎ ÆÄÄ ÀäÆÎÌÄ À ÆÈÂÏ ¾ ¾ ¿À ÌÂÁÀÃ Â Ó Î ÀÅÍ Æ ÍÉ ÊÃÀƾÍÉÑ Ç ÍÎÏÄ ÆÊÃÆ

,

ÂÃÀÐÀÉ¿ ËÌÀÃà ÀÆÄ; ÍÀÇùúÏà ¾¿ÀÃ

,

ÔÆÏ ÅÃ ÍÄÄ ÆÃ Å

(1994: 19)

¾Ã ÍÀǾÂÏ Ç ÀÆûü Å ÊÏ ÎÀÉ ¾ ÆÃËÇ ¿ÂÁÆÇ¿ÍÇΠÅÀÄ

,

¾¿ÀýÞ þÿ ×Ú

y

ûüÇ¿ÂÁ

.

û ¿Í ÇûüÇ ¿ÂÁ

,

Á¿ÍÊ¿ Á ÆÇ ÈÃÂ ÆÅ ÊÆÇ ¾ ÀÅ ÍÉ

1971,

Á ÆÇ Êà ÀƾÀÅ ÍÉ ÇÀÐÀÉ Î ÂÉ ¾¿Ç Â Ó ÏÉ ÍÉ ¾ ÀÃÃÏÌ ¾ÀÅ Ç ¿Â ¾ÍÉ Ñ ÆÉ Å ¾ ¿ÃÀÀ ¿ÏÉ Å ÃÀÅÇ ¿ÂÏÃÇ Â Ó ÉÂÉ Ç ¾ÂÌ ÈàÆÅÊ ÆǾ ÍÉ Ñ

.

òÄÇÂá ; ÁÆÇ Êà À ƾÀÅ Á Í ¾¿ÂÏ ¾ ÆÉË Ç ÊÃÍÌ ¾ Â Ã Ç ÊÃÀÀÉÌÄ Æ Ë ¾Â Ç¿ÂÁ Æ ÌÏÃÀ ÅÃÆÎÆ Â Ó Æ Ï ÇÏÆÄ ÓÆÎÍÄË Á ¿Í Ê¿ ÇÏ ÊÊÀÇ ÇÓÏÄ ÄË Æ¾¾ÃÆʾÀÅ ÆÈÂÏ ¾ ¾ÁÀÉ ¾ Ë ÎÍÄÄÍÂÉ Ð ÍÀÁÀÃÇ

.

Ò ¿Æ¾ Î ÆÀÇ Í¾ ÍÇ ÎÂà À ÍÉ ¾ ÀÃÀÇ ¾ÍÉ Ñ Í Ç ¾¿À ÍÄÄ Ï Ç ÍÂÉ Â Ó ÓÍÄ ÎÍÉ Ñ ¾ ¿À ÕÂÏ ÅÇ ÆÇ Í Ó ûü Á Àà À É ¾ ¾¿Àà À ÆÇ ¾ ¿À ÌàÅÏ ÊÀà ÇÆÍ Åá û ¿ ÀË Ä ÍÐÀÅ ÆÇ ÍÓ Á À Á Àà À É ¾ ¾¿Àà À

. For Baudrillard (1994: 19),

the producer s statement is so absurd as the statement as if we were not there is

equal to as if you were there . The TV show can be categorised as a hyperreality,

the third order of simulacra, because it creates a typical ideal American family,

.

,

,

,

-

.

(1994: 20)

,

! "

.

The fact that the

# $%& '()* +

y

TV show successfully fascinated twenty

million viewers proves that today s society love fantasies, especially utopian

fantasies. The show is only a symbol that media can stereotype the society, which

is known as the society of the image or the society of the spectacle. The society of

the image emerges when a society try to imitate the quality of images presented in

media (television, magazine, film, billboard, etc); it is no longer stereotyping, but

hyperrealising as Baudrillard (1994: 20) says, You no longer watch TV, it is TV

that watches you . He then mentions that TV is not only watching people, but also

alienating and manipulating people.

Another example of media power can be found in Francis Ford Coppola s

Vietnam War film,

,- $.(+

y

- /01$2

(1979). Baudrillard believes that the film is a

perfect example of the third order of simulacra as it successfully creates a

hyperreality. He is convinced that the war becomes film even before being filmed.

For him, both the war and film are only categorised as tests of American

technology since the use of special effects in the film offers a psychedelic and

technological fantasy. Baudrillard (1994: 40) then mentions:

Coppola does nothing but that: test cinema s power of intervention, test

the impact of a cinema that has become an immeasurable machinery of

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(

jn ˜gnk

, 2000: 33),

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(

j n ˜gn k

, 2000: 35)

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.

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(1983: 73)

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(1994: 16)

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ì ÙÞ äßá à àÙßä

(1994:

17)

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.

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(1994: 17)

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...

.For him, American presidents seem like the puppets of power who are

controlled by the puppeteer or they can be called as the living marionettes .

They are controlled by a strong political interest and they who are not in the same

interest will be blown away like Kennedy and Nixon whose scandals are still

alive. The fact about Kennedy and Nixon shows that it is possible for the capital

to realise its desire by using their power through media and representation.

4

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onsum

rism

As the society has been so dependent on model or representation, commercialism

and consumerism successfully control people s mind. People now are more

interested in the labels rather than the products, for example people tend to buy

the swoosh or three stripes rather than sport shoes. This happens because of the

degradation of use-value and the arousal of exchange-value as the effect of the

hegemonic capitalism. The best example to describe the phenomenon is how

gadgets become so important in people s daily life today. People no longer think

whether what they buy is useful or not, they only think to get the latest model of

ûüýûþÿ ü ÿû ÿþ ü ÿ þ ü ÿþ ÿþ ûüýûþ ÿ ü ü ÿþ

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.

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(

ü þ

, 2000: 76)

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û

:

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: airports, embassies, fractile zones, non

-territorial zones. The embassy is the infinitesimal space in which a

whole country can be taken hostage. The plane, with its passengers, is a

parcel of land, a wandering molecule of enemy territory, and therefore

almost no longer a territory, therefore almost a hostage already, since to

take something hostage is to tear it from its territory and revert it to the

equilibrium of terror. Today this terror is our normal, silent condition

everywhere...

According to him, what makes terrorism no longer marginal is the hyperreality of

postmodernism itself which is beyond good and evil and the some groups of

irresponsible people choose to have the evil quality.

UGVI

ssimism

As the capitals are too hegemonic, many innocent people become the victims.

They have been entrapped in pessimism and hopelessness, some of them even

decided to commit suicide because they cannot survive in the capitalist society.

Baudrillard (1994: 105) calls this phenomenon as melancholia which means the

brutal disaffection that characterises people s saturated systems and the system is

too strong: hegemonic. That is why many innocent persons are entrapped in

pessimism, hopelessness, and melancholia, because they do not have enough

power to rebel or to fight against the systems.

4

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.

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Š‹ŒŠ Š ‹ ŽŒ‘  Š’“ ”•“– Š– —  ˜˜ Š“ Š •™ Œš “ ‹›œŒ’ “ Ž •šž Œ Œ‘

.

Ÿ‹ ˜ŒŠ Œ“ž “ ‹•™  – Š ‹ •œ œ – Œ‘ Š‹  “›“ “ ˜›‘ ‘ž œ “œ– “š ” •”‘ Š • Ž› ž Š ‹ ” •š›Š “  ¡Œ ž ” •”‘  Ž‘ – — š Š ‹ŒŠ Š‹ž ™ •›‘š Ž Œ“ ¢ ŒŠ Œ“ ˜ Œœ •› “ ˜••ŠŽ Œ‘ ‘ ”‘ Œž “ ™ ‹• ™ • Š‹ Ž Œ‘  Š ‘ – £ ¤– “ Š–Œ• ¥•Œ‘ š • Œš ¦– •‘ ¡ “ “– ™ ‹–‘  Œ Š› Œ‘‘ž Š‹ ŽŒ ‘ Š –“ Š•Š Œ‘‘ž Œ “  Œœ Œ ˜Š • •˜ Š ‹  •“›œ “ – § › “ŠŒ‘ – Œ ¨› “Š– •š Š‹ Œ‘  ˜˜ Š •˜ ©•™ ªŒ‘Œ

.

Ÿ‹˜•

,

‹ Œ“ £š ˜• “•œ  “–  Š–“Š “ Š • «Œœ– Š ‹  ˜˜ Š •˜ Š‹ Ž Œ‘ Š Š •™Œš “ ‹›œ Œ’ “ ‹ Œ‘ Š ‹ Œš Š‹ “›‘Š «”‘Œ– š Š ‹ŒŠ Š‹ Ž Œ ‘ Š š • “ •Š ¢– — Œ ž –œ”Œ Š Š • ‹›œŒ’ “ ‹ Œ‘ Š ‹  §˜Š™Œš “¬œ Œ ž •œ ”‘Œ– Š“ Œœ˜ •œ•Š ‹ • “›œ “Š •¢ ŠŠ ‹–œ • žŽ Œ£ Œ“Š ‹ ž˜‘ŠŠ‹ŒŠŠ ‹ž‹Œ— ŽŠ– £šŽžŠ‹ •œ ”Œž

.

­ — Œ‘‘

,

Š ‹”‹  •œ • “ ‹•™ “Š ‹”‘ ŒŽ •˜˜ Š Œ› “šŽžŠ ‹œ š–Œ–  ŒŠ– ¢˜ŒŠ Œ“– “Š•ŽŒ“Œ‘Œ“ Œ‘ – Š ž • Š• Ž Š ‹  ™ Ž‘– —š  Œ‘–Šž “–  Š ‹  •“›œ “ Ž‘ – — š – Š ‹ œ Œ¢–  Œ‘  ˜ ˜  Š “ • ˜ Š ‹ ŽŒ‘  Š ™‹– ‹ Œ Œ Š›Œ‘‘ž — ž – ‘‘•¢– Œ‘ ‹•™ Œ “– œ ”‘  ‹•‘ •¢ Œ” ‹–Ž Œ‘ Š•›‘š– œ ” •—‹›œ Œ’“‹ Œ‘ Š‹¬Ž Œ‘ Œ

,

Œš˜‘ « – Ž–‘ – Š ž

.

®¯°

ostm

±² ³

rn

´

ultur

³

©•“ Šœ•š–Šž•”•“Šœ •š Œ–“› “› Œ‘‘ž ˜šŒ“Š ‹ ŒŒ˜Š œ•š–Š ž Ž Œ› “•˜– Š “”˜–«

,

”•“Š

-,

™‹– ‹œŒ“ Œ˜Š

. Its beginning is still debatable,

but many scholars, led by Arnold Toynbee, believe that postmodern era began

after World War II (Willette, 2013: p.7).The term postmodern, postmodernity, or

postmodernism itself is often related to French philosophers as the theorists are

mostly French thinkers ,such as Jean-Francois Lyotard, Michael Foucault, and

Jean Baudrillard (Lane, 2000: 85-94). Postmodernism itself is a direct opposition

µ¶ · ¶¸¹º»¼½ ·

,

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,

¹»Àƶ½ ¹¸ ½ µÇƹ ¶È ¼ µ½ ¶¾»

(

Éû¹

, 2000: 85).

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-

Ä Ã½ ¹¸

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,

µ¿ ¹º ¹¼½ ½µ¼ ÆÆ Ã ¸¼Èȹº ¹»À¹ ŵ¾¹ ¹» µ¿ ¹ µ¹º·½ ¶½µ·¶¸¹º »¼½ · û¸ ¶½ µ· ¶¸¹º»¼ µÇ

.

Ï¿ ¼ ƹ ¶½µ·¶¸¹º »¼½·º ¹È¹º½µ ¶ Ãȶº·¶ÈÀ¶»µ ¹·Â¶ºÃºÇÀÅ Æ µÅº ¹

,

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(

Ðà Ëƹµ¶»Ñ

1996:

μ¼

).

Êȵ¿ ¹ ¹·¹ºË¹»À¹ ¶È ¶½µ·¶¸¹º»¼ µ Ç Àû Ä ¹ ¸¹µ¹º· ¼ »¹¸ Ãȵ ¹º µ¿ ¹ À¶ÆÆ Ã½¹ ¶È ¸¼ÀµÃµ¶º½ ¿ ¼Â û¸ À¶Æ¶»¼½ õ ¼¶»Ñ µ¿ ¹ Ä ¹Ë¼ »»¼»Ë ¶È ¶½µ·¶¸¹º»¼½· ¼½ ½ µ ¼Æ Æ Ä Æźº¹¸ ý ¼µ º ¹È¹º½ µ ¶ µ¿ ¹ À¿ û ˹¼»ÀÅ Æ µÅº ¹Ã»¸Æ ¼È ¹½µ Çƹ¾¿ ¼À¿¼½¸¼ÈȼÀÅ Æ µ µ ¶½ ¹¹ÀƹúÆÇ

.

Ò »µ¿¹¶µ¿¹º ¿ û¸Ñ Ð ÃËÆ ¹µ ¶»

(1996:

μ ¼

)

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...

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-

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,

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,

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,

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,

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,

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.

Öº ¶·Ð à ËÆ ¹µ¶»Õ½½µÃµ¹·¹ »µÃÄ ¶Î¹

,

¼ µ ÀÃ»Ä ¹¼ »È¹ºº ¹¸µ¿ õµ¿ ¹º¹Ãº ¹½ ¶·¹µ¿ ¼»Ë½µ¿ õ Ä ¹À¶· ¹µ¿ ¹ ×¹ÇÀ¿ úÃÀµ¹º ¼½µ¼ À½¼ » ¶½µ· ¶¸¹º»¼½ · ¾¿ ¼ À¿ ú ¹ÀÃÆƹ¸ ý ¶½ µ ·¶¸¹º » ÀŠƵź¹

:

à »¹¾ ȶº· ¶È Àüµ ÃÆ ¼½ ·

,

µ ¹· ¶º ú Ç Ã»¸ ¸¹ À¹»µºÃƼ½ ¹¸ ¾¶º Ƹ ¶È µ¹À¿ »¶Æ ¶Ë Ƕº·¹À¿Ã»¼½ à µ ¼¶»Ñû¸À¶»½Å·¹º¼½ ·

.

ØÙÚØÛ

it

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ism

ݽ Ð Ã Ëƹµ¶» ½Ãǽ µ¿ õ ¶½µ· ¶¸¹º»¼½ · ¼½ À¿ ú ÃÀµ¹º ¼½¹¸ ÄÇ Ã »¹¾ ȶº· ¶È Àüµ ÃÆ ¼½ ·

,

Þ÷ ¹½¶»

(1991:

ßμ¼¼

)

ÀÃÆƽ µ¿ ¼½ ¿ ¹»¶·¹»¶» ý àÆ Ãµ ¹ ÀüµÃÆ ¼½ ·Õ

,

¼»½Â¼º¹¸ ÄÇ µ¿¹ µ ¼µ ƹ ¶È к »¹½ µ áû¸¹ÆÕ½ Ä ¶¶×

.

â¿ ¹ ¿º ý ¹ à Æõ ¹ À ü µÃƼ½ ·Õ ¼µ½ ¹Æ È ¶º ¼Ë¼»Ãµ ¹¸ ¾¼ µ¿ µ¿ ¹ Öº û ×Èź µ ãÀ¿ ¶¶Æ

(

â¿ ¹¶¸¶º¹ ݸ¶º »¶ û¸ á Ãß Í¶º×¿¹¼· ¹º

)

äåæçè éê ççêæëåè ì ëêç çê åè í äîïê äè ð éê çñ

(1)

äèêåæê åèíäîìêòëïòð éê äð ó éäè í óóëåè éëî äåæ

(2)

è ôê íåèê éõêå êè éäèíëå ëï öë÷ ê éå øê åè äåæ ò í ö òð çíåê çç

(

ùçèäèê óäõ íèäî íç øù

).

ú ô äèæ í ïïê éçíèïéëøèôêõ éê÷ íëð ççèä öêëïó äõ íèäîíç øô äõõêå íå öíåèôê øëæê éå ê éä í ç è ôê ï äóè èô äè èôê éê íç å ë øëéê óäõíèäî íç ø ìíè ô íøõê éíäî óëåè éëî ëé óëîëå í çäèíëå äç íè í ç êåæêæ ò û èôê êåæ ëï úëéîæ úäé üü

.

ýå èôê ëèôê éô äåæþ ìô äè ÿéð îêç è ôê ìëéîæ è ëæ ä û íç äåêì ïëéø ëï òð çíåê çç ëéöäå íç äè í ëåçèô äè øëå ëõ ëî íçêç èôê ê óëå ëø íó çûçè êø íåó îðæ íå ö èôê óëøø ëæ íèíê ç äîî äéëðåæ èôê ìëéîæ äç íè öëê ç òê ûëåæ è ô ê ò ëðåæ äé û ò êèì êêå ëå ê å äè í ëå äåæ äå ëèôê é å äè íëå

,

óéê äè íåö ìôäè äøê ç ëå

(1991:

÷ í íí

-

í

)

óäîî ç äç ÿøð îèíå äèíëåäî ëé è éäå çå äèíëå äî óäõ íèäîí çø

.

ê ç íæê çøð îè íå äèíëå äîëéèéäå çå äè í ëå äîóäõ íèäîí çøøäæêòûäåê ìïëéøëïò ð ç íåê çç ëéöäå í ç äèíëå ç

,

äøê çëå

(1991:

í

)

óîäç ç íïíê çëè ôê éïê äèð éê çëïî äè êóäõ íè äî íç ø

:

1.

èôêåêìíåèê éå äè í ëå äîæí÷ í ç íëåëïîäò ëð é

,

2.

ä ÷ê éè í öíå ëð ç åê ì æ ûå äø íó íå íåè êéå äè í ëå äî ò äå íå ö äåæ èôê çè ëó êóô äåöê ç

(

íå óîðæ íå öè ôêêå ëéøëð çê óëåæäåæô íéæúëéîææêòè

),

3.

åêì ïëéøç ëï øêæ í ä íåèê ééê îäèíëå çô íõ

(

÷êé û øð óô íå óîðæ íå ö è éäå çõ ëéè äèíëå

çûçèê ø ççð óôäçóëåèäíåêéí çäè í ëå

),

4.

óëøõðè ê éçäåæäðè ëø äè í ëå

,

äåæ

5.

è ôê ïîí öôè ëïõ éëæð óèíëåèëäæ÷ äå óêæô í éæúëéîæäéêäçþäî ëå öì íèôäî îèôêøëéê

ïäøí îí äé ç ëóíäî óëå çê ðê å óêçþ íå óîðæ íå ö è ôê óéí ç í ç ëï èéäæ íè í ëå äî îäò ëð é

,

èôê êøê éöêåóêëïûðõõ í ê çþäå æöêåè éíïí óäèíëåëåäå ëì

-

öî ëò äîç óäîê

.

ôê åêì ïëéø ëï óäõ íèäî íç ø ëé î äèê óäõ íèäî íç ø èôêå óéê äèê ç äå ëè ôê é ïê äèð éê ëï õ ëçè ø ëæêéå í çø

:

øê óô äå íç äè í ëå äåæ óëå çð øê éíç ø

.

è äéè íå ö ïéëø èôê

1950

çþ åêì èê óôå ëî ëöí ê ç äåæ óëå çðøê é öëëæ ç ì ê éê æ ê÷ê î ëõêæ äïè ê é èô ê ì äéèíø ê

.

ôê

1960

,

.

!

1945-1973

,

,

! !

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(

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1991:

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).

,

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1973.

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(

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, 2002:

114).

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,

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.

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,

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.

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.

TA 2 H6 8>3E55 23 3HE8 89 >7K23 4 2=48 2M2 862; 2 ?A7 ? G A7 ? 63 <24<23 2 :? 2D 6: ?A 2 H6 8> 63 ?A 2 <27 8 ?<E?A [ 7 8?A =EFA ?A 2 73 37336 :7? 6=: 6?3 28 H 63 3 ? 68 8 3 57 :D7 8= E3 E:? 68 ?=D7 9

(

SE? 82<

, 2002: 112).

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.

TA 2 D6<2 5?=< 37 6D ?A7 ? 6? 63 :=? 7 A 63? =< 9

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.

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,

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.

P=G2; 2<

,

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,

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,

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.

TA 2H7 5?3 A =G3?A7 ?6?G73?A 2X=; 62?J35 =3 > =:=?G A =H6 <3 ?87 :D2 D=:?A 2

bccd

.

efg hcij d kl hmgnompjcpjl flcl hmi cpqrsjlj gmt gj mpucpv bmpj wtl cpn qmlhm icp qr lhp cn kh i ht l x t bmg cd wt q qg t g yv bmpjwt dcwm dlpj g bz

.

v { c|m t qq

,

l hm o hm dcbm dt htoomdjd k j d v bmpjwt gfb{ cqj gm l hm ut wl l htl bmrj t jg dcl jbotp lj t q t d fb cp m t g j l j g un qq cu bt dj on qt ljcd} ~hm wtojlt q g bt djon qt lm lhm b mrjt lc btjdltjdlhmjphmkmb cdft drgnompj cpj lf{fwp mtljdkhfom ppm tqj ljm g

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.

k}g lcdm t kmcpwcbon lmptkm

(

Štdm

, 2000: 27).

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,

g cbml hj dkbn gl {mrj g wn ggmrΠbtwhjdmg

.

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.

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.

~hm whjmu lm whdcqc k f n gmr j d j drn g lpj t qg cwj m l fj g wcbon lmplmwhdcq c k f

.

Ž hmd wcbon lmp gimp muj p gl j d| m dlmrj d lhm

1930

g

,

l hmfimp mn gm ru cpbjqjltpfon po cgm

(

cddcp

, 2004: 138).

m‘l

,

jd’“”• lhmfglt plmrl c{mn g mr ucp{n gj dm g gonpo cgm

.

– j dwm lhm d

,

l hmn gm cuwcbon l mp ght g {mm d kpcij d k ptojr qf lht l btf mdrt d kmp hn b td zg qj um t g cddcp

(2004: 139)

o cj dl gcn l

:

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,

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,

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,

mjlhmp l hp cn kh lhm o cimp cu t lm whdc wptl jw m qjlm cp lhp cn kh lhm o cggj{jqjlf cu t pmjkd cu bt whjdmg ˜ j d ihjwh wcbon lmp gz j dlm qqj km dwm icn qr cn lotwm lht l cu hn bt dg t dr tq qci l hm b lc r cbjdt lm lhmjp wpmt lcp g}

™š›œžŸŸž ¡žŸ¡ ¢ Ÿ£¤ £œ š¢›Ÿ¥¤¢œ¦œ š›œš§¨›Ÿ ¢¨ ©ªž ¦¨¢Ÿœ « ¤ª ª ¬¢ ¢©ª›¡¢­¬¦ ¡ž¨©§œ ¢ £›Ÿ ­ œš¢ª¤®¢

.

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,

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´Ÿ œš¢

1980

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(

 žŸŸž 

, 2004: 140).

™ ¤œš ¤œ£ © ›¡œ¤¡›ª §£ ¢£ µ ¶ ¡ž§ª ­ ›œœ  ›¡œ Ÿ¢ « ¡žŸ£§¨ ¢ £ œš›œ ª ¢ ­ ¤œ ›£ žŸ¢ ž ± œš¢ ¨ž£ œ «›Ÿœ¢ ­ °žž ­£ ›œ œš›œ œ ¤¨¢

.

·§ œš¢ ¨ ž  ¢

,

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(2004: 140)

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1990

£³ ¯£¤œ­¢²¢ªž©£ ¤Ÿ

1980

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,

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.

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.

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.

 žŸŸ ž  œš¢Ÿ

(2004: 140)

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šž©¢£ ±ž  œš¢ œ   ›Ÿ£±ž ¨ › œ ¤žŸ ž ± £ ž¡ ¤›ª £ œ § ¡œ§ ¢£

.

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.

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lies are buzzing round my head

ß

ultures circling the dead

à

icking up every last crumb

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big fish eat the little ones

Ό

big fish eat the little ones

â

ot my problem, give me some

ã

ou can try the best you can

Í

f you try the best you can

Ό

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Í

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Í

f you try the best you can

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s one s optimistic

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s one went to market

á¿»

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141

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142

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