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in every aspect of human lives. The mass media have contributed to the emerging of the consumer culture. People feel dazzled by the delirium and the simulacrum of vast shopping malls and supermarkets. Such spaces create a virtual reality in which people have different perceptions of everything. As long as they leave this hyperreal place, they start to feel sad. People start to feel estranged from reality. Jack, after coming back from shopping says, «We went to our respective rooms, wishing to be alone» (DeLillo, 1985: 84). To Jack, this hyperreality, which is based on surfaces, images, codes and signals, is still impossible to explain because it has no origin and bears no resemblance to reality. Jack expresses his anguish over this when he says, «What good is knowledge if it just floats in the air? It goes from computer to computer. It changes and grows every second. But nobody actually knows anything» (DeLillo, 1985: 148-49). To conclude, technology offers people the chance to float deliriously in a hyperreal simulation leaving behind them any reminder of the violence and the horror of real death. Murray describes the supermarket as a place that recharges people spiritually; he says, «It prepares us, it’s a getaway or pathway» (DeLillo, 1985: 37). The supermarket is a «getaway» from the real. People also try to eliminate the sense of death through buying and consumption; they feel an ecstasy when they practice excessive shopping. Deep down, people know that this sense of ecstasy and euphoria created by technology is short-lived, and soon after they are through with the delirium of TV, the cinema or the supermarket, they return to the real, which is, for them, dreadful. Living in a simulacrum: how TV and the supermarket redefines reality in Don DeLillo’s White noise - Ahmad Ghashmari 452ºF. #03 (2010) 172-186. 184
Works cited BARTHES, R. (1974): S/Z, trans. Richard Miller, New York: Will and Yang BAUDRILLARD, J. (1989): America, trans. Chris Turner, New York: Verso BAUDRILLARD, J. (1988): Selected Writings, trans. Jacques Mourrain, Stanford, California: Stanford UP. BAUDRILLARD, J. (1994): Simulacra and Simulation, trans. Sheila Glaser, Ann Arbor: University of Michigan Press BAUDRILLARD, J. (1983): Simulations, trans. Paul Foss et. al., New York: Semiotext(e) BAUDRILLARD, J. (1998): The Consumer Society: Myths and Structures, trans. Chris Turner, London: SAGE BEST, S. (2001): The Postmodern Adventure, New York: The Guildford Press DELILLO, D. (1984): White Noise, New York: Viking Penguin ECO, U. (1986): Travels in Hyperreality, trans. William Weaver, San Diego: Harcourt Brace Jovanovich FEKETE, J. (1987): Life after Postmodernism: Essays on Value and Culture, Montreal: New World Perspective FISKE, J. (1987): Television Culture, London, New York: Methuen GENOSKO, G. (1994): Baudrillard and Signs: Signification Ablaze, London: Routledge KROKER, A. (1997): Digital Delirium, Montreal: New World Perspective KROKER, A. (1987): The Postmodern Scene, Montreal: New World Perspective LENTRICCHIA, F. (1991): Introducing Don DeLillo, Durham: Duke University Press LINDNER, C. (2003): Fictions of Commodity Culture: from the Victorian to the Postmodern, Burlington: Ashgate LYOTARD, J. (1984): The Postmodern Condition, trans. Geoff Bennington and Brian Massumi, Minneapolis: Univesirty of Minnesota Press MCLUHAN, M. (1996): The Medium is the Message: An Inventory of Effects, San Francisco: HardWired OZCALGAR-TOULOUSE, N. (2007): «Living for Ethics: Responsible Consumption in Everyday Life», in Belk, R. W., (ed.), Consumer Culture Theory, Amsterdam: Elsevier WHITFIELD, S. (2004): A Companion to 20th-Century America, Malden: Blackwell WILCOX, L. (2003): «Baudrillard, DeLillo’s White Noise, and the End of Heroic Narrative», in Bloom, H. (ed.), Bloom’s Modern Critical Interpretations, Philadelphia: Chelsea House Publiashers, 97-115. Living in a simulacrum: how TV and the supermarket redefines reality in Don DeLillo’s White noise - Ahmad Ghashmari 452ºF. #03 (2010) 172-186. 185
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452ºF 4 5 2 º F Original I s s u
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EDITORIAL en- We are pleased to pre
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EDITORIAL es- Nos complace presenta
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EDITORIAL ca- Ens complau presentar
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EDITORIALA eu- Benetan atsegin dugu
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ENRIC SULLÀ Sobre la formació del
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SOBRE LA FORMACIÓ DEL CÀNON DEL C
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A l’hora de parlar del cànon se
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els propis de Hollywood. És una ma
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En dos casos el nombre de pel·líc
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anteriors o coetanis, com el de gà
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injustícies, de la corrupció gene
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proporciona una estimulant galeria
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Bibliografia AA. VV. (1980): Women
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LITERATURA COMPARADA Y ESTUDIOS CUL
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0. Introducción «La disciplina es
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literarios en general y a las filol
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Por otro lado, es posible rescatar,
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Academic «Cultural Studies», as a
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Even-Zohar habla de una suerte de
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Sólo el reconocimiento de la inerc
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Said ha expuesto: Según ha dicho a
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[los cuales] llegan a ennoblecer y
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al eurocentrismo, a la cual conside
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El estudio de las literaturas del m
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Bibliografía BAL, M. (1999): «Int
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APORTACIONES TEÓRICAS DE LOS ESTUD
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Tras el amplio camino recorrido en
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Años después, en 1982, Rama ampli
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se haya readaptado y haya interactu
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en la imagen de Mariátegui, que re
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en el presente, como los mecanismos
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También con respecto a Arguedas, A
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teóricos actuales que debaten en e
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agrarios, económicos, históricos
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452ºF Abstract || There are a numb
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This paper will discuss the negativ
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(ii) Most chick lit heroines work i
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chick lit heroines also have a lot
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Thus, a new «female» literary tra
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Women have, of course, traditionall
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Works Cited «Chick Lit», Wikipedi
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«JE SUIS UN COWBOY DU FAR WEST»:
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0. Introduction In this paper I wan
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(Fanon, 1959). After years of negot
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they established an important link
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Je reste adossée à l’arbre sans
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(Genette, 1982: 451). In this way,
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continuent à tourner toutes seules
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like I’m at the bottom of a well.
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Works Cited ACHOUR-CHAULET, C. (198
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452ºF Resumen || El presente artí
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el humor como herramienta para desm
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Palito encarna los pretendidos valo
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cortes comerciales promocionando di
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capitalista. El apellido Tacuara no
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al modo de hacer política del actu
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THE SIMPSONS, GENDER ROLES, AND WIT
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0. Introduction A young girl, of ap
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«The Crazy Cat Lady» as a charact
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Agnes Skinner, the town principal
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the construction of the witch in Th
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figures here: the Early Modern witc
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her conscience gets to her, and the
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Therefore, when the viewer witnesse
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Gabriel Germán Barbabianca mis
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Page 151 and 152: «manual» que escribió sobre el t
Page 153 and 154: de la novela, Highsmith es una perf
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Page 161 and 162: El siguiente cuadro es un intento d
Page 163 and 164: Novela Film Guy Bruno Guy Bruno Mad
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Page 171 and 172: LIVING IN A SIMULACRUM: HOW TV AND
Page 173 and 174: If a work of art can picture the sc
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