This paper explores the classic MGM film The Wizard of Oz from a perspective influenced by Baudrillard’s writings. The paper begins by locating its argument within Baudrillard’s influential notion of the orders of simulacra, noting the neglected distinction between the imaginary and simulation (or hyperreality). It then moves into less familiar territory, exploring some of the least known aspects of Baudrillard’s thought: symbolic exchange, destiny and radical otherness. These notions, we argue, not only suggest an alternative reading of the film, (...) they also suggest an alternative perspective on Baudrillard’s thought. Against standard views of Baudrillard’s work as relativist, postmodernist and anti-feminist (Kellner 1989), the paper draws out a very different Baudrillard, one concerned with illusion, imagination and, perhaps, a singular form of ethicality. Our reading of the film, through Baudrillard’s idiosyncratic writing on seduction, ritual and initiation, suggests an understanding of ‘ethicality’ as relational, radically contingent and subject to the play of destiny. (shrink)

Through the critical examination of Baudrillard's concept of hyperreality, this article seeks to make a wider contribution to contempor ary debates about postmodernism. It draws on a post-Cartesian, Heideg gerian philosophy to demonstrate the weakness of the concept of hyperreality and reveal its foundation in a Cartesian epistemology. The article goes on to claim that this same Heideggerian tradition suggests a way in which the concept of hyperreality and nihilistic postmodern sociologies more generally might be dialectically superseded. Instead of these (...) theories being seen as saying anything insightful about recent social transformations, the epistemological void in which they position themselves should be inter preted as the intellectual expression of the wider cultural and postmodern trend of transgression. Key Words: Baudrillard • Cartesianism • Heidegger • hyperreality • postmodernism. (shrink)

Baudrillard's fatalism could be interpreted as a unique synthesis of poststructuralism and Eastern philosophy. It may be construed as an effort to integrate the critique of the political economy of the sign with a romantic anthropology of symbolic exchange that is partly influenced by Taoist philosophy. As a whole, it comprises a type of countercultural response to a burgeoning simulacral order. This is a response that draws upon some aspects of Taoist thought because it ideally provides a non-Marxist approach to (...) the critique of the sign, but is insufficiently developed to consider the problem of agency in Taoist non-causal action. This paper surveys the general direction of Baudrillard's writings and suggests possible areas of research emerging from the ambiguities of fatal theory. (shrink)

The approach is by a winding road about nine miles long, boldly cut out of the rock … the road comes to an end in front of a long underground passage leading into the mountain, enclosed by a heavy double door of bronze. At the far end of the underground passage a wide lift, panelled with sheets of copper, awaits the visitor. Through a vertical shaft of 330 feet cut right through the rock, it rises up to the level of (...) the Chancellor's [Hider's] dwelling place. Here is reached the astonishing climax. The visitor finds himself in a strong and massive building containing a gallery with Roman pillars, an immense circular hall with windows all around … It gives the impression of being suspended in space … The whole, bathed in the twilight of the autumn evening is grandiose, wild, almost hallucinating. The visitor wonders whether he is awake or dreaming. (shrink)

This article involves a critical examination of the recent paradigm shift in the appraisal of women's dress. Whereas in the past, female fashion was criticized primarily in terms of its impractical and restrictive nature and more `functional' and `natural' modes of dress were advocated, in recent times the legitimacy of the notion of `functional' or `natural' dress has been challenged. As theorists such as Wilson, Sawchuck and Hollander have pointed out, to assume that there is a `natural' mode of dress (...) which reflects the body `as it really is' wrongly presupposes that the body pre-exists culture when in fact it is always inescapably encoded by cultural norms. However, as is argued in the article, while recent theorists have revealed the naivete of the functionalist paradigm upon which previous critiques of fashion have been premised, their alternative conception of liberatory dress as that which highlights the constructed nature of the body is equally as problematic insofar as it leaves unchallenged the reduction of self-identity to image which the advertising and fashion industries now endorse and promote. In championing the idea of dress as a parodic play in which the body of the wearer is denaturalized, postmodern theories of fashion display an unwitting complicity with our contemporary culture of the spectacle which privileges the cult of appearance over all other sources of identity formation. (shrink)