Simulacrum

simulacra is described in the following stages: “1. It is a reflection of a basic reality. 2. It masks and prevents a basic reality. 3. It masks the absence of a basic reality. 4. It bears no relation to any reality whatever; it is its own pure simulacrum.”1 The first stage is where a somewhat perfect copy of the original is made “the representation is of the order of sacrament” – or the original is preserved. The second stage is where reality is altered, this is the pain where the sign becomes an

life occurs in normal way as everyone experiences. But his life is not same as other people live. His life is controlled and watched by other people, in short he was an experimental object. Simulacrum means interrogating the relationships among reality, symbols, and society. The film consists of simulacrum because of imitating a real life without

Because of his genius, the work of art was chosen as the symbol of the Republic of Florence. It was carved in a huge block of marble that remained abandoned for more than forty years after suffering damage just in its basis in a previous attempt (Michelangelo took advantage of that just creating an empty espace between Davi's feet). Several artists had fought for the honor of doing that, including Leonardo da Vinci and Andrea Sansovino. Michelangelo was responsible for the task due to its already

half the patrons were either dead or badly injured. The Fateful Troika and Red, unscathed, hustled the patrons left still standing outside and into the Popo vans. Then out of the blue, one badly wounded cardboard character an uninteresting simulacrum passing for a real character yelled, “You gonna pay for this constable. “You set us up.” Suddenly, a strong wind appeared, blowing an antagonistic gust of wind so fierce that it blew one of the Popo vans over causing the Popo to lose control of

figure of memory itself: a culturally modeled, socially mandated (iconic, narrative, etc.) memory image. Additionally, theatre may be considered a place of memory, as well. But theatre is not a simple mnemonic of repeating reality. It is not merely a simulacrum, but also a quotation of reality; it does not aim to copy or memorize reality, but to represent it and interpret it critically. This is particularly true of the contemporary rough theatre of brutality. The art of memory as techne and discipline

police beating videotape, television can incite in a population sheer and utter rage and dark hostility. That same footage; however, can also detract from the very anger it incites. After countless times of viewing the footage, in a never-ending Simulacrum of the same grainy image, the masses became desensitized to its graphic violence. In fact, the repetitive viewing of the footage during the trial led to the desensitization of the jury and the acquittals of the "guilty" officers. In White

Hyper reality affects us all. We’re increasingly lost in its mesh of simulation. Yet we’re blind to it because we are blinded by it. Hyper reality is a special kind of social reality in which a reality is created or simulated from models, or defined by reference to models, a reality generated from ideas. It differs from other realities in that the division between reality and imaginary disappears, we left reality behind, and never noticed until now. We can no longer tell the former reality from hyper

Homosexuality plays an important thematic role in Angels in America by Tony Kushner. This is obvious; the play is about homosexuals during the AIDS epidemic in the 80’s. Not only is gayness their lives, it also figures in as a distorted simulation of itself. In the postmodern era, identities have become simulations of perceived actions instead of actual actions. Seen in rhetoric and in the play, homosexuality becomes associated with powerlessness, sin, and disease. Kushner’s characters are greatly

The essay, the Presence in the Past, authored by Ralph Trouillot addresses the relation between the time and the written text by elaborating the relationship between the past and the representation of the past, including written texts and other media. Trouillot challenges the fixity of pastiness, stating the past is continually renewed by the ever-changing present where the narrator is positioned. Therefore, the text about the past shall not be taken for granted as authentic simply due to its “empirical

In addition, Baron Ashkenazy, a filmmaker in the novel, is a simulacrum of Tateh, the Jewish immigrant that created silhouettes as a living in New York. The films that Baron Ashkenazy/Tateh creates misrepresents Tateh’s dark past during his struggle for survival as an artist by making a flawless society. Tateh’s films