Living in the Age of the Unreal: Exploring Baudrillard’s Theory of Hyperreality in the Graphic Narrative by Alec R. Hosterman, B.A., M.A. A Dissertation In TECHNICAL COMMUNICATION & RHETORIC Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Rich Rice Chair of Committee Dr. Craig Baehr Dr. Sean Zdenek Dr. Dominick Casadonte Dean of the Graduate School August, 2013 Copyright 2013, Alec R. Hosterman Texas Tech University, Alec R. Hosterman, August 2013 ACKNOWLEDGMENTS For a while I have been thinking about what to write here. I had three or four drafts written, none of which really went beyond a typical list of platitudes. Yes, they were heartfelt and expressed my thanks but they were… well… boring. I did not want them to be boring, so here goes. In 1886, Dr. John Pemberton invented Coca Cola. And because of him The Coca-Cola Company was established in 1892, the drink became popular, a weight-loss fad became popular, and Diet Coke was introduced in 1982. But wait, it gets better. Popular culture modified the drink and Diet Coke with Lime came to grocery store shelves in 2004. With that not-so-good-for-you blend of caffeine and ingredients one cannot pronounce, I wrote and edited most of this dissertation. Early in my career, several colleagues encouraged me to pursue this degree. I want to thank Drs. Thomas Miller, Matthew Smith, and Sharon Zechowski for that extra push in making this happen. Each one of them was in my shoes at some point, going through the rigorous and challenging journey of getting a Ph.D. And each one always had pearls of wisdom and encouragement whenever I needed it. I could not have asked for a better set of academic mentors. To my Chair, Dr. Rich Rice, thank you for putting up with my quirky ideas, e-mail conversations, and supporting my desire to do something unique for this project. In hindsight you probably should have said, “why don’t you choose something less abstract,” but that’s neither here nor there. Sanity not withstanding, I have made it through this dissertating journey in one piece (mostly) thanks to your attention to detail, support, ideas, and expert editorial marks and comments. I couldn’t have asked for a better mentor or friend. ii Texas Tech University, Alec R. Hosterman, August 2013 To Dr. Sean Zdenek, I appreciate your critical insight and intellectual rigor. I have to admit, the first time we (“we” being the second cohort) saw you at the ‘Nar, the scuttlebutt was that you were the tough prof–the one to watch out for. And honestly, I was a bit intimidated going into my first review as a doctoral student. You were assigned to my review. I thought: “Who is this Sean guy? Does he smile? Oh great, I’m doomed.” Needless to say, I was in awe of your depth of knowledge, sense of humor, and interest in my academic career. I continue to learn from you, and hope to do so in the coming years. To Dr. Craig Baehr, thank you for all of your ideas, comments, thoughts, explorations, examples, revisions, edits, re-edits, and final approvals. But mostly, I thank you for introducing me to Scott McCloud’s Understanding Comics (no, I am not citing it here). That one book really framed much of what I know and influenced my thoughts on comics. I am thankful that our process was highly rewarding and (relatively) painless. To Time Barrow, Joel Kline, and Emil Towner, you made my first year at the ‘Nar was one of the most memorable, by far and I would not trade it for anything (well, maybe the room–but that is it). Also, to my colleagues, classmates, and roommates at Texas Tech–thank you. We shared experiences, insight, knowledge, food, stories, and the faith that whatever happens, we could do it together. My sincere thanks goes to each one of you in helping me grow intellectually, professionally, and naturally in refining my Texas idioms. Thanks y’all! To my IU South Bend colleagues past and present, especially Michele Morgan-Dufour and Tamea Rector, thank you for all of your support and encouragement through the years. Mike Chabot, thank you for calling, calling again, and calling back even though I am a not-so-good caller-backer. You didn’t give up on me. I owe you. And to Heather Cousineau, thank you for iii Texas Tech University, Alec R. Hosterman, August 2013 standing by me when I decided to take the plunge into the murky waters of higher education for the third time. Also, I cannot forget two very special academic colleagues that I met in Memphis, TN and have gone on to collaborate with for several conferences: Drs. Janet Johnson and Sharon Lauricella. Both of you gave me your full support and encouragement, along with a few tasty beverages when needed. I look forward to many future collaborative projects! To members of my family, extended or otherwise, thank you for your love and support through these years. You were with me with each book I read and word I typed. A very special thank you to my father, Dr. Craig Hosterman. I am grateful for stories of your firsthand experience getting the same degree, support, guidance, honesty, and love through the years. Now I know where your gray hair came from (apart from me). Unfortunately, I do not have enough room to list everyone. In fact, my committee is probably cringing at how long this has gone on. Know this: any writing project is a collaborate experience. I did not do this research alone–it was done with everyone that ever gave me an idea, resource, word of encouragement, support, or answer where needed. In reality, your name should go right alongside mine. You are in my thoughts and heart as I finish this chapter of my life and move onto the next. To paraphrase Ben Grimm and the CAC…It’s scholarin’ time! iv Texas Tech University, Alec R. Hosterman, August 2013 TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................................... ii TABLE OF CONTENTS .................................................................................................... v ABSTRACT ................................................................................................................... viii LIST OF TABLES ............................................................................................................ ix LIST OF FIGURES ........................................................................................................... x CHAPTER 1 INTRODUCTION .............................................................................................................. 1 The Genre of Comics Art ........................................................................................... 4 Comics Art ............................................................................................................ 4 Popularity .............................................................................................................. 6 Criticism ................................................................................................................ 8 On Hyperreality ........................................................................................................ 11 The Graphic Narrative as Hyperreality ............................................................... 17 The Role of Rhetoric ........................................................................................... 22 Rhetoric and Comics Art ..................................................................................... 23 Rhetoric and Hyperreality ................................................................................... 26 Scope of This Dissertation ....................................................................................... 31 Limitations. .............................................................................................................. 32 Chapter Overview .................................................................................................... 34 CHAPTER 2 ON HYPERREALITY ..................................................................................................... 36 Jean Baudrillard ....................................................................................................... 37 Semantic Origins of Hyperreality ............................................................................ 40 Hyper ................................................................................................................... 40 Reality ................................................................................................................. 42 Hyperreality ........................................................................................................ 44 The Scholarship of Hyperreality .............................................................................. 47 Hyperreality as Personal Experience .................................................................. 47 Hyperreality of Events ........................................................................................ 49 Hyperreality of Place .......................................................................................... 51 Hyperreality Through Mediated Artifacts ........................................................... 56 Hyperreality Through Gaming ............................................................................ 60 Hyperreality Though Virtual Reality .................................................................. 61 Remediating Hyperreality .......................................................................................