DOCSLIB.ORG

The System of Objects

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The System of Objects he System o Objects • Jean Baudrillard Translated by James Benedict VERSO London • New York The System of Objects First published by Verso 1996 This edition © Verso 1996 Paperback edition reprinted 1997,1999, 2002 Translation © James Benedict 1996 First published as Le système des objets © Editions Gallimard 1968 All rights reserved Published with the financial assistance of the French Ministry of Culture The right of James Benedict to be identified as the translator of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 Verso UK: 6 Meard Street, London W1F OEG USA: 180 Varick Street, New York NY 10014-4606 Verso is the imprint of New Left Books ISBN 1-^85984-943-1 ISBN 1-85984-068-X (pbk) British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Baudrillard, Jean. [Système des objets. English] The system of objects / Jean Baudrillard ; translated by James Benedict. p. cm. ISBN 1-85984-943-1. — ISBN 1-85984-068-X (pbk.) 1. Values—Psychological aspects. 2. Object (Philosophy) 3. Technology and civilization. 4. Consumption (Economics) I. Title. BF778.B313 1996 306.4'6—dc20 96-6183 CIP Typeset by Keystroke, Jacaranda Lodge, Wolverhampton Printed and bound in Great Britain by the Bath Press Contents Translator's Acknowledgements ix Introduction 1 A. The Functional System, or Objective Discourse 13 I Structures of Interior Design 15 The Traditional Environment 15 The Modern Object Liberated in Its Function 17 The Model Interior 19 Modular Components 19 Walls and Daylight 21 Lighting 21 Mirrors and Portraits 22 Clocks and Time 24 Towards a Sociology of Interior Design? 24 Man the Interior Designer 26 II Structures of Atmosphere 30 Atmospheric Values: Colour 30 Traditional Colour 30 'Natural9 Colour 31 'Functional' Colour 34 Hot and Cold 36 Atmospheric Values: Materials 37 Natural Wood/Cultural Wood 37 The Logic of Atmosphere 39 A Model Material: Glass 41 CONTENTS 4^The Man of Relationship and Atmosphere 43 Seats 44 Cultural Connotation and Censorship 46 Atmospheric Values: Gestural Systems and Forms 47 The Traditional Gestural System: Effort 48 The Functional Gestural System: Control 49 A New Operational Field 50 Miniaturization 51 Stylization, Manipulability, Envelopment 52 The End of the Symbolic Dimension 54 The Abstractness of Power 55 The Functionalist Myth 57 Functional Form: The Lighter 58 Formal Connotation: Tail Fins 59 Form as Camouflage 61 III Conclusion: Naturalness and Functionality . 63 Addendum: The Domestic World and the Car 65 B. The Non-Functional System, or Subjective Discourse 71 I Marginal Objects: Antiques 73 Atmospheric Value: Historicalness 73 Symbolic Value: The Myth of the Origin 74 'Authenticity' 76 The Neo-Cultural Syndrome: Restoration 77 Synchronism, Diachronism, Anachronism 80 Reverse Projection: The Technical Object and Primitive Man 82 The Market in Antiques 83 Cultural Neo-lmperialism 84 Il A Marginal System: Collecting 85 The Object Abstracted from Its Function 85 The Object as Passion 87 The Finest of Domestic Animals 89 CONTENTS A Serial Game From Quantity to Quality: The Unique Object Objects and Habits: Wrist-Watches Objects and Time: A Controlled Cycle The Sequestered Object: Jealousy The Object Destructured: Perversion From Serial Motivation to Real Motivation A Discourse Addressed to Oneself C. The Metafunctional and Dysfunctional System Gadgets and Robots Technical Connotation: Automatism 'Functional' Transcendence Functional Aberration: Gadgets Pseudo-Functionality: Gizmos Metafunctionality: Robots The Transformations of Technology Technics and the Unconscious System D. The Socio-ldeological System of Objects and Their Consumption I Models and Series The Pre-lndustrial Object and the Industrial Model The Personalized' Object Choice Marginal Difference The Ideal Nature of Models From the Model to the Series The Technical Deficit of the Serial Object The 'Style' Deficit of the Serial Object Class Differences The Present as Privilege vii CONTENTS A Misadventure of the Person 152 The Ideology of Models 153 II Credit 156 Rights and Duties of the Consumer-Citizen 156 The Precedence of Consumption: A New Ethic 158 The Obligation to Buy 160 The Miracle of Buying 161 The Ambiguity of the Domestic Object 162 III Advertising 164 Discourse on Objects and Discourse-As-Object 164 Advertising in the Indicative and in the Imperative 165 The Logic of Father Christmas 166 Society as Maternal Agency: Airborne's Armchair 168 The Festival of Buying Power 172 Gratification/Rep'ression: A Two-Sided Agency 174 The Presumption of Collectivity 178 Pax Washing Powder 178 Promotional Contests 180 GARAP 181 A New Humanism? 182 Serial Conditioning 182 Freedom by Default 184 A New Language? 187 Structure and Demarcation: Brands 187 A Universal Code: Status 193 Conclusion: Towards a Definition of 'Consumption' 197 viii Translator's Acknowledgements For her unstinting help with this translation, I must yet again offer my heartfelt gratitude to M.N. Many many thanks as well to Malcolm Imrie and Jane Hindle, my editors at Verso. INTRODUCTION Could we classify the luxuriant growth of objects as we do a flora or fauna, complete with tropical and glacial species, sudden mutations, and varieties threat­ ened by extinction? Our urban civilization is witness to an ever-accelerating procession of generations of products, appliances and gadgets by comparison with which mankind appears to be a remarkably stable species. This pullulation of objects is no odder, when we come to think about it, than that to be observed in countless natural species. Species which man has successfully inventoried. And in the period when he began to do this systematically he was also able to draw up, in the Encyclopédie, an exhaustive catalogue of the practical and technical objects that surrounded him. Since then, however, that balance has been lost: everyday objects (we are not concerned here with machines) proliferate, needs multiply, production speeds up the life-span of such objects - yet we lack the vocabulary to name them all. How can we hope to classify a world of objects that changes before our eyes and arrive at an adequate system of description? There are almost as many criteria of classification as there are objects themselves: the size of the object; its degree of functionality (i.e. the object's relationship to its own objective function); the gestures associated with it (are they rich or impov­ erished? traditional or not?); its form; its duration; the time of day at which it 3 THE SYSTEM OF OBJECTS appears (more or less intermittent presence, and how conscious one is of it); the material that it transforms (obvious in the case of a coffee grinder, less so in those of a mirror, a radio, or a car - though every object transforms something); the degree of exclusiveness or sociability attendant upon its use (is it for private, family, public or general use?); and so on. Indeed all such means of categoriza­ tion may seem - when they are applied to an ensemble, such as the set of objects, that is undergoing continual mutation and expansion - barely less contingent than the order of the letters of the alphabet. The catalogue of the Manufacture d'Armes de Saint-Etienne proposes, if not structures, then at least subdivisions, but it takes into account only objects defined according to function: each object corresponds to an operation, often a tiny or hétéroclite operation, but nowhere is any system of meanings even touched upon.1 At a much higher level, the simultaneously formal, functional and structural analysis which Siegfried Giedion offers us - a kind of epic history of the technical object2 - notes the changes in social structure associated with technical development, but scarcely addresses such questions as how objects are experienced, what needs other than functional ones they answer, what mental structures are interwoven with - and contradict - their functional structures, or what cultural, infracultural or transcultural system underpins their directly experienced everydayness. These are the questions we shall be asking here. We shall not, therefore, be concerning ourselves with objects as defined by their functions or by the categories into which they might be sub­ divided for analytic purposes, but instead with the processes whereby people relate to them and with the systems of human behaviour and relationships that result therefrom. The study of this 'spoken' system of objects - that is, the study of the more or less consistent system of meanings that objects institute - always presupposes 1. The catalogue itself, however - its actual existence - is rich in meaning: its exhaustive nomenclatural aims have the resounding cultural implication that access to objects may be obtained only via the pages of a catalogue which may be leafed through 'for the pleasure of if, as one might a great manual, a book of tales, a menu.... 2. Mechanization Takes Command (New York: Oxford University Press, 1948). 4 INTRODUCTION a plane distinct from this 'spoken' system, a more strictly structured plane, a structural plane transcending even the functional account of objects. This plane is the technological one. The technological plane is an abstraction: in ordinary life we are practically unconscious of the technological reality of objects. Yet this abstraction is profoundly real: it is what governs all radical transformations of our environment. It is even - and I do not mean this in any paradoxical sense - the most concrete aspect of the object, for technological development is synonymous with objective structural evolution. In the strictest sense, what happens to the object in the technological sphere is essential, whereas what happens to it in the psychological or sociological sphere of needs and practices is inessential. The discourse of psychology or sociology continually refers us to the object as apprehended at a more consistent level, a level unrelated to any individual or collective discourse, namely the supposed level of technological language.
Load more

Recommended publications
  • Spring 1986 Editor: the Cover Is the Work of Lydia Sparrow
    'sReview Spring 1986 Editor: The cover is the work of Lydia Sparrow. J. Walter Sterling Managing Editor: Maria Coughlin Poetry Editor: Richard Freis Editorial Board: Eva Brann S. Richard Freis, Alumni representative Joe Sachs Cary Stickney Curtis A. Wilson Unsolicited articles, stories, and poems are welcome, but should be accom­ panied by a stamped, self-addressed envelope in each instance. Reasoned comments are also welcome. The St. John's Review (formerly The Col­ lege) is published by the Office of the Dean. St. John's College, Annapolis, Maryland 21404. William Dyal, Presi­ dent, Thomas Slakey, Dean. Published thrice yearly, in the winter, spring, and summer. For those not on the distribu­ tion list, subscriptions: $12.00 yearly, $24.00 for two years, or $36.00 for three years, paya,ble in advance. Address all correspondence to The St. John's Review, St. John's College, Annapolis, Maryland 21404. Volume XXXVII, Number 2 and 3 Spring 1986 ©1987 St. John's College; All rights reserved. Reproduction in whole or in part without permission is prohibited. ISSN 0277-4720 Composition: Best Impressions, Inc. Printing: The John D. Lucas Printing Company Contents PART I WRITINGS PUBLISHED IN MEMORY OF WILLIAM O'GRADY 1 The Return of Odysseus Mary Hannah Jones 11 God of Abraham, Isaac, and Jacob Joe Sachs 21 On Beginning to Read Dante Cary Stickney 29 Chasing the Goat From the Sky Michael Littleton 37 The Miraculous Moonlight: Flannery O'Connor's The Artificial Nigger Robert S. Bart 49 The Shattering of the Natural Order E. A. Goerner 57 Through Phantasia to Philosophy Eva Brann 65 A Toast to the Republic Curtis Wilson 67 The Human Condition Geoffrey Harris PART II 71 The Homeric Simile and the Beginning of Philosophy Kurt Riezler 81 The Origin of Philosophy Jon Lenkowski 93 A Hero and a Statesman Douglas Allanbrook Part I Writings Published in Memory of William O'Grady THE ST.
    [Show full text]
  • Silence and Beauty
    SILENCE AND BEAUTY Reflections A companion guide for introspection and discussion on Mako Fujimura’s book and video series CONTENTS Introduction 3 A companion to video 1 Fumi-e 7 A companion to video 2 Outsider vs. Insider 10 A companion to video 3 The Voice of God 14 Through Silence A companion to video 4 The Third Way 17 A companion to video 5 Silence and Beauty 20 Examined A companion to video 6 Silence 23 Discussion guide based on the novel by Shusaku Endo INTRODUCTION A companion to video 1 Born in Boston to Japanese parents, Mako Fujimura became the first nonnative to study in a prestigious school of painting in Japan that dates back to the fifteenth century. Throughout the process of completing Tokyo University of the Art’s doctoral- level lineage program he learned the ancient nihonga technique that relies on natural pigments derived from stone-ground minerals and from cured oyster, clam, and scallop shells. Rather than painting traditional subjects such as kimonos and cherry blossoms, Fujimura applied the nihonga style to his preferred modern medium of abstract expressionism. — from Silence and Beauty: Hidden Faith Born of Suffering Mako Fujimura, in his book Silence and Beauty, vividly reflects on his personal journey into Shusaku Endo’s Silence. By his chapter title of the same name, “A Journey Into Silence,” the curious subtitle reads: Pulverization. 3 Mako goes on to say, I entered the darkly lit exhibit room alone. The studio given to me as a National Scholar was a few blocks away from the Tokyo National Museum at Tokyo University of the Arts.
    [Show full text]
  • Guilt, Forgiveness, and Reconciliation in Contemporary Music
    IS SORRY REALLY THE HARDEST WORD? GUILT, FORGIVENESS, AND RECONCILIATION IN CONTEMPORARY MUSIC Ariana Sarah Phillips-Hutton Darwin College Department of Music University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy September 2017 ABSTRACT IS SORRY REALLY THE HARDEST WORD? GUILT, FORGIVENESS, AND RECONCILIATION IN CONTEMPORARY MUSIC Ariana S. Phillips-Hutton Guilt, forgiveness, and reconciliation are fundamental themes in human musical life, and this thesis investigates how people articulate these experiences through musical performance in contemporary genres. I argue that by participating in performances, individuals enact social narratives that create and reinforce wider ideals of music’s roles in society. I assess the interpenetrations of music and guilt, forgiveness, and reconciliation through a number of case studies spanning different genres preceded by a brief introduction to my methodology. My analysis of Arnold Schoenberg’s A Survivor from Warsaw illustrates the themes (guilt, confession and memorialisation) and approach I adopt in the three main case studies. My examination of William Fitzsimmons’s indie folk album The Sparrow and the Crow, investigates how ideals of authenticity, self-revelation, and persona structure our understanding of the relationship between performer and audience in confessional indie music. Analyses of two contemporary choral settings of Psalm 51 by Arvo Pärt and James MacMillan examine the confessional relationship between human beings and God. I suggest that by
    [Show full text]
  • The Burning Mirror: a Christian Encounter with Shamanism
    The Burning Mirror: Sandy Yule The Burning Mirror: A Christian Encounter with Shamanism Rev. Dr. Sandy Yule Published in 'Voices from the Edge' Series, No. 3 ISPCK, Delhi 2005 May 2002 The Burning Mirror: Sandy Yule Table of Contents Introduction Conversational Beginnings Shamanism Interlude: Summoning Animal Spirits Christian Europe and Witches Interlude: Witches and Malevolence The Burning Mirror (Story) Interlude: Through the Looking Glass The Image of the Burning Mirror Interlude: Self-awareness Meeting the Aztecs Interlude: Evil and Holocausts Narcissus and Sin Interlude: Discerning the Spirits Exorcism Interlude: Demons The Spirits of the Dead Interlude: Spirit in Humans Australian Aborigines and Shamanism Interlude: Spirits in the Landscape Enlightenment Revisited Interlude: Recognizing Spirit Afterword Select Bibliography The Burning Mirror: Sandy Yule The Burning Mirror Introduction This book is offered as a work of Christian theological reflection. It arises from active listening, by a person committed to Christian faith and life, to another very different faith tradition, that of shamanism. In terms of method, the work occurs in the second person more than in the third. Listening to another tradition cannot be done with proper respect if the basic orientation is towards setting out the facts of the case from the supposedly universal viewpoint of the author. In dialogue, more than one view can be presented in its own terms. This allows for the possibility of meeting the alien tradition at its strongest rather than at its weakest point. This allows us to reflect on what we hear in terms of what it shows us about our own shadow. Active listening leads to active imagining of how to make sense of what we hear.
    [Show full text]
  • A Moveable East Identities, Borders and Orders in the Enlarged EU And
    A Moveable East Identities, Borders and Orders in the Enlarged EU and Its Eastern Neighbourhood A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Benjamin Tallis School of Social Sciences Contents Table of Figures ............................................................................................................................... 3 Abstract ............................................................................................................................................ 4 Declaration ....................................................................................................................................... 5 Copyright Statement ........................................................................................................................ 5 Note on Referencing ........................................................................................................................ 5 Dedication ......................................................................................................................................... 6 Acknowledgements ......................................................................................................................... 6 Chapter 1 – Introduction: Identities, Borders and Orders in Central & Eastern Europe ......... 7 Chapter 2 - Analytical Framework: A Social, Spatial & Temporal Borderscape ..................... 20 2-1 Introduction: Interpreting Post-Frontier Bordering .........................................................................
    [Show full text]
  • Negotiating Femininity As Spectacle Within the Victorian Cultural Sphere
    CRACKED MIRRORS AND PETRIFYING VISION: NEGOTIATING FEMININITY AS SPECTACLE WITHIN THE VICTORIAN CULTURAL SPHERE by LUCINDA IRESON A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of English College of Arts and Law University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma.
    [Show full text]
  • KICKSTARTER MANUSCRIPT PREVIEW Part 4 Chapter Five: Antagonists It Is a Man’S Own Mind, Not His Enemy Or Foe, That Lures Him to Evil Ways
    KICKSTARTER MANUSCRIPT PREVIEW Part 4 Chapter Five: Antagonists It is a man’s own mind, not his enemy or foe, that lures him to evil ways. —Gautama Buddha From the moment the Bargain is struck, Sin-Eaters face enemies from all sides. In the world of the living, necromancers and the eaters of the dead exploit and feast upon ghosts. In the world of the dead, Reapers and Kerberoi deceive and enslave them. Ideological differences between krewes spark bloody wars spread across both worlds. No matter their origin, they will all ensure that fighting for the dead is a perilous task. Reapers Some ghosts claim to be empowered by the Underworld, and that they serve its needs in return. Through the force of their Deathmasks (p. XX), Reapers travel into the world of the living to drag ghosts into the Great Below. They use their authority and prestige to defend the Underworld from those who would see it destroyed. One simple truth drives a chill into the heart of a Sin-Eater: Underneath all their power and clout, Reapers are the very same dead they have sworn to protect. A Ghost Like You Any ghost can become a Reaper. Becoming one is as simple as finding a Deathmask buried in the soil or floating down one of the many tributaries of the Rivers of the Underworld. Donning the mask triggers a startling transformation. Wearing a Deathmask is an exhilarating experience. A Reaper feels cold water running down his body, possibly the only sensation he’s felt in years. In an instant, the Reaper’s Corpus is infused with a monstrous visage.
    [Show full text]
  • Looking in a Broken Mirror: Reflections on the Split Writer And
    ‗Hidden‘ and ‗Looking in a Broken Mirror: Reflections on the Split Writer and the Visual Artist Character‘ Katherine Doube Submitted for the Degree of Doctor of Philosophy Discipline of English School of Humanities The University of Adelaide August 2010 ‗Looking in a Broken Mirror: Reflections on the Split Writer and the Visual Artist Character‘ 313 314 Introduction: Breaking the mirror ............................................ 317 Margaret Atwood‘s Cat’s Eye: Reflections of the artist ........ 337 Pricked by shards of glass: Writing ‗Hidden‘ .................... 353 Works cited ................................................................................ 383 315 316 Introduction: Breaking the Mirror As for the artists who are also writers, they are doubles twice times over, for the mere act of writing splits the self in two. Margaret Atwood, Negotiating with the Dead, 32. In Negotiating with the Dead Margaret Atwood writes about the idea of the writer as doubled, arguing that the person who exists in life, who drinks tea and feeds the dog, is somehow replaced during the act by the person who does the actual writing, the creator, as though these two people are separate individuals cohabiting the same body. ―The act of writing takes place at the moment when Alice passes through the mirror. At this one instant, the glass barrier between the doubles dissolves, and Alice is neither here nor there, neither art nor life, neither one thing nor the other, though at the same time she is all of these at once‖ (57). Paul Auster refers to another form of doubling in Hand to mouth. ―Most writers lead double lives,‖ he says. ―They earn good money at legitimate professions and carve out time for their writing as best they can‖ (4).
    [Show full text]
  • Views from the Real World My Own Resources
    Views from the Real World Early Talks in Moscow, Essentuki, Tiflis, Berlin, London, Paris, New York and Chicago As Recollected by His Pupils Introduction Gurdjieff is becoming well known as a pioneer of the new current of thought about man's situation, such as has been provided through- out the ages at times of transition in human history. A quarter century after his death, his name has emerged from a background of rumor and he is recognized today as a great spiritual force, who saw clearly the direction modern civilization is taking and who set to work behind the scenes to prepare people in the West to discover for themselves and eventually to diffuse among mankind the certainty that Being is the only indestructible reality. The outline of his life is familiar to readers of his Second and Third Series, Meetings with Remarkable Men (published in 1963) and Life Is Real Only Then, When "I Am" (privately printed in 1975). Born on the frontier of Russia and Turkey in 1877 "in strange, almost biblical circumstances," his education as a boy left him with many unanswered questions and he set out when quite young in search of men who had achieved a complete knowledge of human life. His early travels to unidentified places in Central Asia and the Middle East lasted twenty years. On his return, he began to gather pupils in Moscow before the first World War and continued his work with a small party of followers while moving, during the year of the Russian revolution, to Essentuki in the Caucasus, and then through Tiflis, Constantinople, Berlin and London to the Chateau du Prieuré near Paris, where he reopened his Institute for the Harmonious Development of Man in 1922 on a larger scale.
    [Show full text]
  • Convenient PDF Form
    FSM Box 04 The Miklos´ Rozsa´ Treasury Supplemental Liner Notes Contents Mikl´osR´ozsaat M-G-M: A Chronology 1 Madame Bovary 6 The Red Danube 16 The Miniver Story 18 The Asphalt Jungle 20 East Side, West Side 21 The Light Touch 22 Quo Vadis (music & effects) 25 Quo Vadis (archival music) 33 The Story of Three Loves 40 Young Bess 45 All the Brothers Were Valiant 51 Knights of the Round Table 56 Crest of the Wave 57 Beau Brummell 60 Something of Value 63 Crisis 66 Tip on a Dead Jockey 68 Library Re-recordings 71 King of Kings 72 El Cid 77 Ivanhoe 82 Lust for Life 83 The V.I.P.s 84 Great Movie Themes Composed by Mikl´osR´ozsa 89 The Power 91 Liner notes ©2009 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com Madame Bovary, The Red Danube, East Side, West Side ©1949 Turner Entertainment Co., A Warner Bros. Entertain- ment Company. All rights reserved. The Miniver Story, The Asphalt Jungle, Crisis ©1950 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. Quo Vadis ©1951 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. The Light Touch, Desperate Search, Ivanhoe ©1952 Turner Enter- tainment Co., A Warner Bros. Entertainment Company. All rights reserved. The Story of Three Loves, Young Bess, All the Brothers Were Valiant, Knights of the Round Table, Rogue’s March, Code Two ©1953 Turner Entertainment Co., A Warner Bros.
    [Show full text]
  • Reading and Teaching Gender Issues in Electronic Literature and New Media Art
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA English Department II: Literature of English Speaking Countries READING AND TEACHING GENDER ISSUES IN ELECTRONIC LITERATURE AND NEW MEDIA ART By Maya Zalbidea Paniagua Doctoral Dissertation presented to the Faculty of English Philology of Complutense University of Madrid for the degree of European Doctor of English Supervisors: Dr. Asunción López-Varela Azcárate And Dr. George P. Landow Madrid, 2011 DOCTORAL DISSERTATION 2 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa II: Literatura de los Países de Habla Inglesa LA LECTURA Y LA ENSEÑANZA DE LAS CUESTIONES DE GÉNERO EN LA LITERATURA ELECTRÓNICA Y EL ARTE DE LOS NUEVOS MEDIOS Maya Zalbidea Paniagua Memoria defendida en la facultad de filología de la Universidad Complutense de Madrid para optar al grado de Doctora Europea en Filología Inglesa Bajo la codirección de la Doctora Asunción López-Varela Azcárate y el Doctor George P. Landow Madrid, 2011 TESIS DOCTORAL 2 3 Maya Zalbidea Paniagua Reading and Teaching Gender Issues In Electronic Literature and New Media Art This academic dissertation was publicly discussed by permission of the University Complutense of Madrid at the Faculty of Philology on December 14th 2011. Esta tesis doctoral fue defendida públicamente con el permiso de la Universidad Complutense de Madrid en la Facultad de Filología el 14 de diciembre del 2011. 3 4 Reading and Teaching Gender Issues in Electronic Literature and New Media Art 4 5 This doctoral thesis has been written in American English following the norms of the MLA style. It includes a summary in Spanish. Esta tesis doctoral ha sido redactada en inglés americano cumpliendo las normas del estilo MLA.
    [Show full text]
  • The Paintings of Flight Officer Eric Thake, Official War Artist, R.A.A.F
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1987 The ainp tings of Flight Officer Eric Thake, official war artist, R.A.A.F. Historical Records Section, 1944-1946 Peter Pinson University of Wollongong Recommended Citation Pinson, Peter, The ainp tings of Flight Officer Eric Thake, official war artist, R.A.A.F. Historical Records Section, 1944-1946, Doctor of Philosophy thesis, Royal Australian Air Force Historical Records Section, University of Wollongong, 1987. http://ro.uow.edu.au/ theses/1899 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE PAINTINGS OF FLIGHT OFFICER ERIC THAKE, OFFICIAL WAR ARTIST, R.A.A.F. HISTORICAL RECORDS SECTION, 1944-1946 A thesis submitted in partial fulfilment of the requirements of the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by PETER PINSON B.Ed. (Art), M.A. (R.C.A.) SCHOOL OF CREATIVE ARTS 1987 i ACKNOWLEDGEMENTS I would like to acknowledge the contributions of Mr Richard Hook, for his valuable assistance, and Professor Edward Cowie, whose guidance and encouragement were always stimulating. 11 TABLE OF CONTENTS Abstract Chapter 1 Introduction 1-1 Chapter 2 Eric Thake and Surrealism 2-1 Chapter 3 Thake and the Paranoiac-Critical Method 3-1 Chapter 4 Plane Dump Series 4-1 Chapter 5 The First Tour: Port Moresby, Noemfoor, Morotai 5-1 Chapter 6 Nocturnes and Searchlight
    [Show full text]