Darbe analizuojama J. Baudrillardo filosofija, fundamentalios problemos, iškylančios medijoms radikaliai transformavus šiuolaikinę visuomenę. / In the study we analyse Baudrillard's philosophy, Problematics of the study lies on media analysis and transformation of the society.

Diplominiame darbe analizuojama simuliacijos ir simuliakrai pagal Jean‘ą Baudrillard‘ą, kuris svarstymuose kėlė neatsekamos ribos tarp fikcijos ir tikrovės klausimo. Darbo eigoje nuosekliai aptariamos sąvokos simuliakrai, simuliacija, tikrovė, iliuzija ir hiperrealybė. aprašoma simuliacijos ir erdvėlaikio filosofinė problema. Apibrėžiami trys simuliacijos laipsniai. Remiantis T. Burtono, D. Lynčo, G. Verbinskio filmais aptariamos istorijos bei žmogaus situacija įžengus į simuliacijos ir simuliakrų erdvę. Taip pat apžvelgiamas istorijos „pabaigos“ bei „įvykio“ ir jo prasmės praradimas technologiuotame pasaulyje, pateikiami grindžiantys pavyzdžiai. Meniniu – kūrybiniu videofilmu „Tėkmė“ siekiama judančių simbolių (detalių) pagalba atskleisti, bei pavaizduoti tikrovės simuliaciją. Kadrų scenomis siekiama sukurti kuo įtaigesnį hipertikroviško pasaulio įspūdį. / The Final Work analyses simulations and simulacra under Jean Baudrillard who offered the issue of untraceable boundary between the fiction and reality. The Work thoroughly discusses issues of simulacra, simulation, reality, illusion and hyper reality. Simulation and the philosophical problem of the space time are described. Three levels of simulation are presented. Under films of T. Burton, D. Lynch, G. Verbinski histories are discussed as well as the situation of a human being when entering the space of simulations and simulacra. Also stories of „the end” and „the action” are reviewed as well as the loss of meaning in the technologies world; the supporting examples are presented. Artistic – creative video film „The Flow” seeks to reveal and to depict the simulation of reality by aids of moving symbols (details). Scenes of shots aim to create the suggestive image of the hyper – real world.

In this thesis I examine the philosophical views of John Searle, Guy Debord, and Jean Baudrillard. These thinkers have radically different methodologies and theoretical alignments, but they are not entirely dissimilar. John Searle argues that there are two types of facts—those independent of human observation and those whose meaning depends on agreement. Guy Debord posits that modern society has replaced authentic social life with mere representation. The “spectacle” has replaced real interactions with others so that meaning itself is no longer authentic; it is treated as a commodity or currency. Jean Baudrillard argues that society has replaced reality with signs and symbols. Thus, human experience consists only of simulations, not reality itself. Each of these figures maintains that meaning is socially constructed. After examining the key assumptions of their respective theories, I demonstrate that their accounts are compatible and argue that their accounts are most cohesive when considered together.

As an anomaly on the market of military shooters of the 21st century, Spec Ops: The Line entails a journey of undetermined realities and modern warfare consequences. In this study, the narrative is analyzed from the perspective of Jean Baudrillard’s idea that simulations have replaced our conception of reality. Both the protagonist and the player of Spec Ops will unavoidably descend into a state of the hyperreal. They experience multiple possible realities within the game narrative and end up unable to comprehend what has transpired. The hyperreal is defined as the state in which it is impossible to discern reality from simulation. The simulation of reality has proliferated itself into being the reality, and the original has been lost. The excessive use of violence, direct approach of the player through a break with the 4th wall and a deceitful narrator contribute to this loss of reality within the game. Although the game represents simulacra, being a simulation in itself, the object of study is the coexisting state of hyperreal shared between protagonist and player when comprehending events in the game. In the end, neither part can understand or discern with any certainty what transpired within the game. / <p>Grade: B</p>

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Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 47-49).

This thesis attempts to illuminate new approaches to the thought of Jean Baudrillard, by understanding his unique phenomenological approach and radical affirmation of experience. This will be considered through an exploration of some interesting distinctions between his work and Friedrich Nietzsche’s. Where Nietzsche attempts to fall out of exchange with the world, it will be found that Baudrillard’s work is attempting to enact a kind of tension with things. This aspect of Baudrillard’s work will be examined through some interesting connections to the later work of Maurice Merleau-Ponty, specifically through the concept of reversibility. These connections and distinctions will gather in some important insights on Baudrillard’s approach to the topics of void, the hyperreal and relationality. Moreover, through exploring the intricacies of his phenomenological approach, I hope to understand more clearly what it means to sink into appearances, and to locate the subject wholly within the tensions of relations and forces enigmatic to it. / Graduate

Thesis (M.A.)--Virginia Polytechnic Institute and State University, 1994. / Vita. Abstract. Includes bibliographical references (leaves 97-100). Also available via the Internet.

Thesis (M.A.)--Villanova University, 2009. / Theology and Religious Studies Dept. Includes bibliographical references.