Bøger af Jean Baudrillard

An analysis of how Mitterand came to power in France and how political power seduced the French Left and became a simulacrum.First published in French in 1985, The Divine Left is Jean Baudrillard's chronicle of French political life from 1977 to 1984. It offers the closest thing to political analysis to be found from a thinker who has too often been regarded as apolitical. Gathering texts that originally appeared as newspaper commentary on François Mitterand's rise to power as France's first Socialist president and the Socialist Party's fraught alliance with the French Communist Party, The Divine Left in essence presents Baudrillard's theory of the simulacrum as it operates in the political sphere.In France, the Left, and even the ultra-Left, had been seduced by power. This scenario—dissected by Baudrillard with deadpan humor and an almost chilling nonchalance—produced a Socialist Party that devoted itself to rallying the market economy and introducing neoliberalism, and replaced an intellectual class with the media stars and hyper-professionals of the spectacle. Starting from the elections of 1977, Baudrillard analyzes—in "real time,” as it were—how the Left's taking of power had in fact been an enaction of not just its own death throes, but those of power itself. The Divine Left outlines a simulation of politics that offers discomfiting parallels to our political world today, a trajectory that has only grown more apparent in recent years: the desire and intention to fail.

Characterizing it as a "mythic discourse," Jean Baudrillard proceeds, in this brilliant essay, to dismantle the powerful, seductive figure of Michel Foucault.In 1976, Jean Baudrillard sent this essay to the French magazine Critique, where Michel Foucault was an editor. Foucault was asked to reply, but remained silent. Forget Foucault (1977) made Baudrillard instantly infamous in France. It was a devastating revisitation of Foucault's recent History of Sexuality—and of his entire oeuvre—and also an attack on those philosophers, like Gilles Deleuze and Félix Guattari, who believed that desire could be revolutionary. In Baudrillard's eyes, desire and power were interchangeable, so desire had no place in Foucault's work. There is no better introduction to Baudrillard's polemical approach to culture than these pages, in which Baudrillard dares Foucault to meet the challenge of his own thought. This Semiotext(e) edition of Forget Foucault is accompanied by a dialogue with Sylvère Lotringer, "Forget Baudrillard," a reevaluation by Baudrillard of his lesser-known early works as a post-Marxian thinker. Lotringer presses Baudrillard to explain how he arrived at his infamous extrapolationist theories from his roots in the nineteenth and early twentieth century social and anthropological works of Karl Marx, Marcel Mauss, and Emil Durkheim.

Part of "Radical Thinkers" series, this work presents key texts by philosophers and thinkers. It offers a postmodernist philosopher's tour-de-force contemplation on sex, technology, politics and disease in Western culture after the 'orgy' of the 1960s.

Features postmodernity's quintessential theorist with his meditations on the meanings of objects.

Seminal essays written by Baudrillard for a journal devoted to a radical leftist critique of architecture, urbanism, and everyday life.The Utopie group was born in 1966 at Henri Lefebvre's house in the Pyrenees. The eponymous journal edited by Hubert Tonka brought together sociologists Jean Baudrillard, René Lourau, and Catherine Cot, architects Jean Aubert, Jean-Paul Jungmann, Antoine Stinco, and landscape architect Isabelle Auricoste. Over the next decade, both in theory and in practice, the group articulated a radical ultra-leftist critique of architecture, urbanism, and everyday life. Utopia Deferred collects all of the essays Jean Baudrillard published in Utopie as well as recent interviews with Jean Baudrillard and Hubert Tonka.Utopie served as a workshop for Baudrillard's thought. Many of the essays he first published in Utopie were seminal for some of his most shockingly original books: For a Critique of the Political Economy of the Sign, The Mirror of Production, Simulations, Symbolic Exchange and Death, and In the Shadow of the Silent Majorities. But Utopie was also a topical journal and a political one; the topics of these essays are often torn from the headlines of the tumultuous decade following the uprisings of May 1968.

Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations.

Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes "War Porn," on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the "end of art," Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylvère Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with "War Porn," a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.

This exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today covers fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life.

The hypothesis of this book is that the deterrence of war in the traditional sense has been internalized and turned back upon the Western powers, producing a form of self-deterrence which renders them incapable of realizing their own power in the form of relations of force.