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Piecing Together J. G. Ballard’s "The Atrocity Exhibition"

100%
Tereszewski M.
Lublin Studies in Modern Languages and Literature
|
2020
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vol. 44
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issue 2
DE
Der Artikel enthält das Abstract ausschließlich in englischer Sprache.
EN
J.G. Ballard’s The Atrocity Exhibition can easily be classified as his most experimental novel, one that, more than any other of his works, succeeds in presenting, or perhaps representing, the fragmented condition of a media-saturated Western culture. On the surface, it does appear to be a postmodern and seemingly chaotic bricolage of pop iconography, landscapes, and medical references arranged non-linearly and without plot, and yet there is a unifying principle at work, anchoring the texts in a specific ideological context of 1960s Western culture. The main argument of this paper expands on Debord’s study of spectacle and regards The Atrocity Exhibition as a work that not only attempts to frustrate reading expectations, but also addresses the cultural shift towards spectacular society.
FR
L'article contient uniquement le résumé en anglais.
2
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Liminal Space in J. G. Ballard’s Concrete Island

100%
Tereszewski M.
Text Matters: A Journal of Literature, Theory and Culture
|
2019
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issue 9
345-355
EN
This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces-motorways, airports, high-rises, deserts, shopping malls, suburbs-have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.
3
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CONSUMERISM AND THE AESTHETICISATION OF VIOLENCE IN J.G. BALLARD’S KINGDOM COME

88%
Macsiniuc C.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2016
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vol. 8
89-105
EN
Ballard’s late fiction explores obsessively the processes which engender uncontrollable violence and various forms of social psychopathology in the contemporary society of affluence. The present paper focuses on the representation, in his last novel, Kingdom Come, of consumerism as an aestheticised form of violence, with a fascist-like, totalitarian ethos, a characteristic product of an age of de-differentiation and loss of meaning, dominated by media-generated messiahs.
4
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The Poet of Decay and Psychic Entropy: The Intersection of Surrealism and Science in J. G. Ballard’s Fiction

75%
Tereszewski M.
Academic Journal of Modern Philology
|
2021
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issue 14
337–346
EN
Images of decay, both psychological and physical, permeate much of J.G. Ballard’s fiction, creating in effect a unique aesthetic that has acquired the eponymous description “ballardian.” This imagery, stemming from the surrealist tradition, is more than aesthetic affectation; it is, as this article argues, the manifestation of an eschatological theme underlying much of New Wave science fiction. This article also addresses how scientific discourse, especially references to entropy, and surrealist aesthetics intersect in his novels (High-Rise and The Drowned World) to provide a metaphor for Ballard’s frequent use of decay imagery. Though the surrealist component of his imagination has been well documented, what still invites closer scrutiny are the ideological assumptions linking Ballard’s incorporation of surrealism with the work of other surrealists and the way Ballard develops this theme for his own purposes.
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