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The Catch of the Hyperreal: Yossarian and the Ideological Vicissitudes of Hyperreality

100%
Yazdizadeh A.
Text Matters: A Journal of Literature, Theory and Culture
|
2018
|
issue 8
386-410
EN
Hyperreality is a key term in Jean Baudrillard’s cultural theory, designating a phase in the development of image where it “masks the absence of a profound reality.” The ambiance of Joseph Heller’s Catch-22 (1961) closely corresponds to Baudrillard’s notion of the hyperreal as images persist to precede reality in the fictional world of the novel. Since for Baudrillard each order of simulacra produces a certain mode of ideological discourse that impacts the perception of reality, it is plausible that the characters of this fictional context should be ideologically impacted by the hyperreal discourse. From this vantage point it is possible to have a new critical assessment of Yossarian’s (protagonist) antiheroic stance and study the role of the “business of illusion,” whose ideological edifice is based on the discourse of the hyperreal, on his antiheroic stance and actions. By drawing on Baudrillard’s cultural theory this paper aims to read Heller’s novel as a postmodern allegory of rebellion against the hyperreality of the twentieth-century American life and trace its relevance to modern-day U.S.
2
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Sociopaths as Antiheroes of Streaming Media

86%
Zdunkiewicz L.
Anglica Wratislaviensia
|
2019
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issue 57
89-101
EN
Unlike their traditional counterparts, contemporary TV antiheroes are becoming increasingly non-empathetic. Despite their dislikable qualities, they succeed in attracting audiences. I consider two factors that may be influencing their popularity. The first involves viewers’ increasing familiarity with storytelling techniques and their resulting gravitation towards narratives capable of challenging their story schemas. The second aspect concerns the entertainment industry’s transformations. Aware of their well-watched audiences’ expectations, studios are turning to novelists to pursue more defamiliarizing forms. I discuss The Assassination of Gianni Versace (2018) as an example of a series that experiments with viewers’ affective responses towards its sociopathic protagonist. I argue that the writer’s choices extricate Versace from the formulaic justice-is-served narrative, thus appealing to those consumers additionally motivated by, what researchers call, eudaemonic concerns.
3
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Aligning with Sociopaths: Character Engagement Strategies in Highsmith’s and Minghella’s Talented Mr. Ripleys

86%
Zdunkiewicz L.
Text Matters: A Journal of Literature, Theory and Culture
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2021
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issue 11
119-136
EN
Patricia Highsmith’s stated reason for writing The Talented Mr. Ripley (1955) was to see if she could elicit empathetic engagement for her immoral protagonist Tom Ripley. Amongst other factors, she achieves her goal by allowing readers to align affectively with the protagonist’s road to self-discovery. Her experiment culminates with Tom’s fruition into an aggressive consumer, thus resolving his and the readers’ apprehensions. On the other hand, Anthony Minghella’s Ripley leaves more room for interpretation. In his interviews, the filmmaker states that he does not aim for his protagonist to remain the sociopath from Highsmith’s novel. Instead, his story explores the absence of a father figure and how it affects his main characters. Consequently, he frames Tom as an underprivileged youth whose emotional instability brings about his demise. To this end, he employs victimization scenes, as well as moral disengagement cues. I argue that, amongst other factors, such an application of an industry-tested design of emphatic concern elicitation obscures the filmmaker’s initial intent. As a result, Minghella’s Tom can be seen as a manipulative sociopath, as well as a victimized tragic hero.
4
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ANTYBOHATEROWIE NEOSERIALI – GRA (Z) WARTOŚCIAMI

58%
Arcimowicz K.
Ars inter Culturas
|
2016
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issue 5
35-48
EN
The article presents results of the analysis of four neo TV series: House M.D., Dexter, Breaking Bad, House of Cards. The new TV series, despite their roots in older television forms, by and large radically break up with this tradition. The fundamental objective of the research is to describe the most important values realized by the antiheroes as well as to demonstrate main discursive strategies employed in creating serial plots with their participation. The post-soap makers play a peculiar game with their viewers placing in the foreground discursive strategies referring to ethical relativism. In contrast to tradi-tional, “axiologically safe” TV series, post-soaps may be defined as “axiologically fuzzy”. Neo TV series question the established values, including family, showing that it is not an easy form of co-existence and not always provides happiness for an individual.
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