Levels of Simulacra: Brian Moore’s The Great Victorian Collection
The rise of the second phase of capitalism after World War II is contemporaneous with the increase in information production and the ubiquity of mass media. The incessant play of signs and images in the groundless cyberspace fuels the erosion of referentiality and reality in our mediagoverned era. The consequent absence of reality, as Baudrillard argues, is masked through the simulation of natural reality and generation of cultural hyperreality. The present paper aims at examining various levels of hyperreality in Brian Moore’ s novel, The Great Victorian Collection (1975), in the light of Jean Baudrillard’s comments. The mutation of the real into hyperreal and its subsequent reproduction in this novel threatens the authenticity of the notions of art and history. A central concern here is to show how the protagonist of the novel becomes the creation of his own creation by surrendering his subjectivity and agency to the hyperreality of films and photos.
Key words: Jean Baudrillard; Brian Moore; The Great Victorian Collection; Hyperrelity; Reproduction; Mass media; Originality
Baudrillard, Jean. (1981a). Simulacra and Simulation. (Sheila Faria Glaser, Trans.). Michigan: Michigan UP.
Baudrillard, Jean. (1981b). For a Critique of the Political Economy of the Sign (Charles Levin, Trans.). New York: Telos Press.
Baudrillard, Jean. (1983). Simulations (Paul Foss, Paul Patton & Philip Beitchman, Trans.). New York: Semiotexte Inc.
Baudrillard, Jean. (1993). Symbolic Exchange and Death (Lain Hamilton Grant, Trans.). London: Sage Publications.
Baudrillard, Jean (1998). The Consumer Society: Myths and Structures. London: Sage Publications.
Baudrillard, Jean. (2000). The Vital Illusion. New York: Columbia UP.
Benjamin, Walter. (2000). The Work of Art in the Age of Mechanical Reproduction. In Michael Mckeon (Eds.), Theory of the Novel: A Historical Approach (pp. 673-695). Baltimore: The John Hopkins UP.
Constable, Catherine. (2004). Postmodernism and Film. In Steven Connor (Eds.), The Cambridge Companion to Postmodernism (pp. 43-61). Cambridge: Cambridge UP.
Kellner, Douglas. (1989). Jean Baudrillard: From Marxism to Postmodernism and Beyond. Sanford: Sansord UP.
Kellner, Douglas. (2009). Baudrillard and the Art Conspiracy. In David B. Clarke, Marcus A. Doel, William Merrin & Richard G. Smith (Eds.), Jean Baudrillard: Fatal Theories (pp. 91-101). New York: Routledge.
Eco, Umberto. (1990). Travels in Hyperreality [PDF version]. Retrieved from http://public.clunet.edu/~brint/American/ Eco.pdf.
Moore, Brian. (1977). The Great Victorian Collection. Middlesex: Penguin Books.
O’ DonoGhue, Jo. (1991). Brian Moore: A Critical Study. Montreal: McGill UP.
Pawlett, William. (2007). Jean Baudrillard: Against Banality. New York: Routledge.
Sampson, Denis. (1991). Home, A Moscow of the Mind: Notes on Brian Moore’s Transition to North America. Colby Quarterly, 31, 46-54.
- There are currently no refbacks.
If you have already registered in Journal A and plan to submit article(s) to Journal B, please click the CATEGORIES, or JOURNALS A-Z on the right side of the "HOME".
We only use three mailboxes as follows to deal with issues about paper acceptance, payment and submission of electronic versions of our journals to databases: firstname.lastname@example.org; email@example.com; firstname.lastname@example.org
Copyright © 2010 Canadian Academy of Oriental and Occidental Culture
Address: 758, 77e AV, Laval, Quebec, H7V 4A8, Canada
Telephone: 1-514-558 6138
E-mail: email@example.com; firstname.lastname@example.org; email@example.com