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simulacrum
A simulacrum (plural: simulacra from (ラテン語:simulacrum), which means "likeness, similarity"), is a representation or imitation of a person or thing. The word was first recorded in the English language in the late 16th century, used to describe a representation, such as a statue or a painting, especially of a god. By the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original.〔"simulacrum" ''The New Shorter Oxford English Dictionary'' 1993〕 Philosopher Fredric Jameson offers photorealism as an example of artistic simulacrum, where a painting is sometimes created by copying a photograph that is itself a copy of the real.〔Massumi, Brian. "Realer than Real: The Simulacrum According to Deleuze and Guattari." http://www.anu.edu.au/hrc/first_and_last/works/realer.htm retrieved 2 May 2007〕 Other art forms that play with simulacra include trompe-l'œil,〔Baudrillard, Jean. "XI. Holograms." ''Simulacra and Simulations.'' transl. Sheila Faria Glaser. http://www.egs.edu/faculty/jean-baudrillard/articles/simulacra-and-simulations-xi-holograms/ retrieved 5 May 2010〕 pop art, Italian neorealism, and French New Wave.〔
==Philosophy==
The simulacrum has long been of interest to philosophers. In his ''Sophist'', Plato speaks of two kinds of image making. The first is a faithful reproduction, attempted to copy precisely the original. The second is intentionally distorted in order to make the copy appear correct to viewers. He gives the example of Greek statuary, which was crafted larger on the top than on the bottom so that viewers on the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from the visual arts serves as a metaphor for the philosophical arts and the tendency of some philosophers to distort truth so that it appears accurate unless viewed from the proper angle. Nietzsche addresses the concept of simulacrum (but does not use the term) in the ''Twilight of the Idols'', suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.
Postmodernist French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two types of representation—faithful and intentionally distorted (simulacrum)—Baudrillard sees four: (1) basic reflection of reality; (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which "bears no relation to any reality whatsoever".〔http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html retrieved 2 May 2007.〕 In Baudrillard's concept, like Nietzsche's, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which an accepted ideal or "privileged position" could be "challenged and overturned". Deleuze defines simulacra as "those systems in which different relates to different ''by means of'' difference itself. What is essential is that we find in these systems no ''prior identity'', no ''internal resemblance''".〔p. 299.〕
Alain Badiou, in speaking with reference to Nazism about Evil, writes, "fidelity to a simulacrum, unlike fidelity to an event, regulates its break with the situation not by the universality of the void, but by the closed particularity of an abstract set ... (the 'Germans' or the 'Aryans')".
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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