HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE.

(1)

Presented as Partial Fulfillment of the Requirements for the Attainment

of the

Sarjana Sastra

Degree in English Language and Literature

By:

Azzan Wafiq Agnurhasta

08211141012

STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE

DEPARTMENT OF ENGLISH LANGUAGE EDUCATION

FACULTY OF LANGUAGES AND ARTS

YOGYAKARTA STATE UNIVERSITY

(2)

ii

q

ur t

Approved on 11 June 2014

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

Eko Rujito Dwi Atmojo, M. Hum.

NIP 19760622 200801 1 003

ii

q

ur

t

!

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

Eko Rujito Dwi Atmojo, M. Hum.

NIP 19760622 200801 1 003

ii

q

ur t

By:

First Consultant

Sugi Iswalono, M. A.

NIP 19600405 198901 1 001

Second Consultant

(3)

iii

q

ur

Accepted by the Board of Examiners of Faculty of Languages and Arts of

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

degree in English Language

and Literature.

o

xaminers

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

: Eko Rujito D. A., M. Hum. _________________

First Examiner

: Ari Nurhayati, M. Hum.

_________________

Second Examiner : Sugi Iswalono, M. A.

_________________

Yogyakarta, 14 July 2014

Faculty of Languages and Arts

Yogyakarta State University

Dean

Prof. Dr. Zamzani

NIP. 19550505 198011 1 001

iii

A THESIS

By:

AzzanWafiqAgnurhasta

08211141012

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

and Literature.

Board of Examiners

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

First Examiner

_________________

Yogyakarta, 14 July 2014

Yogyakarta State University

Dean

Prof. Dr. Zamzani

NIP. 19550505 198011 1 001

iii

A THESIS

By:

08211141012

Yogyakarta State University on 14July 2014 and declared to have fulfilled the

requirements for the attainment of the

Sarjana Sastra

and Literature.

Board of Examiners

Chairperson

: Nandy Intan Kurnia, M. Hum. _________________

Secretary

First Examiner

_________________

Yogyakarta, 14 July 2014

Yogyakarta State University

Dean

Prof. Dr. Zamzani

(4)

iv

NIM

Program

StudiFakultas

Judul

:

08211141012

Bahasa dan Sastra Inggris

Bahasa dan Seni

HYPERREALITY IN RADIOHEAD S

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

TO CAPITALISM, CONSUMERISM, AND

MECHANISATION IN POSTMODERN CULTURE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penyelesaian studi akhir di perguruan tinggi lain, kecuali pada bagian-bagian

tertentu yang saya ambil sebagai acuan dengan mengikuti tata cara dan etika

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Yogyakarta, 12 Juni 2014

Penulis,

iv

NIM

Program

StudiFakultas

Judul

:

08211141012

Bahasa dan Seni

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Penulis,

iv

NIM

Program

StudiFakultas

Judul

:

08211141012

Bahasa dan Seni

THE BENDS,

OK COMPUTER,

AND

KID A

ALBUMS: A SATIRE

menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri dan

sepanjang pengetahuan saya, karya ini tidak berisi materi yang dipublikasikan/

ditulis oleh orang lain, atau telah digunakan sebagai persyaratan pada

penulisan karya ilmiah yang lazim.

Apabila terbukti bahwa pernyataan ini tidak benar, hal itu sepenuhnya menjadi

tanggung jawab saya.

Penulis,

(5)

v

believe.

We end our life when we stop thinking.

Once you are frightened, at that time you will be killed.

Don t complaint; everyone has but .

Patience has no limit, what is limited is human s power to

be patient.

Accept who you are and be grateful for what you have.

Right there, happiness will followyou.

(Anestiya F. Rosyada)

Baik jadi orang penting, tetapi lebih penting jadi orang

baik.

(6)

vi

(7)

vii

thesis. My sincere gratitude is also delivered to:

1. Sugi Iswalono, M.A., as my first consultant and, Eko Rujito, M. Hum., as

my second consultant, who have given me priceless and valuable

knowledge, time, guidance, and patience so that I could write this thesis;

2. Dr. Widyastuti Purbani, M.A., as my academic supervisor and my second

mother, who has guided me during my study in this university;

3. all my lecturers who have given me valuable knowledge so that I could

write my thesis;

4. my parents, Agus Haryadi and Noor Anis Kundari, who always pray the

best things for me and who always give every struggle for my best;

5. my grandfather, the toughest person I have ever met, Lasiman B.A. for

inspiring me much;

6. my siblings, Yusa, Fahma, and Risa, for the annoyance and noise;

7. Grace, my lovely guitar, for all the notes we have;

8. my only sun, my stars, and my candles, thanks for the light;

9. Thom Yorke, who inspires me much both in music and life;

10. Steven Gerrard and Liverpool, for being my spirit, YNWA!;

11. all my friends in Literature class 2008, Elite FC, Bodreg FC, Happy Tree

Friends, KKN 41, and ex-Jewel of Heaven band; and

12. all people, whom I cannot mention by name, who helped me in finishing

this thesis.

Writing this thesis would have been impossible without their assistance. I do

realise that my thesis has not been perfect yet. Thus, any suggestions and criticism

are indeed needed to improve my thesis.

Yogyakarta, 12 June 2014

(8)

viii

RATIFICATION SHEET ... iii

SURAT PERNYATAAN

... iv

MOTTOS ... v

DEDICATIONS ... vi

ACKNOWLEDGEMENTS ... vii

TABLE OF CONTENTS ... viii

LIST OF FIGURES ... xi

LIST OF APPENDICES ... xii

ABSTRACT ... xii

CHAPTER I INTRODUCTION ... 1

A. Background of the Study ... 1

B. Research Focus ... 5

C. Research Objectives... 6

D. Research Significance ... 7

CHAPTER II LITERATURE REVIEW ... 8

A. Theoretical Review ... 8

1. Jean Baudrillard s Theory of Postmodernism... 8

a. The Orders of Simulacra ... 10

1) Counterfeit ... 10

2) Production... 10

3) Simulation... 11

b. The Causes of Hyperreality... 13

1) Media Power... 13

2) Technological Advancement ... 16

3) Hegemonic Capitalism... 17

4) Commercialism and Consumerism... 18

(9)

ix

5) Fantasy over Reality ... 21

2. Postmodern Culture... 22

a. Capitalism... 23

b. Mechanisation ... 27

c. Consumerism... 29

3. Radiohead... 31

a.

The Bends ...

33

b.

OK Computer ...

35

c.

Kid A...

37

B. Previous Research Findings... 39

C. Conceptual Framework ... 39

CHAPTER III RESEARCH METHOD ... 42

A. Type of the Research... 42

B. Data and Source of Data ... 43

C. Research Instrument... 43

D. Data Collecting Technique... 44

E. Data Analysis Technique ... 45

F. Data Trustworthiness ... 45

CHAPTER IV FINDINGS AND DISCUSSION ... 47

A. Hyperreality in Radiohead s

The Bends, OK Computer,

and

Kid A

Albums... 47

1. Street Spirit (Fade Out)

..

47

2. Paranoid Android

..

. 50

3. (Nice Dream)

..

... 52

4. Fake Plastic Trees

...

.. 53

5. High and Dry

...

... 57

(10)

x

B. The Causes of Hyperreality in Radiohead s

and

Kid A

Albums... 72

1. Media Power ... 72

2. Technological Advancement... 77

3. Hegemonic Capitalism... 80

4.Commercialism and Consumerism ... 83

C. The Impacts of Hyperreality in Radiohead s

The Bends, OK Computer,

and

Kid A

Albums ... 85

1. Automatism... 85

2. Terrorism... 86

3. Pessimism... 87

4. Consumer Society ... 89

5. Fantasy over Reality... 91

CHAPTER V CONCLUSIONS ... 94

REFERENCES ... 98

APPENDICES ... 101

(11)

(12)

xii

Albums

..

.. . 104

B. The Causes of Hyperreality in Radiohead s

TheBends, OK

Computer,

and

Kid A

Albums

... 107

C. The Impacts of Hyperreality in Radiohead s

The Bends, OK

Computer,

and

Kid A

Albums

... 111

Appendix II. Radiohead s

and

Kid A

Selected Lyrics

(13)

xiii

ABSTRACT

This research aims to identify the phenomena of hyperreality in

Radiohead s three albums,

and

Kid A

, and to explain

the causes and the impacts of hyperreality in relation with capitalism,

consumerism, and mechanisation in postmodern culture. To answer the objectives,

this research employed the theory of postmodernism by Jean Baudrillard.

The research is qualitative in nature. The main source of this research is

three albums of Radiohead entitled

The Bends

(1995)

, OK Computer

(1997)

,

and

Kid A

(2000). The data are some phrases, clauses, and sentences related to the

orders, the causes, and the impacts of simulacra in relation with capitalism,

consumerism, and mechanisation in postmodern culture. The data analysis was

conducted through five steps: listening to the albums, scrutinising the lyrics,

comparing the lyrics to Baudrillard s theory of simulacra and hyperreality,

making a data sheet, and analysing and interpreting, making the interrelation

between the description of the data and the theory. To obtain trustworthiness, the

researcher used peer debriefing method. To gain more credibility, the researcher

used source triangulation techniques by collecting data from some particular

books related to postmodern culture and Radiohead s

The Bends, OK Computer,

and

Kid A

albums.

(14)

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(15)

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from the collection of

working-class songs in the 1940s, the BBC's broadcast of radio

balladsin the 1950s and the folk clubs of the 1960s - can be understood

as a rather crude attempt by the British Communist Party (CP) to

dominate radical politics.

Since then, the lyrics had been tending to be more political and containing more

social, economic, or environmental issues, which were started in 1960s by

musicians like The Beatles, Sting, and Bob Geldof. Then, the issues were further

developed in 1970s by some bands, such as Pink Floyd and Led Zeppelin. Both of

the bands mostly criticise the early postmodern world which is controlled by

money and capital power through their songs. Inspired mostly by those two bands

(Footman, 2007: 31), Radiohead have continued their idea since the 1990s. The

band exactly inherits what their predecessors have done in the past, especially The

Beatles whose

White Album

becomes their major influence.

(16)

(1993),

£

h

¤

B

¤

n

¥¦

(1995),

§ ¨

Comput

¤

r

(1997),

¨

i

¥

A

(2000), Amn

¤

si

©ª

(2001),

«© ¬

l to the Thief

(2003), In Rainbows

(2007),

and

The King of Limbs

(2011).

Among those eight albums made by Radiohead, the researcher focuses on music

in maintaining ideology in Radiohead s three albums,

and

Kid A.

Radiohead exactly develop what their predecessors have done in the past and

do more works to satirise the postmodern world by using enigmatic philosophy

through their albums. The targets they attack are the consumerism, capitalism, and

mechanisation in the postmodern world, especially in the British postmodern

culture. Thom Yorke, the main songwriter in the band, often puts some unique

words and metaphors to represent the social phenomena happening in the society,

especially in those three albums which are closely related to Jean Baudrillard s

concept of postmodern culture.

(17)

Next, in

®

Comput

¯

r

album released in 1997, Radiohead focused not only

on consumerism like in the previous album, but also on the effects of capitalism

and mechanisation to people s life. Consumerism, capitalism, and mechanisation

are the evil products of modernisation that have powerful effects in human s life

until now. What the band tries to criticise in the album are the human s

dependence to technology or machine and the effects of capitalism that create

desperation to innocent people. The first track of the album, Airbag , perfectly

shows their opinion on how machine or technology is designed not only to help

people, but also to harm or maybe to kill people. Another song, No Surprises ,

shows how a person is entrapped in a great desperation because of the evil

capitalism. The person finally decides to commit suicide rather than keep living in

a capitalist world, although it seems a bit controversial as it talks about the beauty

of suicide. What is drawn in the song is the representation of Baudrillard s

statement that the power of capitalism is too strong as it is hegemonic and the

victims are weak people who can only be entrapped in desperation with no way

out to escape from the power of it.

(18)

example that what people face is not real as it is only a fantasy. Therefore, it is in

line with Baudrillard s concept of simulation where capitalist society is saturated

by fantasies and, specifically, representations (Kaye in Reisch and Forbes, 2009:

122).

Overall, Radiohead s albums are a real representation of what Baudrillard

calls as simulacra and hyperreality. Then, the research focuses on how

Radiohead s

±

h

²

B

²

n

³´µ ¶ ·

Comput

²

r,

and

·

i

³

A

albums satirise consumerism,

mechanisation, and capitalism in postmodern culture by relating them to

Baudrillard s concept of postmodernism: simulacra and hyperreality.

B. Research Focus

Consumerism, capitalism, and mechanisation are some key issues in

postmodern culture. Since the emergence of modernisation, they become a part of

the greatest globalisation problems. Radiohead, an alternative rock band from

England, try to speak how dangerous the problems are throughout their three

albums,

±

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²

B

²

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³´µ ¶·

Comput

²

r,

and

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A.

They use music media to satirise

the globalisation problems. Enriched with so many philosophical values, they use

their album to increase people s awareness on the topics and to show how the evil

effects of globalisation influence culture and society.

(19)

by a strong capitalist power and its hegemony (Baudrillard, 1994: 105). As stated

by Kaye (in Reisch and Forbes, 2009: 122), capitalist society is saturated by

fantasies and, specifically, representations. The representations are too strong to

break as they have a very great power so that people cannot distinguish the reality

and the representation and it is known as what Baudrillard calls as simulacra and

hyperreality.

Then, the object of analysis of the study is the satire of consumerism,

capitalism, and mechanisation in postmodern culture found in the landmarks of

the 1990 s recording,

º

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»

B

»

n

¼½

and

¾ ¿

Comput

»

r,

and also an album which

brought postmodernism in music culture,

¿

i

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A. The research identifies how the

idea of postmodernism can be developed in the albums and how they satirise the

issues through some unique symbolism.

C. Research Objectives

Based on the research focus above, the objectives of this research are as follows:

1. to reveal how the phenomena of hyperreality as theorised by Jean

Baudrillard is enacted in Radiohead s

º

h

»

B

»

n

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Comput

»

r,

and

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albums.

(20)

3. to explain the impacts of hyperreality employed in Radiohead s

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Comput

Â

r,

and

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albums in relation with capitalism,

consumerism, and mechanisation in postmodern culture.

D. Research Significance

The study is expected to give some contributions to the following parties:

1. Theoretically

It is expected that this research will give more information about

postmodernism, especially in the British modern music. For this

research carries out the forms, functions, and the significance of the

Baudrillard s concept of postmodernism used in British modern

music s song, this research is expected to give contribution as a

valuable source or reference to related study.

2. Practically

(21)

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(22)

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or pre-modern period, from the Renaissance to the Industrial

Revolution. It is based on the natural law of value in whichthe value is still

considered as a value, not as a reality, so that it is based on the natural law of

value. It is an obvious copy of reality, e.g. novel, painting, or map. In other words,

it does not precede the reality as it is only an obvious copy of reality. For instance,

a painting of a war is only considered as an art work, not as a reality. Another best

example is a map of country which only shows the territory of the country and all

inside it and it is based on a scientific study that will not include any fictional

place as it is usually used to study about geographical condition of the country.

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(24)

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(25)

,

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,

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(

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1994: 9).

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.

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(1994: 10)

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.

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(

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, 2000: 83-84).

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(1994: 11)

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(26)

¾¿ÀÁÂÃÄ Å¿ÆÇÈÀ ÀÉÊÂÉ ¾Ã ÂÄÄÀÅÈ ËÌÂÄ Í ¾Í ÊÆÄÍÉ ¾ÀÃ ÀÇ ¾Á Í ¾¿ÊÆÌ Í ¾ÆÄÍÇ ¾Î ÍÉ ÅÊÂÉ ¾ÃÂÄ¾ ¿Æ¾ ÃÏÄ ÀÇ ÂÐ ÀÃ ¾ ¿ À ÁÂÃÄ Å

,

ÀÇ Ì ÀÊÍÆÄÄË ¾¿ÃÂÏÑ¿ ÎÀÅÍ Æ ÆÇ Ì ÀÂÌÄ À È ÀÄÍÀÐ À ¾¿Æ¾ Á ¿Æ¾ ÆÃ À ÌÃ ÀÇ ÀÉ ¾ÀÅ ÍÉ É ÀÁÇ Ì ÃÂÑÃ ÆÎ ÂÃ É ÀÁ ÇÌ ÆÌ ÀÃ ÆÃ À ¾Ã Ï À

.

Ò ¿Æ¾ Í Ç ¾ÃÏ À ÍÇ ¾¿Æ¾ ÎÀÅÍÆ ÇÏ ÊÊÀÇ ÇÓÏÄ ÄË ÊÃ À Æ¾ À ¿ËÌÀÃ Ã ÀÆÄÍ¾ÍÀÇ

.

ÔÆÏ ÅÃ ÍÄ Ä ÆÃ Å

(

ÍÉ ÕÆÉÀ

, 2000: 90)

¾¿ÀÉÌÂ ÍÉ ¾Ç ÂÏ ¾ ¾¿Í Ç ÓÆÊ¾È Ë ÊÃÍ ¾Í ÊÍÇ ÍÉÑ¾ÁÂ Ö×ØÙÚ ÛÜÝÞ Û ßÞ Ø Ý àÂÏÃÉ ÆÄ Í Ç ¾ÇáÔÂ ÈÒÂÂ ÅÁ ÆÃ Å ÆÉ Å â ÆÃÄ ÔÀÃÉ Ç ¾ ÀÍÉ

,

Á¿ÂÁ ÀÃÀÎÆÉÍÌÏÄÆ¾ÀÅÈ Ë¾¿ÀÊÆÌ Í¾ ÆÄ¾ÂÑÀ¾Ã Í ÅÂÓã ÍäÂÉ

.

å æçè éêëì í é

s

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òÇ ÔÆÏ ÅÃÍÄÄÆÃÅ

(1994: 19-106)

Ç ÆËÇá ¾ ¿À ÅÍ Ç¾ÍÉ Ê¾ ÍÂÉ ÈÀ¾ÁÀÀÉ ÃÀÆÄÍ¾Ë ÆÉ Å ¾¿À Ã ÀÌÃ ÀÇÀÉ ¾ Æ¾ÍÂÉ ÂÃ ¾ ¿ À Ç ÍÎÏÄ Æ¾ ÍÂÉ ¿ÆÇ ÈÀÀÉ ÈÄÏÃÃÀÅ

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:

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(27)

.

,

-

.

(1994: 20)

,

! "

.

The fact that the

# $%& '()* +

y

TV show successfully fascinated twenty

million viewers proves that today s society love fantasies, especially utopian

fantasies. The show is only a symbol that media can stereotype the society, which

is known as the society of the image or the society of the spectacle. The society of

the image emerges when a society try to imitate the quality of images presented in

media (television, magazine, film, billboard, etc); it is no longer stereotyping, but

hyperrealising as Baudrillard (1994: 20) says, You no longer watch TV, it is TV

that watches you . He then mentions that TV is not only watching people, but also

alienating and manipulating people.

Another example of media power can be found in Francis Ford Coppola s

Vietnam War film,

,- $.(+

y

- /01$2

(1979). Baudrillard believes that the film is a

perfect example of the third order of simulacra as it successfully creates a

hyperreality. He is convinced that the war becomes film even before being filmed.

For him, both the war and film are only categorised as tests of American

technology since the use of special effects in the film offers a psychedelic and

technological fantasy. Baudrillard (1994: 40) then mentions:

(28)

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(29)

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(30)

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(1983: 73)

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.

¯§ £¦«« £

(1994: 16)

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:

(31)

Ô ÕÖÔÕ ×Õ ØÙÚÕ ÛÜ Ý ØÕ ÞÖß ÕÙàáÝâ ÛÜ ÝØ Õ ÔÝÙã ÕÔ ÙÖ ä ÝØÕ Û å Öá æÛÝÕÖçÕ ÛÜ åÙÖá æÞ à ÙÝá Û Öè

éØÕ ç ÙæáÝÙààÛÚ ÕÔ æàÙ âá Ö ê ÔáåÞ à ÙÝáÛ Ö ÝÛã ÕÕæ ÝØÕ ØÕê ÕåÛ Ö â ÙÔ á Ý ØÙÔ ÙÚ Õß â êß ÕÙÝ æÛ× Õß ÖÛÝ Û ÖàâÝÛ å ÙÖá æÞ à ÙÝ Õ åÕäáÙ

,

ëÞÝ ÙàÔ ÛÝ Û çß ÕÙÝÕå ÕäáÙ

.

ì ÙÞ äßá à àÙßä

(1994:

17)

ÝØÕÖ á ÖÜÕßÔ ÝØÙÝ æ ÕÛ æ àÕ ØÙÚ Õ Ü Ù çÕä Ý Ø Õ ÕßÙ Û Ü åÞß äÕßëâÔ á åÞ àÙÝ áÛ Öè íÕ Ý Ùã ÕÔ

Ý ØÕäÕÙÝ ØÛÜî

.

ï

.

ð ÕÖÖÕäâÙÔÙÖÕñÙåæà Õ

,

× ØáàÕîÛ ØÖÔ Û ÖÙÖä ïÛß ä ×ÕßÕÔÙÜ ÕÜßÛ å Ý ØÕá ß ÙÔ Ô ÙÔ Ô á ÖÙÝá Û Ö ÙÝ Ý Õå æÝÔ

.

ïÛß ÝØáÔ ò ìÙÞ äßáàà Ùßä

(1994: 17)

áÖÜ ÕßÔ

,

éØÕ ð ÕÖÖÕä âÔ äáÕä ë Õç ÙÞÔÕ Ý ØÕâ áÖçÙßÖÙÝ Õä Ô Û åÕÝØá Öê

:

ÝØÕ æÛ àáÝ á çÙà

,

æÛ àáÝ á çÙà Ô ÞëÔÝÙÖçÕ

,

× ØÕß ÕÙÔ Ý ØÕ ÖÕ× æß ÕÔ áäÕÖÝ Ô ÙßÕ ÖÛ ÝØá Öê ëÞÝ çÙßáçÙÝÞßÕÔ Ù Öä ÜÙã Õ Üá à å

...

.For him, American presidents seem like the puppets of power who are

controlled by the puppeteer or they can be called as the living marionettes .

They are controlled by a strong political interest and they who are not in the same

interest will be blown away like Kennedy and Nixon whose scandals are still

alive. The fact about Kennedy and Nixon shows that it is possible for the capital

to realise its desire by using their power through media and representation.

4

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(32)

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.

ÿüþ

,

ü ÿþ þ þ ü û þ þ üý ü ü þ ÿþý

ü þþ ÿ ü þ ÿ þ þ üý ü þ ü ÿ þ ü

ÿü ûþ ÿ

.

ü ÿ þ ÿþü ÿ ÿü ÿÿþþ ü þ ÿþ ü ÿþ ÿüÿþ þ ÿ ûþ ÿþ þ ÿüÿ ÿ ÿþûüýûþ ÿ ÿÿþûüýûþ ÿ ÿü ÿ ÿ ÿþ þ ÿÿþ ÿ ÿ üýýû ÿü þý ýüý ü ý

(

ü þ

, 2000: 76)

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û

:

þýý û û û ÿ ÿ þû üûþý þ ý ü þü þ ÿþ

þü ü þü þ ÿ þ ÿþ þýý û

,

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þ ýü üûþ ý ÿþ þü ü ü ÿ ýþ ÿ þ üÿ û

.

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,

ÿýüþþ ÿû þþ þÿþ ýü ûÿü ÿ ÿþüûþý

þ ýü ÿþ þü ü ü þ þ ü þ ÿ ÿþ þ ÿþý ÿ ü ÿ

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,

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(33)

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: airports, embassies, fractile zones, non

-territorial zones. The embassy is the infinitesimal space in which a

whole country can be taken hostage. The plane, with its passengers, is a

parcel of land, a wandering molecule of enemy territory, and therefore

almost no longer a territory, therefore almost a hostage already, since to

take something hostage is to tear it from its territory and revert it to the

equilibrium of terror. Today this terror is our normal, silent condition

everywhere...

According to him, what makes terrorism no longer marginal is the hyperreality of

postmodernism itself which is beyond good and evil and the some groups of

irresponsible people choose to have the evil quality.

UGVI

ssimism

(34)

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(

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Î¼¼

).

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.

Ò »µ¿¹¶µ¿¹º ¿ Ã»¸Ñ Ð ÃËÆ ¹µ ¶»

(1996:

Î¼ ¼

)

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...

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-

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,

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,

À¶»½ Å· ¹º ¼½ ·Ã»¸ µ¿ ¹ ÀÅ ÆµÅº¹ ¼»¸Å½µºÇ

,

¼» ¾¿ ¼ À¿ µ¿ ¹ ½ ¹º Î¼À¹

,

È¼ »Ã»À¹ Ã»¸¼ » È¶º·Ãµ ¼¶» ¼»¸Å½µº ¼ ¹½ µº¼Å·Â¿ ¶Î¹º µº Ã¸¼ µ¼ ¶»ÃÆ ·Ã»Å È Ã ÀµÅº ¹

,

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.

Öº ¶·Ð Ã ËÆ ¹µ¶»Õ½½µÃµ¹·¹ »µÃÄ ¶Î¹

,

¼ µ ÀÃ»Ä ¹¼ »È¹ºº ¹¸µ¿ Ãµµ¿ ¹º¹Ãº ¹½ ¶·¹µ¿ ¼»Ë½µ¿ Ãµ Ä ¹À¶· ¹µ¿ ¹ ×¹ÇÀ¿ ÃºÃÀµ¹º ¼½µ¼ À½¼ » Â¶½µ· ¶¸¹º»¼½ · ¾¿ ¼ À¿ Ãº ¹ÀÃÆÆ¹¸ Ã½ Â¶½ µ ·¶¸¹º » ÀÅ ÆµÅº¹

:

Ã »¹¾ È¶º· ¶È ÀÃÂ¼µ ÃÆ ¼½ ·

,

µ ¹· Â¶º Ãº Ç Ã»¸ ¸¹ À¹»µºÃÆ¼½ ¹¸ ¾¶º Æ¸ ¶È µ¹À¿ »¶Æ ¶Ë Ç¶º·¹À¿Ã»¼½ Ã µ ¼¶»ÑÃ»¸À¶»½Å·¹º¼½ ·

.

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(37)

äåæçè éê ççêæëåè ì ëêç çê åè í äîïê äè ð éê çñ

(1)

äèêåæê åèíäîìêòëïòð éê äð ó éäè í óóëåè éëî äåæ

(2)

è ôê íåèê éõêå êè éäèíëå ëï öë÷ ê éå øê åè äåæ ò í ö òð çíåê çç

(

ùçèäèê óäõ íèäî íç øù

).

ú ô äèæ í ïïê éçíèïéëøèôêõ éê÷ íëð ççèä öêëïó äõ íèäîíç øô äõõêå íå öíåèôê øëæê éå ê éä í ç è ôê ï äóè èô äè èôê éê íç å ë øëéê óäõíèäî íç ø ìíè ô íøõê éíäî óëåè éëî ëé óëîëå í çäèíëå äç íè í ç êåæêæ ò û èôê êåæ ëï úëéîæ úäé üü

.

ýå èôê ëèôê éô äåæþ ìô äè ÿéð îêç è ôê ìëéîæ è ëæ ä û íç äåêì ïëéø ëï òð çíåê çç ëéöäå íç äè í ëåçèô äè øëå ëõ ëî íçêç èôê ê óëå ëø íó çûçè êø íåó îðæ íå ö èôê óëøø ëæ íèíê ç äîî äéëðåæ èôê ìëéîæ äç íè öëê ç òê ûëåæ è ô ê ò ëðåæ äé û ò êèì êêå ëå ê å äè í ëå äåæ äå ëèôê é å äè íëå

,

óéê äè íåö ìôäè äøê ç ëå

(1991:

÷ í íí

-

í

)

óäîî ç äç ÿøð îèíå äèíëåäî ëé è éäå çå äèíëå äî óäõ íèäîí çø

.

ê ç íæê çøð îè íå äèíëå äîëéèéäå çå äè í ëå äîóäõ íèäîí çøøäæêòûäåê ìïëéøëïò ð ç íåê çç ëéöäå í ç äèíëå ç

,

äøê çëå

(1991:

í

)

óîäç ç íïíê çëè ôê éïê äèð éê çëïî äè êóäõ íè äî íç ø

:

1.

èôêåêìíåèê éå äè í ëå äîæí÷ í ç íëåëïîäò ëð é

,

2.

ä ÷ê éè í öíå ëð ç åê ì æ ûå äø íó íå íåè êéå äè í ëå äî ò äå íå ö äåæ èôê çè ëó êóô äåöê ç

(

íå óîðæ íå öè ôêêå ëéøëð çê óëåæäåæô íéæúëéîææêòè

),

3.

åêì ïëéøç ëï øêæ í ä íåèê ééê îäèíëå çô íõ

(

÷êé û øð óô íå óîðæ íå ö è éäå çõ ëéè äèíëå

çûçèê ø ççð óôäçóëåèäíåêéí çäè í ëå

),

4.

óëøõðè ê éçäåæäðè ëø äè í ëå

,

äåæ

5.

è ôê ïîí öôè ëïõ éëæð óèíëåèëäæ÷ äå óêæô í éæúëéîæäéêäçþäî ëå öì íèôäî îèôêøëéê

ïäøí îí äé ç ëóíäî óëå çê ðê å óêçþ íå óîðæ íå ö è ôê óéí ç í ç ëï èéäæ íè í ëå äî îäò ëð é

,

èôê êøê éöêåóêëïûðõõ í ê çþäå æöêåè éíïí óäèíëåëåäå ëì

-

öî ëò äîç óäîê

.

(38)

1960

,

.

!

1945-1973

,

! !

" !

(

#

1991:

$$

).

,

%

1973.

&

! ' ! () )

(

*

, 2002:

114).

+ ! ! ,

,

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(39)

23 425678 896:2:; 6<=: >2: ?

.

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.

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.

(40)

bccd

.

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.

v { c|m t qq

,

l hm o hm dcbm dt htoomdjd k j d v bmpjwt gfb{ cqj gm l hm ut wl l htl bmrj t jg dcl jbotp lj t q t d fb cp m t g j l j g un qq cu bt dj on qt ljcd} ~hm wtojlt q g bt djon qt lm lhm b mrjt lc btjdltjdlhmjphmkmb cdft drgnompj cpj lf{fwp mtljdkhfom ppm tqj ljm g

.

i

ion

~m whdcqc k fjgcdmcubt cpwcbo cdm dlglht lwcdg lpn wlgl hmo cgl bcrmpdicp qr t g g lt km g j d hn bt d hj g lcpftpm n gnt qqf rm ujdmr {fl hm lm whdcqck fn g mrsm

.

k}g lcdm t kmcpwcbon lmptkm

(

tdm

, 2000: 27).

~t qjdkt { cn l lmwhdcq ck f

,

g cbml hj dkbn gl {mrj g wn ggmr btwhjdmg

.

t whj dmgt pml hm opcrnw lcu lm whdcq c k fl htl wcb m gupcb hn bt dz g jbtkj dt ljcd tdr c{ gmg gj cd

.

~hm tjb j g l c mt gm hn b tdz g qjum t g lhmfwt d {mopckpt bbmr l cop c|jrmt g gj g lt dwm

.

ht l bt m gl hmn gm cu lmwhdcq c k f{m wcbm hj khmp t dr b cpm jbo cp lt dl j g j drn glpj tqj gt ljcd

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~hm whjmu lm whdcqc k f n gmr j d j drn g lpj t qg cwj m l fj g wcbon lmplmwhdcq c k f

.

hmd wcbon lmp gimp muj p gl j d| m dlmrj d lhm

1930

g

,

l hmfimp mn gm ru cpbjqjltpfon po cgm

(

cddcp

, 2004: 138).

ml

,

jd lhmfglt plmrl c{mn g mr ucp{n gj dm g gonpo cgm

.

j dwm lhm d

,

l hmn gm cuwcbon l mp ght g {mm d kpcij d k ptojr qf lht l btf mdrt d kmp hn b td zg qj um t g cddcp

(2004: 139)

o cj dl gcn l

:

(41)

.

,

´ ¢

1980

(

, 2004: 140).

.

·§ ¢ ¨ ¢

,

(2004: 140)

1990

£³ ¯£¤¢²¢ª©£ ¤

1980

£

,

.

¶¢©ª¢ ¡£¤ ¢ ¤ ¨ ¢ ¡ ¢ ¤¬ª¢ ¬ ®£µ ª §° « ¢ © ¢£¢¢ ¤ ¢ ² ¤ §ª « ª ¢ § ¢ ©¢ ¡ ¢ ¡ ¢ ¤¬ª ¢ £¤¡¢ ¦¢ ¡ ¡ ¡¢£ £ ¤ ¢ £§¬¨¤ ¤£ ¢ ¤¢ £ ¢ ¢ «¤ ¸§¢£¤ £ ± ¡ ¢ ¤¬ ¤ª¤¦

.

¢

(2004: 140)

.

´ ¢ « £

,

(42)

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(

× ÆÁÁ ÆË

, 2004: 140).

Ø ÆÍÆ¾ ½ ¼ËÅÁ Æ À ÆÁÒÅËÂ Å¾¼À

-

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,

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(

Û¼ÁÅ

, 2000: 35).

ÜÄ¼¾¾ ËÊ ÀÖ ÅÁÈ ¼ÁÒÅË½ ÄÊÂ¼ÁÑ½ À¿ÕÅ ¿ ½ ¾Ä Å Õ¼Ã¾ ¾Ä ¼¾ ËÆÍÆ¾½ ¼ËÅ ÒÆ¿ÁÒ ¾Æ Í Å ÄÊÂ ¼Á¿ ½ ÅÈ »Ä¿ À Å ÄÊÂ ¼ÁÍÅ¿ ÁÒ½¼ ËÅÍ Å¿ Á ÒÓÈ ÅÄÊÂ¼Á¿ ½ ÅÈÑ

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.

Ô¾ ¿½ ¾ËÊ Å ¾Ä ¼¾ ËÆÍ Æ¾½ ÃÆÉ Ö ÄÊÂ¼ÁÑ½ ÝÊ¼À¿ ¾Ö

,

ÍÊ ¾ ÄÊÂ ¼Á½ ¼À ½ Æ ½ ¾¼ Ë¾¾ Æ ÃÆ ÉÖËÆÍÆ¾Ñ½ ÝÊ ¼À¿¾ ÖÍÅ Ã¼Ê ½ ÅÆ Õ¾Ä ÅÅ ÕÕÅÃ¾ÆÕ¾ ÅÃÄÁ ÆÀ Æ Ò ÖÞ¼ÃÀ Å¼ ËÃÆÁ ¾Ë¼È¿ Ã¾¿ÆÁ¾Ä ¼¾À¼¾ÅËÃ ¼ÁÀ Å¼È ÄÊÂ ¼ÁÍÅ¿Á Ò½¾ Æ ÀÆ½ Å¾Ä Å¿ ËÄÊÂ¼Á¿ ¾Ö¼ÁÈÍÅÃÆÂÅÓËÆÍÆ¾Ñ

.

ÔÁÆ¾Ä ÅË »ÆËÈ ½

,

ÄÊÂ¼Á ½ ½ ¾¼Ë¾¾ ÆÍÅÀ¿Ð¿ Á Ò¼ÁÈ ËÆ¿È½»Ä¿ À ÅËÆÍÆ¾ ½¼ËÅÒÆ¿ÁÒ¾ÆÍÅÄ Å¼Ë¾ ÀÅ½ ½ÄÊÂ ¼Á ½

.

ßàá

onsum

â

rism

(43)

çèé çê èëì í îïð ñé òóô ñ õè éööè÷ èð ç÷éðó øñ ì ùêñõéóúõ ç èé çêè í ùô ï éñ ÷èùêêô ï è èð ñ õèç÷éðó øñì û

(44)

(

2013:

12).

!

,

:

.

,

.

"

,

.

# !

,

.

!

.

,

$%&'(

i

)* + '(

,

1985

# - !

(

,

),

. /

(

,

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,

),

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(

),

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(45)

345 6 567589 : ; 45 7<=> ?9 <@A= BCD 5> E5> <9 3 45 6 B3B8 BF <D358= <3?G 5 8B@ A 6H9 ? @ E5= 85 ?= 345 I= ?3 5> J ?= E> B6 < F358 3 45 K> 5 <3 4L BF MH 55= <=> N ?= A OD BP>

.

; 4 5 7<=>L9 = <6 5 ?39 5D F @ <65 F8B6 345 8 5QH 593 BF RS T

,

345 F?893 D <75D @B= 38 < @3?=E 345 7<=> FB8 9?U 9 3H>?B <D7H69 V <F3 58 345 8B@A QH ?= 353 9?E= 5> 345?8 F?89 3 @B= 38 <@3 ?=

1991.

T3C <9?=9 W?85>7P3 453 ?3 D5BF<9B= E?=; <D A?=EX5<>L9Y Z [\]^_Z `\

s

<D7H 6

.

(46)

hijk

e Bends

lmn op oq nr s ntsuv wmxxnww r y oq nrs zrsw o tu {m|

,

}t~rpq nt~ w otson~ op snxp s~ oq nrs w nxpy~ tu {m| ry

1994

ry {{nv }pt~ tzt|p mw ty~qrwop srxtu |mwr xw o m~rp ryyuty~r oqqnntounwt wr o ww v|{pu

.

ot soryzsp |oqr wtu {m|

,

qp |p sn {nxt| n oqn |try wpy sr o ns ry oq n {ty~ n mo wp xrtu ty~ up {tu oq n| n w r y oq n uvsr xw pz oq n sp xnwwn~ t u {m|

.

r ytuuv

,

oq n v zryrw q n~ oq nrs w nxpy~ t u {m| ry

1995

ty~ xqp w n t q st wn t w row orou n tw t |notqp s pz xp | tsr y oq n nt suv w mxxnw w pz oq n {ty~ op oq n ~rwnt w n oq t o p xxm sw zsp | str ~uv xq ty ry snw w msn

(

}ty~tu u

, 2000: 98).

q ntu {m|xpy otry wo nu nwp ywt wzpu up w

1.

uty no nun

- 4:19

2.

q nny~ w

- 4:06

3.

rqty~ls v

- 4:17

4.

tn u t wor x s nnw

- 4:50

5.

py nw

- 3:09

6.

(

rxnls nt |

)

- 3:53

7.

mw o

- 3:54

8.

vspymy

- 4:36

9.

muunosppz

..

r wq t w

- 3:28

10.

ut x ot s

- 4:07

11.

mu

- 3:42

12.

osnno r sr o

(

t~ n mo

)

- 4:12

(47)

¡¢£ ¤¥ ¦ §¨©£ ª ¦«£ ¦¬ ®£ª ¯ §ª ° ¨¦± ¤¡¨ ²«ª ¤ ¨° ³¤¢¤¨£ §¨©£ª¦« ¢«° ¤¡¨ ² «ª¤¨° ´ª«µ° ¦ §¨©£ª¦«¶ ·¡ª ¸ ¨ ¤ ¡¨ ²«ª ¤ ¨° ´ª«µ° ¦ §¨©£ ª ¦« °© ¢¥£ ¤¡¨ £ ¤ ¦© ¹¸ª«¨ ¦¬ ¤ ¡¨ ¸¹©ª¯£ ± ¤¡¨²«ª ¤ ¨° ³ ¤ ¢¤ ¨£ §¨©£ ª¦«¦«¸ ¹ £¡¦¥£¤¡¨º¢«° £ª«µ¦® ¤£ ª° ¨ ¸ª » ¨ ¢¤¹¼ª ¯ ¢¸ ¸¹ ½ ¨©ª ¯ ¢« £¤¹¸¨

.

¾¹ ¤ ¡ª£ £ ¦«µ

,

¿ ¦©» ¨ £ ®¯ ¯ ¨£ £ ¬® ¸ ¸ ¹ ¯© ¨ ¢¤¨° ¢ « ¨¥ ¸ ¦¦» ª « ¾©ª ¤ª£ ¡ ®£ ª ¯¯® ¸ ¤®© ¨ ¤ ¡¢¤© ¨ª«°£ ¤¡¨¸ª £ ¤ ¨«¨©£¤¦ À© ¨°°¹ Á¨©¯®©¹Â£ £ ¤¹¸ ¨¦¬£ª«µª «µ

.

Ãª £ ¤¨«¦© ¬ ¢¸£¨¤¤ ¦ §¦ª ¯¨ º ¨¯ ¦ ¨£ ¢« ª ° ¨«¤ª¤ ¹ ¦¬ ¾©ª ¤ª£¡ ®£ ª¯ ¢£ ¤ ¡¨ ¸ ¢¤¨© £ ª «µ¨©£ ¦© º ¢«°£Â §¦¯ ¢¸ª£¤ £ ®¯ ¡ ¢£ Ä¢¨£ ¾¸® «¤

,

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ÏÐÑÒÓÔÕÓÒÔÑÖ ×Ø ØÒÖÖÙÚ ÑÛÑ ÛÒÚ ÓÜÔÝÒÞ ßÔÖÑ ÚØà ÓÒÒÖ á

,

Ñ Û Ò â ÓÒß ÒÔÖ ÒãÑÛÒ Ú ÓÑ ÛÚÓã ÖÚäÕßÒ

,

å×Ö Ñ

. Different from the previous musi c videos, Just was created in a

greyscale picture, similar to the last single of the album, Street Spirit (Fade

Out) . However, both the two are quite successful, especially Street Spirit (Fade

Out) which could reach the top position in United Kingdom music chart.

æ ç

OK Computer

After a great worldwide reception in

è éê ë êìíî ï

Radiohead tried to create

something new while working to finish their third studio album. The members,

especially Jonny Greenwood, were very interested in post-punk and electronic

music. They added some new instruments such as synthesiser, glockenspiel, and

mellotron to the album that finally made the album sound quite wild. After they

have finished the recording, the album finally was released on 16June 1997 with

the title,

ð ñòóô

put

ê

r

. The album contains twelve tracks as follows:

1. "Airbag" 4:44

2. "Paranoid Android" 6:23

3. "Subterranean Homesick Alien" 4:27

4. "Exit Music (For a Film)" 4:24

5. "Let Down" 4:59

6. "Karma Police" 4:21

7. "Fitter Happier" 1:57

8. "Electioneering" 3:50

(49)

10.

õö ÷ø ùúû úü ýþýõÿ

3:48

11.

õ ùõÿ

4:19

12.

õþ ÷ù úü ýõÿ

5:24

ú ÷ü ú÷ü

,

þ ýþ ÷ ú ÷ þ ù

,

þ ÷þý þ ü úý ýü þ þ úþþ ýþ ÷ ûú÷ ÷þ þ ù ý þ ý÷ üý þ þ ý úþû úþ ý þ ü ÷ ÷ þ

÷ þ ý ÷ ý ü þ ù

.

þ ý÷ ü ýþ ü ý þ üúý üþ þ þ ü

û ú÷ úþ ý ýüþú÷ þ úþ

.

ý ÷üýþü úýüþ÷úþ ü þ þ üý

÷úþ û ÷ ü ü ý þ üþ üýþ ÷ þþ ü ùþ þ þ úü ü ý ÷

úþþ úü ü ý ÷ û ü ü ý

,

þ úü ÷ ý ü ù ÷ úü ÷ý þ þ úü ö÷ ÷ ý

(

÷÷

2007: 94).

ú÷ù ü ý ý ÷

,

÷ú þ úüþ

÷ ÷ûúþ ù þ ü ý ÷ ÷ ú ÷ú ú÷ü þ ùýþ ÷ þ þþ ÷

÷üý ü ÷ ùý ü

,

þ ý ü ýû üúþ þ ý úùùúþ ÷ ÷ ý þ ÷ ý ûû ü þ ý ý ý ú ! ù

,

ü ü ý þ ýýþ ü úþþ üþ úþ ý ÷ ý ú þ ÷þ þ ú

(

÷÷

2007: 50).

þ ý ÷ þ þ þ "ùü "ù ü÷ þ þ ú ùý üü ýüþ þþ þý #ùþ þ

,

÷ ý ü÷ ÷ù þý ÷ûûþ þþ ÷þûþúý÷ þ

.

þùý ü üþ ÷ ý ý÷üþ úþ ú÷ þü úûúþ ü ÷ùý üþ ÷ý ý ùý ú ý ý ÷ ÷ ý ÷ þ ý ü ÷ú

,

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1995, to create the music video. The video has a very tight relation with the lyrics

as it shows the concept of karma in a unique way. The story is about a driverless

car that torments a man, but the man responds and punishes the car (Footman,

2007: 162).

The third or the final single of the album is its tenth track, No Surprises .

Similar to other songs in album, the song is about the effect of capitalism to

innocent people. Opened by a smooth sound of glockenspiel, the song sounds like

a sweet lullaby to an eternal sleep as it talks about hopelessness and desperation in

a capitalist-controlled world. The music video is directed by Grant Gee. Gee

draws an image how hard life in capitalist-controlled world through the use of an

old-fashioned helmet in Yorke s head which then unsealed, causing water to fill

the helmet that makes Yorke hard to take a breath (Footman, 2007: 164).

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