3 research outputs found
Lady Gaga as (dis)simulacrum of monstrosity
Lady Gaga’s celebrity DNA revolves around the notion of monstrosity, an extensively
researched concept in postmodern cultural studies. The analysis that is offered in this
paper is largely informed by Deleuze and Guattari’s notion of monstrosity, as well as
by their approach to the study of sign-systems that was deployed in A Thousand
Plateaus. By drawing on biographical and archival visual data, with a focus on the
relatively underexplored live show, an elucidation is afforded of what is really monstrous
about Lady Gaga. The main argument put forward is that monstrosity as sign
seeks to appropriate the horizon of unlimited semiosis as radical alterity and openness
to signifying possibilities. In this context it is held that Gaga effectively delimits her
unique semioscape; however, any claims to monstrosity are undercut by the inherent
limits of a representationalist approach in sufficiently engulfing this concept. Gaga is
monstrous for her community insofar as she demands of her fans to project their
semiosic horizon onto her as a simulacrum of infinite semiosis. However, this simulacrum
may only be evinced in a feigned manner as a (dis)simulacrum. The analysis of
imagery from seminal live shows during 2011–2012 shows that Gaga’s presumed
monstrosity is more akin to hyperdifferentiation as simultaneous employment of
heterogeneous and potentially dissonant inter pares cultural representations. The article
concludes with a problematisation of audience effects in the light of Gaga’s adoption of
a schematic and post-representationalist strategy in the event of her strategy’s emulation
by competitive artists