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Abstract
This essay interprets Sam Shepard's States of Shock as an equivocal critique of postmodernity's integrated spectacle, fusing nation state and global economy, ideology and commodification. Though he deploys situationist strategies of subversion‐temporal and spatial, deictic and metadeictic—Shepard's (re)creation of the hyperreal, mediatized Gulf War threatens to divert the play, and his critique, into their opposites.