Wiki for Collaborative Studies of Arts, Media and Humanities. 9. Mai Transcript of “Die Gesellschaft des Spektakels” – Guy Debord. Gliederung Einführung Inhalt Aktualität der kritischen Theorie in Bezug auf die. : Die Gesellschaft des Spektakels () by Guy Debord and a great selection of similar New, Used and Collectible Books available.

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In a consumer society, social life is not about living, gesellschatf about having; the spectacle uses the image to convey what people need and must have.

Debord discusses at length Daniel J. It embraces an author’s phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea. Crowd manipulation Managing the news Media manipulation. Le sens des mots y participe. The Society of the Spectacle French: But there they still preserve themselves in radical opposition to history.

Thus, Debord ‘s fourth thesis is: Cover of the first edition. The Society of the Spectacle. For the eponymous filmsee The Society of the Spectacle film. The Spectacle is “affirmation fie all human lifenamely social life, as mere appearance” from thesis 6: Life magazine used one of the photographs as the cover of a brochure about the decade. Views Read Edit View history. Print HardcoverPaperback.

By using this site, you agree ddebord the Terms of Use and Privacy Policy. The Second Decade, Boorstin ‘s The Imagearguing that Boorstin missed the concept of Spectacle. Can Dialectics Break Bricks?

Die Gesellschaft des Spektakels – Guy Debord – Google Books

The book cover of the edition is derived from a photograph by the Life magazine photographer, J. Each thesis contains one paragraph. Works Can Dialectics Break Bricks?


Debord also draws an equivalence between the role of mass media marketing in the present and the role of religions in the past. In Chapter 8, “Negation and Consumption Within Culture”, Debord includes a critical analysis of the works of three American sociologists. From Wikipedia, the free encyclopedia. Whyteauthor of the bestseller The Organization Man. In thesisDebord mentions some American sociologists who have described the general project of developed capitalism which “aims to recapture the fragmented worker as a personality well integrated in the group;” the examples mentioned by Debord are David Riesmanauthor of The Lonely Crowdand William H.

Anonymity Concentration of media ownership Freedom of speech Media bias Privacy. The growth of their real historical power goes together with a popularization of the possession of myth and illusion.

Guy Debord

grsellschaft Being a star means specializing in the seemingly lived; the star is the object of identification with the shallow seeming life that has to compensate for the fragmented productive specializations which are actually lived. Council for Maintaining the Occupations. Wikisource has original text related to this article: The book is considered a seminal text for the Situationist movement.

Retrieved from ” https: Articles containing French-language text Webarchive template wayback links. The meaning of words participates in the improvement. These religions arose on the soil of history, and established themselves there.

Levin Dismantling the Spectacle: In Debord’s treatment, modern society forces culture to constantly re-appropriate or re-invent itself, copying and re-packaging old ideas.

The work is a series of short theses in the form of aphorisms. Debord contends further that “the remains of religion and of the family the principal relic of the heritage of class power and the moral degord they assure, merge whenever the enjoyment of this world is affirmed—this world being nothing other than repressive pseudo-enjoyment.


In his analysis of the spectacular society, Debord notes that the quality of life is impoverished, [6] with such a lack of authenticity that human perceptions are affected, and an attendant degradation of knowledge, which in turn hinders critical thought. Debord traces the development of a modern society in which authentic social life has been replaced with its representation: The externality of the spectacle in relation to the active man appears in the fact that his own gestures are no longer his but those of another debore represents them to him.

Part of the Politics series on. Consequently, social life moves further, leaving a state of “having” and proceeding into a state of “appearing”; namely the appearance of the image. Debord published a follow-up book Comments on the Society of the Spectacle in Images, Debord says, have supplanted genuine human interaction. Because the notion of the spectacle involves real life being replaced by representations of real life, Society of the Spectacle is also concerned with the notion of authenticity versus inauthenticity, a theme which is revisited in Chapter 8, “Negation and Consumption within Culture”.

Wright Millsauthor of White Collar: This is why the spectator feels at home nowhere, because the spectacle is everywhere. The Society of the Spectacle is a critique of contemporary consumer culture and commodity fetishismgedellschaft with issues such as class alienationcultural homogenizationand mass media.