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The Das Kapital of the 20th century. An essential text, and the
main theoretical work of the situationists. Few works of political
and cultural theory have been as enduringly provocative. From its
publication amid the social upheavals of the 1960's up to the
present, the volatile theses of this book have decisively
transformed debates on the shape of modernity, capitalism, and
everyday life in the late 20th century. This new edition is the Ken
Knabb translation. Certainly it has the most "modern" design of all
three editions, as well as a short new introduction from the
translator.
The Das Kapital of the 20th century. An essential text, and the
main theoretical work of the situationists. Few works of political
and cultural theory have been as enduringly provocative. From its
publication amid the social upheavals of the 1960's up to the
present, the volatile theses of this book have decisively
transformed debates on the shape of modernity, capitalism, and
everyday life in the late 20th century. This is the original
translation by Fredy Perlman, kept in print continuously for the
last 30 years, keeping the flame alive when no-one else cared.
First published in 1967, Guy Debord's stinging revolutionary
critique ofcontemporary society, The Society of the Spectacle has
since acquired acult status. Credited by many as being the
inspiration for the ideasgenerated by the events of May 1968 in
France, Debord's pitiless attackon commodity fetishism and its
incrustation in the practices of everydaylife continues to burn
brightly in today's age of satellite televisionand the soundbite.
In Comments on the Society of the Spectacle, publishedtwenty years
later, Debord returned to the themes of his previousanalysis and
demonstrated how they were all the more relevant in aperiod when
the "integrated spectacle" was dominant. Resolutely refusingto be
reconciled to the system, Debord trenchantly slices through thedoxa
and mystification offered tip by journalists and pundits to showhow
aspects of reality as diverse as terrorism and the environment,
theMafia and the media, were caught up in the logic of the
spectacularsociety. Pointing the finger clearly at those who
benefit from the logicof domination, Debord's Comments convey the
revolutionary impulse atthe heart of situationism.
Few works of political and cultural theory have been as
enduringly provocative as Guy Debord's The Society of the
Spectacle. From its publication amid the social upheavals of the
1960s up to the present, the volatile theses of this book have
decisively transformed debates on the shape of modernity,
capitalism and everyday life in the late twentieth cenlury. Now
finally available in a superb English translation approved by the
author, Debord's text remains as crucial as ever for understanding
the contemporary effects of power, which are increasingly
inseparable from the new virtual worlds of our rapidly changing
image/information culture.
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Panegyric (Paperback)
Guy Debord; Translated by James Brook, John McHale
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R515
R447
Discovery Miles 4 470
Save R68 (13%)
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Guy Debord's silver-tongue-in-cheek autobiography mixes precision
and pastiche in a whirlwind account of philosophy, exploit, and
inebriation. From the stark professions of Volume I to the
illustrated sequences of Volume 2, Panegyric confronts us with a
figure who strategically, demonically tried to wrest life from the
disabling modern 'spectacle.'
Yesterday, the police interrogated me at length about the journal
and the Situationist organization. It was only a beginning. This
is, I think, one of the principle threats that came up quickly
during the discussion: the police want to regard the SI as an
association in order to set about its dissolution in France. I
protested, emphasizing that the artistic movement was never legally
constituted by moral individuals in a declared association. Not
being constituted, the SI cannot be officially dissolved, but they
tried to intimidate us heavily. It seems they take us for
gangsters! --from "Correspondence" This volume traces the dynamic
first years of the Situationist International movement--a cultural
avant-garde that continues to inspire new generations of artists,
theorists, and writers more than half a century later. Debord's
letters--published here for the first time in English--provide a
fascinating insider's view of just how this seemingly disorganized
group drifting around a newly consumerized Paris became one of the
most defining cultural movements of the twentieth century.
Circumstances, personalities, and ambitions all come into play as
the group develops its strategy of anarchic, conceptual, but highly
political "intervention." Brilliantly conceived, this collection of
letters offers the best available introduction to the Situationist
International movement by detailing, through original documents,
how the group formed and defined its cultural mission: to bring
about, "by any means possible, even artistic," a complete
transformation of personal life within the Society of the
Spectacle.
In his films Guy Debord (1931-1994) worked according to the
following principle: do nothing you should, do everything you
should not. Created between 1952 and 1978, all the films reflect
this rule and confirm what he referred to as his "detestable
ambition." Gathered in a single volume for the first time in
German, this publication unites the texts of all of Guy Debord's
films in a new translation: from his first film made in affiliation
with the Lettrist group led by Isidore Isou, Hurlements en faveur
de Sade (1952), an alteration of black and white sequences devoid
of images; to works that originated in the course of his
participation in the Situationist International, Sur le passage de
quelques personnes a travers une assez courte unite de temps (1959)
and Critique de la separation (1961); to the adaptation of his best
known theoretical work, La Societe du spectacle (1973), followed by
the response to his critics entitled Refutation de tous les
jugements, tant elogieux qu'hostiles, qui ont ete jusqu'ici portes
sur le film "La Societe du spectacle" (1975) and his resume,
intended as an act of closure: In girum imus nocte et consumimur
igni (1978). Texts and images are true to the French original
edition and complemented by a list of sources for the quotes,
Debord's notes on his films, drafts of unrealized film projects, as
well as the text of the TV documentary he coauthored, Guy Debord,
son art et son temps (1994).
"Todo lo que una vez fue vivido directamente se ha convertido en
una mera representacion." "La sociedad del espectaculo" proporciona
una reinterpretacion del marxismo, sobre todo del concepto de
fetiche de la mercancia aplicado a las condiciones del capitalismo
contemporaneo. Guy Debord argumenta que la historia de la vida
social se puede entender como la declinacion del ser en tener, y
del tener en simplemente parecer. Esta condicion en la cual la
realidad se ha substituido por su imagen representa el momento
historico contemporaneo, cuando la mercancia completa su
colonizacion de la vida social: las relaciones entre mercancias han
suplantado las relaciones entre las personas y, en estas, la
identificacion pasiva con el espectaculo suplanta la actividad
genuina. El espectaculo no es una coleccion de imagenes, escribe
Debord, en cambio, es una relacion social entre la gente que es
mediada por imagenes.
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