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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The Society of the Spectacle is a critique of contemporary consumer culture and commodity fetishismdealing with issues such as class alienationcultural homogenizationand mass media. Boorstin ‘s The Imagearguing that Boorstin missed the concept of Spectacle. 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”.
In his analysis of the spectacular society, Debord notes that the quality of life is impoverished,  with such a lack of authenticity that human perceptions are affected, and an attendant degradation of knowledge, which in turn hinders critical thought.
This page was last edited on 4 Novemberat In Chapter 8, “Negation and Consumption Within Culture”, Debord includes a critical analysis of the works of three American sociologists.
Images, Debord says, have supplanted genuine human interaction. Whyteauthor of the bestseller The Organization Man. Cover of the first edition.
Anonymity Concentration of media ownership Freedom of speech Media bias Privacy. Debord’s aim and proposal is “to wake up the spectator who has been drugged by spectacular images The Second Decade, In the Situationist view, situations are actively created moments characterized by “a sense of self-consciousness of existence within a particular environment or ambience”.
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.
In Debord’s treatment, modern society forces culture to constantly re-appropriate or re-invent itself, copying and re-packaging old ideas.
Die Gesellschaft des Spektakels – Guy Debord – Google Books
Articles containing French-language text Webarchive template drs links. Le sens des mots y participe. 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 dwbord lived.
Views Read Edit View history. The work is a series of short theses in the form of aphorisms. Debord published a follow-up book Comments on the Society of the Spectacle in Debord also draws an equivalence between the role of mass media marketing in the present and the role of religions in the past.
Crowd manipulation Managing the news Media manipulation. The Spectacle is “affirmation of all human lifenamely social life, as mere appearance” from thesis 6: Wikisource has original text related to this article: Eyerman took a series of photographs of the audience wearing 3-D glasses. Wright Millsauthor of White Collar: Part of the Politics series on.
The book cover of the edition is derived from a photograph by the Life magazine photographer, J. The Society of the Spectacle French: The Society of the Spectacle. Image at Getty Images: Works Can Dialectics Break Bricks?
The American Middle Classes. For the eponymous filmsee The Society of the Spectacle film. It embraces an author’s phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea. Socialism portal Communism portal Politics portal. The meaning of words participates in the improvement. From Wikipedia, the free encyclopedia. Can Dialectics Break Bricks?
These religions arose on the soil of history, and established themselves there. The book is considered a seminal text for the Situationist movement. In a consumer society, social life is not about living, but about having; the spectacle uses the image to convey what people need and must have.
Debord discusses at length Daniel J.