Dissertations / Theses: 'Guy debord'

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Turpain, Sébastien. "Guy Debord mémorialiste." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC001.

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Il s'agit dans ce travail de montrer en quoi, pourquoi, et comment l'oeuvre de Guy Debord (1931 - 1994) peut être envisagée comme une succession de fragments, constituant dans leur ensemble des Mémoires, et aussi d'en mesurer l'originalité, la singularité, tant sur le fond que sur la forme. Cette approche est novatrice, car la critique autour de l'oeuvre de Debord n'a jamais choisi d'envisager l'oeuvre dans cette perspective globale, lacune qu'il s'agit ici de combler. Ce travail consiste ainsi à mettre en évidence le fait que ces « Mémoires » ont une unité seulement dans la perspective de toute une vie, puisque, étant composés d'une succession de fragments, ils supposent une posture de mémorialiste tout au long de la vie. Un tel projet tend donc à montrer que, même si ces Mémoires racontent naturellement une histoire, une époque, des événements, ils n'en ont pas moins eux-mêmes une histoire, que l'on peut reconstituer. Plus classiquement, les « Mémoires » de Guy Debord font partie d'une démarche qui les place à la croisée de l'autobiographie et de l'historiographie, avec pour but de jouer un rôle. Ce sont des témoignages qui se veulent utiles, ce sont des communications. Ils sont narration, récit, portrait, mais aussi critique sociale, réflexion sur la vie des hommes (à l'instar des Mémoires de Saint-Simon), ou encore oeuvre historiographique pour servir à l'histoire de leur temps. Une telle étude implique un travail en plusieurs temps. Il y a d'abord la vie de l'auteur, intimement mêlée à l'oeuvre, et qui est mise en récit d'une manière qui évolue sans cesse, d'oeuvre en oeuvre, des allusions ou évocations souvent « incompréhensibles » des oeuvres du début, au récit clairement autobiographique que constitue le livre Panégyrique. Ensuite, il y a la critique sociale, le propos de moraliste portant sur le temps présent, lequel est régulièrement comparé à un passé glorifié. Guy Debord s'y fait alors orateur, convoquant Bossuet, La Boétie, Saint-Simon, pour mieux reprendre les moeurs de son siècle. Les Mémoires sont en outre un moyen d'écrire l'histoire - plus ou moins secrète - d'une époque, d'un point de vue personnel, dans l'intention de servir aussi bien à l'histoire de son temps qu'à une réflexion sur la vie des hommes à travers l'histoire, le passage du temps. Enfin, les Mémoires sont une tentative de communication plus personnelle, de témoignage plus intime (impliquant une certaine exemplarité), mais aussi une tentative de partage qui choisit, en quelque sorte, son «public » idéal. Ce thème de la communication - ce qui est, ou non communicable, transmissible - est finalement au coeur des préoccupations de Guy Debord, notamment vers la fin de sa vie, et est marqué par l'enjeu d'un passage de son témoignage à la postérité
This works aims to show how and why the work of Guy Debord (1931 - 1994) can be seen as a series of fragments, which together constitute the Memoirs of the author, and also aims to measure their originality and singularity, both in substance and in form. This approach is innovative because the criticism surrounding the work of Debord never chose to consider his work in this global perspective, leaving a gap to fill. This work therefore aims to highlight the fact that these « Memoirs » can only find Their unity in the perspective of a lifetime because, being composed of a series of fragments, they indicate the author's stance as a memorialist throughout his entire life This work also tends to show that, although these « Memoirs » naturally tell a story, evoke an era, and recount events, they themseives have a story that can be reconstructed. More conventionally, the « Memoirs » of Guy Debord are placed at the crossroads of autobiography and historiography, and aim to play a role. These Memoirs are testimonies that intend to be useful: they are communications. They combine not only narration and portrait, but also social criticism, reflection on the lives of men (like the Memoirs of Saint -Simon), and historiography. Such a study implies a three-step approach. First, there is the life of the author, interwoven with his work, and put into narrative form in a manner that is constantly evolving, from the often « incomprehensible » allusions or evocations of the early works, to the clearly autobiographical book Panegyric. Then, there is the social criticism, the vision of the moralist on the present time, which is regularly compared to a glorified past. Guy Debord then takes on the role of an orator, invoking Bossuet, La Boétie, Saint-Simon, to better reprimand the mores of his times. The Memoirs are Also a way to write, from a personal point of view, the more or less secret history of a time, with both the intention of serving history and of carrying out a reflection on the life of men throughout history or the passage of time. Finally, the memoirs are an attempt at a more intimate act of communication, a more intimate account of the author's life (implying a certain exemplarity), and also an attempt at sharing with an «ideal » public. The theme of communication - what is communicable, transmissible, or not - tends to be central to Guy Debord's work, especially towards the end of his life, and is marked by the question of the passage of his testimony to posterity

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Seddiki, Yalla. "Guy Debord : automythographe." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040097.

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Théoricien, « stratège » – ainsi qu’il s’est défini – cinéaste, acteur de ses seuls films, mémorialiste, révolutionnaire, membre du lettrisme (initié par Isidore Isou) et membre de l’organisation politique Socialisme ou Barbarie ; cofondateur de l’Internationale lettriste (1952-1957) et de l’Internationale situationniste (1957-1972), Guy Debord n’a visé à rien comme à projeter sur ses productions les traits de l’exceptionnel. Pour ce faire, il s’est entouré de quelques dizaines de compagnons. Ce qui constitue la base extrinsèque du mythe de Guy Debord. Par la trame anecdotique, la première partie de cette recherche évoque les personnalités qu’il a fréquentées, les mouvements d’avant-garde politiques et artistiques qu’il a momentanément soutenus et plus souvent affrontés, mais qui, en partie, ont déterminé les orientations de sa vie et de sa pensée. Il s’est d’abord agi pour Guy Debord de projeter les promesses émancipatrices de l’art et de la poésie moderne dans l’espace urbain et les relations sociales. Dans un deuxième temps, la réalisation de ce projet est subordonnée à celui de la révolution. Cependant, ce dessein est inséparable d’une esthétique, autrement dit d’une base intrinsèque, « le style de la négation », écrit Guy Debord. C’est le sujet de la seconde partie de ce travail. La « dérive », la « métagraphie influentielle », la « psychogéographie », la « situation » et le « détournement » sont quelques-uns des concepts qui dessinent une esthétique de l’action artistique et politique. Par ailleurs, d’abord intuitivement, puis avec une conscience maîtrisée, Guy Debord convoque une grande variété de figures et de récits exemplaires dont, analogiquement, il vise à diriger vers soi une partie de la puissance et du prestige. Par la constitution d’un cadre imaginatif mythique et mythographique, Guy Debord s’affronte à un nécessaire dépassement de l’intériorité imaginante vers la réalisation du récit dans la matérialité historique
Theoretician, “Strategist” – as he defined himself –, film director, actor in his own films exclusively, memorialist, revolutionary, member of the Lettrist movement (initiated by Isidore Isou) and member of Socialism or Barbarism, a political organisation ; co-founder of the Lettrist International (1952-1957) and of the Situationist International (1957-1972), Guy Debord aimed for nothing but project features of the exceptional on his works. To do so, he surrounded himself with a few dozens companions, which constitutes the extrinsic basis of the Guy Debord myth. Through the fabric of anecdotes, the first part of this research brings up the key figures he socialised with and the political or artistic avant-garde movements he momentarily supported, and more often confronted, but which determined in part the courses taken by his life and thought. At first, for Guy Debord, it was a case of projecting the emancipatory promises of art and modern poetry onto the urban space and social relations. Then, the realisation of this project becomes subordinated to the project of revolution. However, this goal can not be separated from an aesthetic form, that is to say from an intrinsic basis, “the style of negation”, according to Guy Debord. The second part of this work will focus on this subject. “Drift”, “Influential metagraphy”, “psychogeography”, “situation” and “diversion” are but a few concepts outlining an aesthetic of political and artistic action. Besides, Guy Debord summons a large variety of characters and exemplary narratives – first intuitively, then with a fully controlled conscience –, the power and prestige of which he analogically aims to direct partly at himself. By elaborating an imaginative, mythical and mythographical framework, Guy Debord faces the necessity to overtake the mind-wandering inwardness, towards the accomplishment of the narrative within the historical materiality

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Cochard, Bertrand. "Guy Debord et la philosophie." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2026.

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À la fin des années 1950, Guy Debord entreprend de confronter ses thèses et intuitions, initialement construites au sein des avant-gardes artistiques, avec la philosophie allemande. Il étudie Hegel et Marx, découvre le marxisme « hétérodoxe » (Karl Korsch, Georg Lukács, Anton Pannekoek), discute les théoriciens et commentateurs de son temps (Jean Hyppolite, Henri Lefebvre, Lucien Goldmann), et importe certains concepts issus de cette tradition (totalité, aliénation, marchandise, etc.) au sein de sa propre pensée. Quelles ont été les conséquences de ce « tournant » philosophique ? Comment l’étude de ce tournant peut-elle permettre de mettre en question la réduction de l’auteur de La Société du Spectacle à un sociologue critique de « la société de consommation » ? L’objectif de ce travail, comportant trois parties – Esthétique (I), Philosophie critique (II), Philosophie du temps et de l’histoire (III) – est de faire émerger la singularité de Guy Debord dans le champ philosophique, en plaçant notamment la question du temps au cœur de cette singularité
At the end of the 1950s, Guy Debord sought to confront with German philosophy the ideas and intuitions he first developed within the artistic avant-gardes. He studied Hegel and Marx, discovered heterodox Marxism (Karl Korsch, Georg Lukács, Anton Pannekoek), questioned theorists and commentators of his time (Jean Hyppolite, Henri Lefebvre, Lucien Goldmann) and started using several concepts from these traditions (eg. totality, alienation, commodity, etc.) in his own speech. This work aims to analyze the consequences of his philosophical “turn” in order to question the portrait of Guy Debord as a sociologist who criticized “consumer society”. It is presented in three parts – Aesthetics (I), Critical Philosophy (II), and Philosophy of Time and History (III). Its ambition is to reveal the philosophical singularity of the author of The Society of the Spectacle, especially on matters concerning Philosophy of Time

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Etzold, Jörn. "Die melancholische Revolution des Guy-Ernest Debord /." Zürich : Diaphanes, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783037340653.

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Etzold, Jörn. "Die melancholische Revolution des Guy-Ernest Debord." Zürich Berlin Diaphanes, 2006. http://d-nb.info/992472512/04.

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Haritçalde, Christian Campos de Oliveira. "Sonho e espetáculo: uma aproximação à Guy Debord." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-01102014-151345/.

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O presente trabalho tem o intuito de apresentar a teoria de Guy Debord para as discussões psicanalíticas relacionadas à teoria social e à política. Para tal propõe-se traçar a constituição conceitual de sua teoria sobre a sociedade do espetáculo, nascida da conjunção entre as discussões provenientes da crítica da economia política no campo marxista e a temática da superação da arte nas vanguardas artísticas, e articulando-a às aproximações teóricas que Debord faz com a psicanálise. Em um primeiro momento é apresentada a teoria do espetáculo como a atualização da alienação, reificação e fetichismo da mercadoria nas sociedades contemporâneas; ligando então esta reflexão à teoria freudiana do sonho através da analogia do espetáculo como sonho mau. Em um segundo momento é apresentada a teoria da superação do espetáculo, através das contradições internas do capitalismo avançado e a busca da revolução; ligando então esta reflexão com a psicanálise através da aproximação do capitalismo como inconsciente econômico que deve ser trazido à consciência pela prática revolucionária. Por fim conclui-se que apesar de Debord ser leitor de Freud, suas aproximações são um uso particular da teoria psicanalítica para a explicitação da teoria da sociedade do espetáculo; mas ainda assim uma aproximação rica para uma discussão psicanaliticamente orientada sobre a sociedade capitalista avançada
This work intends to present the theory of Guy Debord to psychoanalytic discussions related to social and political theory. To this end it is proposed to trace the conceptual constitution of his society of the spectacle theory, born from the conjunction of the discussions from the critique of political economy in the Marxist camp and the theme of the surpassing of art in the artistic avant-garde, linking this conjunction to the theoretical approaches that Debord makes to psychoanalysis. At a first moment the theory of the spectacle is presented as the update of alienation, reification and commodity fetishism in contemporary societies, then this reflection is linked to the Freudian dream theory through the analogy of the spectacle as a bad dream. In a second step the theory of the surpass of the spectacle is presented through the internal contradictions of advanced capitalism and the pursuit of revolution, then linking this discussion with psychoanalysis through the approximation of capitalism as an economic unconscious that must be brought to consciousness by the revolutionary practice. Finally it is concluded that although Debord is a reader of Freud, his approaches are a particular use of the psychoanalytic theory to the explanation of the society of spectacle theory, but it is still a rich approach for a psychoanalytically oriented discussion of the advanced capitalist society

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Bueno, Douglas Aparecido. "Guy Debord e a nova fase do espetáculo." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20108.

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The thesis deals with the spectacle of Guy Debord theory under the aegis of its artistic, political and philosophical influences, putting in relief their main contributions to the analysis and overcoming of the spectacle. The spectacle, to Debord, is a relationship alienated for social and historical construction, which overcomes the media criticism, as is commonly assumed. The thesis reveals that the theory of the spectacle, in its origin, is a philosophical reflection on the story time, and in the light of hermeneutics interprets own theory on that basis. Analyze the theory of the spectacle, from the standpoint of time and story ideas, it offers a way to resolve the hegelian marxism of Guy Debord. The hegelian marxism Debord connects, in theory, its theoretical and philosophical interests in the concepts of strategy, chance and play, from the existential principles and based on these issues, investigates and theorizes the practice, political action in time and social history as a means to overcome the spectacle, or give you a new phase. Furthermore, to the extent that delimits the theory of this epistemological framework, it is apparent deficiencies. The theory of the spectacle is based on the unified separation of the actions of the subject (historical and social) and social interpretation under the same heading, which in turn replaces the Marxian analysis of capital as an antagonistic social relationship rather than the abstract opposition between homogenized and alienated consciousness of history and the world. Although this aspect apparently theoretical problem is, the notions of subjectivity, time and history significant role for social analysis. Putting in relief the Guy Debord’s position that all social action and every theory must be considered as strategic interventions, and that every theory must be an invitation to overcome them, the thesis takes up the hegelian marxism Debord to suggest spectacle that the theory is a sui generis moment within a historical action design. This means that all Debord’s theory provides a collective political will model and suggests a reflection on the possibility of this hermeneutic be developed
A tese analisa a teoria do espetáculo de Guy Debord sob a égide de suas influências filosóficas, colocando em relevo as suas principais contribuições para a análise e superação do espetáculo. O espetáculo, para Debord, é uma relação alienada para a construção social e histórica, que sobrepuja a crítica da mídia, tal como é comumente assumido. A tese revela que a teoria do espetáculo, em sua origem, é uma reflexão filosófica sobre o tempo da história, e à luz dessa hermenêutica, interpreta a própria teoria nessa base. Analisar a teoria do espetáculo, sob o foco das ideias de tempo e história, oferece um caminho para se estudar o marxismo hegeliano de Guy Debord. O marxismo hegeliano de Debord se conecta, na tese, aos seus interesses teórico-filosoficos nos conceitos de estratégia e jogo, a partir dos princípios existênciais e com fundamento nestes temas, investiga e teoriza a práxis, a ação política no tempo e na história social como meios para se superar o espetáculo. Por outro lado, na medida em que se delimita a teoria sobre esse recorte epistemológico, ficam aparentes suas deficiências. A teoria do espetáculo está baseada na separação unificada das ações do sujeito histórico-social e na interpretação social sob a mesma rubrica, que por sua vez, substitui a análise marxiana do capital como uma relação social antagonica, em detrimento da oposição abstrata entre a consciência homogeneizada e alienada da história e do mundo. Muito embora essa vertente teorica, aparentemente, seja problemática, as noções de subjetividade, tempo e história assumem papel relevante para a análise social. Colocando em relevo as posições de Guy Debord de que toda ação social, bem como toda teoria devem ser analisadas como intervenções estratégicas, além de que toda teoria deve ser um convite à sua superação, a tese reveste-se do marxismo hegeliano de Debord para sugerir que a teoria do espetáculo é um momento sui generis dentro de uma concepção de ação histórica. Isso quer dizer que toda a teoria de Debord proporciona um modelo de vontade política coletiva, e sugere uma reflexão sobre a possibilidade dessa hermenêutica ser desenvolvida

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Flores, Iberico Héctor Martín. "Guy Debord y el problema de la mercancía." Master's thesis, Universidad Nacional Mayor de San Marcos, 2012. https://hdl.handle.net/20.500.12672/9570.

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Esta investigación reconstruye las fuentes filosóficas y las consecuencias del análisis que se plantea en “La sociedad del espectáculo” (SdE). Se sitúan las herencias teóricas de Guy Debord en relación con conceptos que el marxismo de izquierda pudo reivindicar como la centralización del problema de la alienación/enajenación por parte de Lukács y los análisis realizados por él a principios del siglo XX. Con la intención de superarla, Debord llevará al extremo la propuesta de “la economía contra la vida” (Jappe), situando el problema del capitalismo o Sociedad del Espectáculo, como una nueva fase del desarrollo capitalista. Para ello realizará una crítica de la producción de manera aislada, desde el polo del consumo, sin considerar la totalidad del proceso productivo (producción – circulación – distribución - consumo), en el sentido del marxismo tradicional. En ese contexto se inserta la crítica al ciudadano-espectador, al trabajador contemporáneo mareado y pasivo, por la inmensa oferta de mercancías. Este sujeto se conduce en relación a las imágenes de un mundo sobre el cual ha perdido toda capacidad de control. Las consecuencias de tal perspectiva son señaladas en la SdE como negativas. Debord caracteriza a las sociedades contemporáneas por su ausencia de vida (goce o gratificación), enfatiza la imposibilidad de existencia en el seno de una sociedad “falsa”. Ello ha conducido a algunos críticos como Frédéric Schiffter (2007) a plantear que la obra de Debord se inserta en la obra de Rousseau como búsqueda de una época pasada y feliz, en donde la comunicación era inmediata (y no mediada) y la gratificación natural no estaba falsificada por la mercancía. Es una crítica a nivel ontológico de los presupuestos de Debord como parte de una crítica al socialismo, que teorizaría el pasado de muchas sociedades como parte del futuro comunitario de la humanidad. Crítica bastante fundamentada tomando en cuenta los niveles de la antropología del siglo XIX en donde se exaltaba la idea de comunidades originarias “buenas”, “pacíficas”, “orgánicas” con respecto a la atomización o fragmentación que el reino de la mercancía había impuesto en su proceso de individuación social e impedía cualquier salida global frente a los problemas generales cuya base material no se cuestionaba y, por lo tanto, aquel estado de cosas se pretendía insuperable. En ese sentido, la tesis analiza los movimientos filosóficos del concepto de mercancía en “La sociedad del espectáculo”. Para ello, reconstruye dichos elementos desde la perspectiva de totalidad e interpreta la relevancia de la obra de Guy Debord para el marxismo contemporáneo.
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Allard, Stéphane. "Le marxisme de Georg Lukacs et de Guy Debord." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28593.

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Je pars du constat selon lequel le marxisme est en crise. Ceci dit, la question suivante se pose : le marxisme conserve-t-il une pertinence aujourd'hui ? Selon moi, les pensées de Georg Lukacs et de Guy Debord permettent de rendre compte de certaines transformations du capitalisme au XIX e et XXe siècles. Pour comprendre ces auteurs, il faut d'abord les situer dans leur contexte. Au coeur des pensées de ces auteurs se situent les concepts de réification, pour Lukacs, et de spectacle, pour Debord. Pour les élaborer, Lukacs et Debord ont tous deux accordé une grande importance aux notions marxiennes de fétichisme de la marchandise, de prolétariat et de praxis. Le dernier chapitre de la thèse présenté une mise en rapport de la pensée des deux auteurs. En conclusion, j'interroge le rapport de Lukacs et de Debord à ce que certains chercheurs ont appelé le romantisme révolutionnaire. Mots-clés : Lukacs, Debord, capitalisme, marxisme, réification, spectacle, aliénation, romantisme, situationnisme, romantisme révolutionnaire

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Casale, Luis Gustavo. "Guy Debord e vanguardas: combate à sociedade do espetáculo." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/11616.

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The practical and theoretical activity of Guy Debord is marked by a strategy of refusal and combat which he called spectacle. He made his life trajectory an incessant war against the society of his time, in which understood the advent of commodity occupying all aspects of life, human and social, and consequently making it the totalizing domain of quantitative, reducing it to a mere game of appearances. Thus, this dissertation seeks to understand the nature of Debord s theoretical-practice activity, in the avant-garde groups that he directed, through themes that permeated this groups activities and also his writings and films, deliberately chosen as a strategic means to attack and refute the illusions of the spectacular-mercantile-society. At the end of the dissertation is noted that the avant-garde conception and theory in Debord has the same meanings, both are temporary, they should be used as a practical-critique of the present time, in the opportune moment. It was observed also by analyzing the concept of separation that the commodity fetish and reification reach the paroxysm in the society of the spectacle, historic stage of capital reproduction in which social relations are mediated by images
A atividade prático-teórica de Guy Debord é marcada por uma estratégia de recusa e de combate ao que ele denominou espetáculo. Ele fez de sua trajetória de vida uma guerra incessante contra a sociedade de seu tempo, na qual compreendeu o advento da mercadoria ocupando todos os aspectos da vida, humana e social e, consequentemente, tornando-a objeto do domínio totalizante do quantitativo, reduzindo-a a um mero jogo de aparências. Destarte, esta dissertação busca compreender a natureza da atividade prático-teórica de Debord, nos grupos de vanguarda que dirigiu, através da análise de temas que permearam as atividades desses grupos e também seus escritos e filmes, deliberadamente usados como meio estratégico de atacar e refutar as ilusões da sociedade-espetacular-mercantil. Ao fim da dissertação nota-se que a concepção de vanguarda e de teoria em Debord possui os mesmos significados, ambas são passageiras, devem ser utilizadas, como crítica-prática do presente, na ocasião oportuna. Observou-se, também, através da análise do conceito de separação, que o fetiche da mercadoria e a reificação chegam ao paroxismo na sociedade do espetáculo, fase histórica de reprodução do capital em que as relações sociais são mediatizadas por imagens

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Reichmann, Mark. "Die dialektische Lebenskunst von Guy Debord, Verworfener & Kulturschatz." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://dx.doi.org/10.18452/22601.

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Der vorliegenden Studie Die dialektische Lebenskunst von Guy Debord, Verworfener & Kulturschatz liegt eine interdisziplinäre Untersuchung des Gesamtwerks jenes französischen Radikalen zugrunde. Debords kohärentes Bestreben hatte darin bestanden, zu einer Leidenschaft der Existenz zurückzufinden, wie sie als Grundlage zur Umwälzung des verarmten Alltagslebens dienen sollte. Zugleich Ehre und Pläsier war es ihm dabei, der „Gesellschaft des Spektakels“ - 1967 in einem strategisch eingesetzten ‚Theoriebuch‘ in Form von Zweckentfremdungen analysiert - zu schaden, wo er nur konnte. Kategorisierungsversuche seiner Tätigkeiten und Umtriebe ‚unterlief‘ der Wahlpariser regelmäßig. Lediglich den Einordnungen als Filmemacher und Enragé stimmte er zu. Interpretationsschwerpunkte liegen auf der Begutachtung von Bildmanifesten und Selbstporträts, wozu seine sieben Filme zählen. Im Rahmen eines an Gerald Raunig und Bazon Brock angelehnten Theoriedesigns, wird sein provokantes Vorgehen in neun Kapiteln (I – IX) als Gesamtkunst-Experiment und Lebenskunstwerk beschrieben. Fundamental ist hierbei das Diktum Brocks, dass ein Totalkunstwerk ein Postulat seiner eigenen Verwirklichung darstellt. Die Gliederung des Stoffes folgt dem romanhaften Werdegang eines Initiators zweier Avantgardeformationen sowie dem Vollzug einer ‚Überwindung‘ der Kunst in deren Reihen. Das Gravitätszentrum aller Aktivitäten und ein Scharnier der Abhandlung ist die klandestine Rolle, welche die Situationistische Internationale bei der Verwirklichung der Mai-Revolte 1968 in Frankreich spielte.
In its character the study Guy Debords Art of Living, Accursed Poet & Cultural Treasury is an interdisciplinary examination of this French radical’s strange and obscure ways. His coherent achievement may be judged as an approach to regain a lost passion of existence in order to revolutionize everyday life. Debord found pleasure and pride in his lifelong ambition to demolish the so-called “Socitey of the Spectacle”, which he analyzed in his infamous book by the same title, first published in 1967. Often quoted since, rarely described as the invention and event it was. Debord defended himself againt categorization. But he agreed on being titulated a filmmaker and enraged person in the tradition of a perverted French Revolution. Following a theory-design, paying references to Gerald Raunig and Bazon Brock, his provocative approach is discussed in nine chapters (I-IX). Baring in mind that – according to Brock – a total work is a postulate of its own realization. The script follows the novel-like progress of a co-founder and lustful destroyer of two avantgarde-troups. All of the group activities are gravitating around what happened in Paris at the heyday of May 68.

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Brun, Éric. "Guy Debord et l'Internationale situationniste : sociologie d'une avant-garde « totale »." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0076.

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Au croisement de la sociologie des intellectuels, de la sociologie politique et de la sociologie des mouvements artistiques, cette thèse analyse la trajectoire d'un collectif dénommé « Internationale Situationniste » (I. S. ) et de son principal animateur, Guy Debord (1931-1994), fondé en 1957 à partir de la réunion de plusieurs petits groupes d'artistes dits « d'avant-garde », l'I. S. Est devenue au cours des années 1960 un mouvement politique « révolutionnaire ». Il s'agit ici de comprendre cette « reconversion » par une étude des propriétés sociales, positions et prises de position des situationnistes. Une telle reconversion, qu'on peut voir également comme une opération de décloisonnement des différents espaces sociaux d'activité, permet en effet de mettre à l'épreuve sur un nouveau terrain le concept de champ forgé par Pierre Bourdieu, et de jeter un nouvel éclairage sur les rapports qu'entretiennent les artistes et les intellectuels avec la politique. C'est dans la continuité d'une opération de redéfinition des conceptions de la création et du désintéressement que l'I. S. Est amenée à prendre ses distances avec le champ artistique. Sa reconversion dans l'activisme « révolutionnaire » renvoie également à des enjeux de positionnement propres aux avant-gardes littéraires et artistiques des années 1950, ainsi qu'à une transformation de l'espace des possibles politiques au tournant des années 1960. Elle met en jeu, enfin, des luttes internes au mouvement, dont l'étude permet d'éclairer les logiques qui président à la formation des groupes d'avant-garde et les obstacles à leur internationalisation
At the crossing of the intellectual's sociology, political sociology and the sociology of artistic movements, this PhD dissertation analyzes the evolution of a group named "Situationist International" (S. I. ) and of its leader, Guy Debord (1931-1994). It was founded in 1957 from the merging of some small groups of "avant-garde" artists, it became a "revolutionnary" political movement during the 1960s. The core of this dissertation is to understand this "reconversion" by studying the social properties, the positions and the stands taken by the situationnists, such a reconversion, wich can also be considered as the decompartmentalization of the different social sectors of activity, is an opportunity to test a new object of the concept of field forged by Pierre Bourdieu. It also sheds a new light on the relationships artists and intellectuals maintain with politics. In keeping with its work on redefining the conceptions of creation and selflessness, the S. I. Is led to take some distance from the artistic field. Its reconversion into "revolutionary" activism is also related to the issues at stake for literary and artistic field. Its reconversion into "revolutionnary" activism is also related to the issues at stake for litterary and artistic avant-gardes in the 1950s. As well as to a transformation of the space of political possibles at the beginning of the 1960s. Lastly, it brings out internal struggles within the movement, the study of wich reveals the mechanisms that control the forming of avant-garde groups as well as the obstacles to the their becoming international

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Ricardo, Pablo Alexandre Gobira de Souza. "Guy Debord, jogo e estratégia: uma teoria crítica da vida." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8VUGS6.

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Esta tese tem por objetivo estudar a relação entre vida e obra em Guy Debord com base em seus textos, seus filmes, e seus métodos de resistir ao espetáculo, discutindo a atualidade do autor. Para isso, o texto é dividido em duas partes e cada uma contém dois capítulos. A primeira parte traz a discussão sobre a presença do autor em teorias e estudos realizados desde a década de 1990. Essa parte ampara a tese de que o autor é 'inatual' com base na ideia de Giorgio Agamben de que um autor é contemporâneo quando ele não coincide com o pensamento reinante em seu tempo. A segunda parte procura apresentar a dimensão prática da teoria crítica de Debord. Para isso, elenca a discussão sobre o jogo e a alegoria da guerra, examinando o pensamento e a vida de Debord no intuito de entendê-la a partir da formação de experiências sempre ligadas a essas duas noções e a presença delas em um plano estratégico. Foi com o desenvolvimento do estudo que pude perceber que eram vários os elementos que caracterizavam um 'estilo de vida' de Debord e, a partir dessa constatação, fui delimitando os pontos de estudo para que os capítulos pudessem ser escritos, revelando-os ao leitor como uma teoria crítica da vida na sociedade do espetáculo.

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Reichmann, Mark [Verfasser]. "Die dialektische Lebenskunst von Guy Debord, Verworfener & Kulturschatz / Mark Reichmann." Berlin : Humboldt-Universität zu Berlin, 2021. http://d-nb.info/1230797068/34.

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Dalmoro, Daniel. "Tempo da representação em A Sociedade do Espetáculo, de Guy Debord." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11637.

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This work focuses in the book The Society of Spectacle, from the french polemicist Guy Debord (1931-1994). Initially, there is the study regarding the influences to whom the author dialogues directly or indirectly Marxism, French philosophy, the artistic avant-gardes of the twentieth century. Subsequently, it follows more closely to the refered book, in particular in the matter of representation the representation in politics, representation in language and representation of time. Finally, there is a brief critical readback of the 1988's text, Comentaries about the Society of Spectacle
Este trabalho versa sobre a obra A sociedade do espetáculo, do polemista francês Guy Debord (1931-1994). Num primeiro momento são levantadas as influências com quem o autor dialoga direta ou indiretamente , o marxismo, a filosofia francesa, as vanguardas artísticas do século XX. A seguir se debruça mais detidamente sobre o livro referido, em especial na questão da representação a representação na política, a representação na linguagem, a representação do tempo. Enfim, há um breve cotejamento crítico com o texto de 1988, Comentários sobre a sociedade do espetáculo

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Stark, Trevor. "The supersession and realization of art: Guy Debord between art and politics." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32372.

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This study takes as its subject the body of theory and criticism developed by Guy Debord during his years as the founder and only permanent member of the Situationist International (1957-1972), an artistic and political avant-garde based in Paris. Though scholarship about Debord and the SI has steadily grown in size and quality since the late 1980s, much of it until recently has been governed by a reductive opposition between the group's putative early "artistic" phase and later "revolutionary" orientation, that does little justice to both the historical development of the group and to the complexity of Debord's cultural criticism. This study will therefore focus on the trope of the "end of art" as resuscitated in Debord's work as a means of engaging with the dialectical relationship staged between the Western Marxist tradition and that of the European historical avant-gardes, especially Dadaism.
Cette étude porte sur l'ensemble des théories et des critiques développées par Guy Debord comme fondateur et unique membre permanent de l'Internationale Situationniste (1957-1972), un groupe d'avant-garde artistique et politique basé à Paris. Bien que les recherches sur Debord et l'IS ont augmenté régulièrement en quantité et qualité depuis la fin des années 1980, la majorité de ces études ont été gouvernées par une opposition réductrice et putative entre la phase "artistique" originelle du groupe et son orientation "révolutionnaire" subséquente, qui ne fait justice ni au développement historique du groupe, ni à la complexité de la critique culturelle de Debord. Ce mémoire se concentre sur la problématique de la "fin de l'art" ressuscitée par l'œuvre de Debord afin d'engager une relation dialectique entre la tradition marxiste occidentale et celle des avant-gardes européennes, surtout le dadaïsme.

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MONTE, Luiz Augusto Dutra Souza do. "Deriva e psicogeografia na cidade contemporânea: experimento situacionista no centro do Recife." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17370.

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Made available in DSpace on 2016-07-14T13:31:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERT FINAL LUIZ DO MONTE (DERIVA).pdf: 10122837 bytes, checksum: 6db0540667955b021d4d419d18966252 (MD5) Previous issue date: 2015-07-31
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Este trabalho tem como objetivo experimentar a deriva e a psicogeografia, técnicas provenientes do movimento artístico intitulado Internacional Situacionista, no centro expandido do Recife. A deriva e a psicogeografia foram conceitos criados pelos situacionistas por volta da década de 1950. Enquanto a psicogeografia se apresenta como uma ciência de apreensão das afetividades urbanas, a deriva é compreendida pelo movimento como uma técnica de passagem por ambientes da cidade que compõe um desdobramento prático dessa apreensão psicogeográfica. A pesquisa pretende verificar a validade das técnicas em relação às suas propostas de aplicação e as possíveis contribuições dessa revisitação de ideias situacionistas numa cidade contemporânea. Para aplicação das técnicas foi elaborada uma metodologia baseada primordialmente nos preceitos situacionistas, mas que também agregou questões relativas à fenomenologia, à psicologia e ao estudo de mapas e diagramas. A partir dessa metodologia foram realizadas pesquisas de campo de cunho experimental que geraram documentos, relatos e ilustrações referentes ao resultado desse processo. As conclusões expostas posteriormente apontam para a validação de algumas das hipóteses situacionistas relativas à aplicação das técnicas e discutem em grande parte o papel das novas tecnologias além de outros fatores que tornam a experiência da deriva e da psicogeografia singulares na contemporaneidade.
This work intents to experience the dérive and the psychogeography, techniques of the artistic movement called Situationist International in the expanded center of Recife. The derive and the psychogeography were concepts created by the situationists in the 1950’s. While the psychogeography presents itself as a seizure science of urban affections, the drift is understood by the movement as a technique of passage through city environments, which makes up a practical unfolding of psychogeographic apprehension. The research aims to verify the validity of the techniques in relation to their proposals and the possible contributions of revisiting situationist ideas in a contemporary city. For the application of the techniques a methodology based primarily in Situationists precepts was created, but also with the addition of questions related to phenomenology, psychology and the study of maps and diagrams. Based on this methodology were performed experimental nature field researchs that generated documents, reports and illustrations for the result of this process. The conclusions later exposed point to the validation of some of the Situationists assumptions related to the application of techniques and discuss mostly the role of new technologies and other factors that make the experience of drift and psychogeography unique in contemporaneity.

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Lima, Rodrigo Nogueira. "A situação construída." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-20062012-155720/.

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A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações.
The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.

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Guy, Emmanuel. "« Par tous les moyens, même artistiques » : Guy Debord stratège : Modélisation, pratique et rhétorique stratégiques." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCD117.

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Cette thèse se propose d'étudier l'imaginaire guerrier et la pensée stratégique dans l'œuvre de Guy Debord (1931-1994). L'hypothèse qui sous-tend cette recherche est la suivante : la stratégie constitue pour Debord le lieu où réaliser l’exigence qui caractérise son projet révolutionnaire – réunir dialectiquement la théorie et la pratique, le sérieux et le ludique, l’artistique et le politique. Conçu dès le milieu des années 1950 et pratiqué jusqu'à la fin de sa vie par Guy Debord, le Jeu de la guerre fournit la matrice de cette étude. Lorsqu'il imagine le Jeu de la guerre, Debord agit en designer soucieux de créer une interface entre théorie et pratique ainsi qu'un outil d'émancipation. Ce jeu hérite autant des kriegsspiele militaires du 18ème siècle que des jeux développés par les avant-gardes artistiques au 20ème siècle. Il se présente à la fois comme projet de design critique, plateau de jeu, objet plastique, "situation" modélisée, marchandise, dispositif réflexif et mémoriel, et lieu d'un dialogue entre les lectures et la vie vécue. À l'appui des archives de Guy Debord et notamment de ses fiches de lectures, cet objet fournira également l'occasion de proposer des études de cas stratégiques tant dans l'action collective au sein des avant-gardes internationales lettristes (1952-1957) et situationnistes (1957-1972), que dans l'œuvre individuelle de Guy Debord. L'élection de la stratégie comme champ d'investigation à privilégier à partir de 1972, et la traduction de ce goût dans les œuvres ultérieures de Guy Debord, permettra finalement d’envisager l’autoportrait de l’artiste en stratège, ou du stratège en artiste, que propose Debord à la postérité
This doctoral research studies war imagery and strategic thinking in Guy Debord's œuvre. It explores strategy as the field in which Debord's revolutionary project is best considered: dialectically uniting theory and practice, seriousness and play, art and politics. Conceived by Debord in the middle of the 1950s and played until the end of his life, the Game of War provides the matrix for this research. When developing the "Jeu de la guerre", Debord is using design-thinking to create an interface between theory and practice, along with an emancipatory tool. The game draws on both the military kriegsspiele and the numerous games developed by modernist avant-garde groups. It is at once a board game, a work of art and design, a paradigmatic situation, a commodity, an apparatus for reflection and memory, and a place where literature and life enter into dialogue. With reference to Debord's archives, and to his reading notes in particular, this object will also provide opportunities for strategic case studies in both the collective action of the lettrist (1952-1957) and situationist (1957-1972) avant-garde groups, and in Debord's individual work. Debord's choice of strategy as his main field of study from 1972 onwards, and the translation of this interest into his later works, ultimately allow us to draw the portrait of the artist-as-strategist, or of the strategist-as-artist, that Debord left to posterity

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Marie, Guy-Claude. "Guy Debord : de son cinéma en son art et en son temps, quelques pièces d'un puzzle aux limites incertaines." Toulouse 2, 2008. http://www.theses.fr/2008TOU20112.

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En 1952, avec le film "Hurlements en faveur de Sade", Guy Debord impose au public une situation construite de désaveu. Le cinéma ne saurait rester étranger aux ruptures, aux crises de la représentation. En 1956, le texte Mode d'emploi du détournement indique les véritables possibilités de sortir de l'impasse artistique. Le détournement, quelle que soit l'origine de l'élément préfabriqué, suppose le projet d'une énonciation poétiquement plus influentielle. "Son temps": il l'aura décrit et combattu ; il lui aura donné un nom, titre de son livre de 1967, qui lui restera : "La Société du spectacle". En 1973, il réalise, portant ce titre, le premier film de l'histoire du cinéma entièrement constitué d'éléments détournés et dont le commentaire est exclusivement composé d'extraits de son livre. Ces éléments, y compris ceux provenant d'œuvres de fiction, sont si parfaitement intégrés à l'oeuvre nouvelle, dans cette perspective de la négation et du dépassement du monde tel qu'il est, qu'ils lui appartiennent, pourrait-on dire, désormais en propre. C'est dans les entrelacs images/images et images/son que surgit la force subversive de cette stratégie du détournement : distance théorique, lyrisme du sujet engagé dans l'action historique, et les plus beaux accents pour l'amour, l'amitié, le caractère. Pour Debord, la négation de l'art est devenue un art de la négation : "son art"
With his 1952 film "Hurlements en faveur de Sade", Guy Debord lays down for his audience an elaborated situation of denial. The art of cinema can't escape to the disruptions and crises of representation. In 1956, the essay Mode d'emploi du détournement points to an authentic way of getting out of the artistic dead end. Detournement, whatever the origin of the prefabricated element might be, implies planning a poetically more influential enunciation. As for "his time", that is something he relentlessly described and fought against, then found a name for : "The Society of spectacle", providing the title of his 1967 book. In 1973, this title was to become that of the first film in the history of cinema entirely made up with detourned elements and whose commentaries are exclusively taken from his book. From the principle requiring that the world as it is should be denied and exceeded, those elements, including those taken from fiction works, were so completely mingled into the new work that it seems to have eventually made them its own. From the interweaving of images or sound and images springs the subverting power of this derailing strategy - the theoretical distance, the lyricism of the individual committed to playing a part in history, the setting forth of the beauty of love, friendship and character. To Debord, the negation of art turned into an art of negation - "his art"

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Rémy, Matthieu. "La concession : pour une éthique des transformations textuelles dans l'œuvre de Georges Perec et Guy Debord." Nancy 2, 2003. http://www.theses.fr/2003NAN21009.

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Ce travail a pour but premier de dresser un parallèle entre deux écrivains français de la deuxième partie du XXème siècle entre lesquels on trouve ordinairement peu de points communs. À travers leur fréquentation commune du philosophe Henri Lefebvre, Georges Perec et Guy Debord se sont révélé proches en de nombreux domaines : thématiques de l'aliénation contemporaine, de la dérive, du jeu, stratégies littéraires visant à subvertir l'espace commun du discours. Réfractaires à l'ordre établi de la littérature, ces deux écrivains ont voulu poser les bases d'une nouvelle éthique des transformations textuelles, interrogeant par là l'idée d'une concession aux modèles culturels dominants. Chacun à leur manière (la sédition pour Guy Debord, la ruse pour Georges Perec), ils ont joué avec les codes admis, puisant dans l'héritage de l'avant-garde littéraire du siècle pour tenter de bâtir une écriture irréductible
This study's purpose is to compare two French authors from the second half of the 20th Century, between whom few common threads are usually found. Because they both spent time with the French philosopher Henri Lefebvre, we have been able to consider that Georges Perec and Guy Debord shared several themes and directions: modern alienation, wandering, games, literary strategies to subvert the common discursive space. Both rebels towards the dominant rules of literature, these two writers wanted to define the bases of a new ethical mode of textual transformations, questioning the idea of compromise in favor of the major cultural models. Each in their own way, (sedition for Guy Debord, scheme for Georges Perec) they played with common rules, drawing examples from literary avant-guards of the century to try and invent a resolute art of writing

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ROGERS, ASHLEY D. "THE INFLUENCE OF GUY DEBORD AND THE SITUATIONIST INTERNATIONAL ON PUNK ROCK ART OF THE 1970s." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163784738.

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Ferreira, zacarias Gabriel. "Expérience et représentation du sujet : une généalogie de l'art et de la pensée de Guy Debord." Thesis, Perpignan, 2014. http://www.theses.fr/2014PERP1205/document.

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Intellectuel évoluant aux marges des institutions, Guy Debord (1931-1994) fut l’auteur d’une pensée et d’un art hétérodoxes. Cette thèse tente de refaire le chemin de son expérience intellectuelle grâce à l’étude des documents inédits conservés au « Fonds Guy Debord » de la Bibliothèque nationale de France. Sont étudiés les manuscrits de ses œuvres, les documents préparatoires de ses films et, plus particulièrement, ses nombreuses fiches de lecture, afin d’établir une généalogie des concepts et des idées de l’auteur, en resituant Debord dans le contexte de son époque. Le grand débat qui animait alors la pensée française, partagée entre les vagues opposées de l’existentialisme et du structuralisme, se concentrait en effet sur l’affirmation ou la disparition du « sujet ». Debord ne participe pas directement à cette querelle et s’intéresse fort peu aux auteurs de la mode. Néanmoins, son œuvre constitue une réponse à ce débat, réponse donnée, d’abord, par l’élaboration d’un art expérimental qui remet le sujet en situation, en recherchant les déterminations objectives qui affectent la subjectivité ; ensuite, par l’élaboration d’une théorie – la théorie du « spectacle » – qui voit la séparation entre l’expérience et la représentation comme le propre de la modernité capitaliste ; enfin, par le développement d’une écriture – littéraire et cinématographique – qui puise dans le travail du détournement et de la citation le moyen de dépasser la séparation « spectaculaire » entre le sujet et le langage
Guy Debord (1931-1994), always on the margins of cultural and intellectual institutions, authored a heterodox style of thought and art. Through extensive archival research in the “Fonds Guy Debord”, a collection of unpublished notes and manuscripts in the Bibliothèque nationale de France, this thesis seeks to retrace Debord’s intellectual experience. These documents allow for the creation of a genealogy of the author’s key concepts and enable us to situate him in the intellectual context of his times. Contemporary French thought was dominated by existentialism and structuralism. Discussion of the empowerment and disappearance of the “subject” was therefore central. Although Debord took no direct part in these disputes, expressing disinterest in the authors then in vogue, his works did respond to this debate: First of all, in his experimental art, which places the subject in a “situation” and thereby seeks to discover the objective determinations that affect subjectivity; secondly, in his theoretical work – in particular, the theory of the spectacle –, in which capitalist modernity is characterized as a growing separation between experience and representation; and thirdly, in his literary and cinematic works, in which the practice of détournement appears as a method for a subjective re-appropriation of representation

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Leffler, Laura Sutton. "Life in the Dollhouse: Laurie Simmons’s Early Work as a Display of Constructed Hierarchies." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116938975.

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Costa, Márcia Maria Arco e. Flexa Ferreira da. "Os Jetsosn como espectro da sociedade: análise crítica do desenho animado The Jetsons sob a ótica do conceito de espetáculo de Debord." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2045.

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This dissertation aims to examine three episodes of the cartoon The Jetsons, from 1968, interrelating its various themes and images with the aphorisms of the philosopher Guy Debord in his book The Society of the Spectacle, 1967. This review sought to reflect on the cartoon as a spectrum of society, understanding spectrum as a ghostly image, shadow or reflection of reality. In the context of this work is indistinguishable from the real spectrum, therefore, overlapping, recreate the relationships in society. Reifying everything and everyone. Showing the relationship of the consumer audience, the fictional character that leaves in a society where relations are mediated by images. Seeking understanding between the individual and an alienated image of a man who is reified, while, in fact, is connected through the world by images that he thinks are real, but that lead for the individuals, their history and their relations in society overstepping themselves. We question how cartoons are seen from an outthought and generalist point of view many times. Naively seen by parents, teachers, educators and children - without proper interpretation and dialogue about the images, where themes are consumed through the television screen in a variety of ways and behaviors. Facing the relevance of the cartoon in culture, education and in children training, we point out through the decoupage of the episodes, the relationship of many attributes of the cartoon that were already described by Debord's understanding of the society and that, in another sense, prefigures the society to come. As for the insertion of the term "multicultural industry", this happened by assuming a step beyond the cultural industry, in the sense that the cartoon in this context is a product to be consumed in many countries in order to be profitable, therefore, has to be purchased by various cultures. The nature of the different subjects covered in the cartoon seems very relevant to society as growing students and futures citizens throughout history. For that reason, scored-issues such as technology, consumption, violence and alienation among the other topics are addressed in this dissertation through the cartoon.
A presente dissertação se propôs a analisar criticamente três episódios do desenho animado The Jetsons, de 1968, inter-relacionando seus diversos temas e imagens com os aforismos do filósofo Guy Debord, em sua obra A Sociedade do Espetáculo, de 1967. Essa análise crítica buscou refletir acerca do desenho animado como espectro da sociedade, compreendendo espectro como imagem fantasmagórica, sombra ou reflexo do real. No contexto deste trabalho o real se confunde com o espectro, pois, imbricados, recriam as relações na sociedade, reificando tudo e todos, trazendo à tona a relação do espectador consumidor, do personagem fictício criado na relação social mediada por imagens. Buscando a compreensão entre o sujeito ou o indivíduo que se assevera enquanto tal, mas é imagem alienada de um homem reificado que, enquanto mercadoria, se relaciona através de um mundo de imagens que ele pensa serem reais, mas que conduzem sua história e suas relações em sociedade. Problematizamos o modo como os desenhos são vistos de forma pouco reflexiva, de maneira geral vistos ingenuamente por pais, professores, educadores e crianças , sem a devida interpretação ou diálogo acerca das imagens e temas consumidos através da tela da televisão nos mais variados objetos e comportamentos. Frente à relevância do desenho animado na cultura, educação e formação infantil, pontuamos, através da decupagem dos episódios, a relação de diversos atributos do desenho à leitura que Debord já fazia da sociedade e que, noutro sentido, prefigura a sociedade ainda por vir. Quanto à inserção do termo indústria multicultural , este se deu por supor um passo além da indústria cultural, no sentido de que o desenho animado, neste contexto, é um produto a ser consumido em muitos países para ser rentável, sendo, portanto, comprado por diversas culturas. A natureza dos inúmeros temas tratados nos desenhos animados pareceu muito relevante frente à sociedade e ao cidadão em formação e, por esta razão, pontuaram-se questões como tecnologia, consumo, alienação e violência, entre os temas tratados no desenho e tão pertinentes ao desenvolvimento dos educandos cidadãos formados ao longo da história.

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Ferrier, Nicolas. "Situations avec spectateurs : recherches sur la notion de situation." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040183.

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Cette étude s'est d'abord intéressée à la situation de sujets passifs face à la marchandisation progressive du monde contemporain et à la réaction qu'ils peuvent lui opposer. Nous avons choisi d'articuler cette problématique à l'analyse de la “construction de situations”, riposte des situationnistes face à la “société du spectacle”, dont Guy Debord est le théoricien bien connu. Nous y avons découvert l'importante influence du théâtre, notamment à travers le détournement des notions de “distanciation” (empruntée à Brecht), de “tragédie classique” et de “jeu”. Dès lors, le travail de recherche s'est engagé dans une généalogie de la notion de “situation”, en s'attachant, dans un second temps, à la situation dramatique. Il s'avère que la situation dramatique relie entre eux personnages, acteurs et spectateurs, fiction et réalité. L'exploration de leurs relations débouche, dans un troisième temps, sur la “situation existentielle”, en particulier sur le concept de “situation-limite” chez Karl Jaspers. L'un des principaux théoriciens de la situation dramatique, Étienne Souriau, y fait référence. Malgré leurs différences, une même intention traverse les situationnistes, le théâtre et la philosophie de l'existence de Karl Jaspers. Dans tous les cas, il s'agit d'appréhender la situation dans sa capacité à émanciper les sujets qui s'y trouvent aliénés
This study first began by examining the situation of passive subjects faced with the gradual escalation of merchandising in the contemporary world, and then the way they were able to react against this trend. We chose to link this problematic to the analysis of “the construction of situations”, which was the Situationists’ response to Guy Debord’s famous theory of “the society of the spectacle”. Here we discovered the significant influence of the theatre, most notably in the appropriation of concepts of “alienation” (borrowed from Brecht), of “classical theatre” and of “acting”. From this point on, the piece of research engaged with a genealogy of the concept of “situation” by next addressing “dramatic situation”. Dramatic situation would prove to connect different characters, actors and spectators in both fiction and reality. Examining these relations served to open a third section to the project on the “existential situation”. This was informed by the concept of “limit-situations” in Karl Jaspers, as referred to by one of the most important theorists of in the field, Etienne Souriau. In spite of their differences, a common goal unites the Situationists when seeking to discern the role of theatre in the philosophy of existence, as described by Karl Jaspers. Every one of them aims to grasp situations in their capacity to emancipate alienated subjects

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Alich, Anna. "Alienation in Jean-Luc Godard’s Tout Va Bien (1972)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187058681.

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Kenniff, Thomas-Bernard. "Assembly: A Revaluation of Public Space in Toronto." Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/939.

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This thesis focuses on the problem of defining and designing public space in contemporary mass society. "Assembly" revaluates a cultural understanding of public space as the space of regulation, consumption and leisure, and works to find spaces of freedom, agency and action. Three iconic sites located in Toronto from three successive generations are examined: Nathan Phillips Square, the Eaton Centre and the new Dundas Square. These three sites form the primary division of the work and are respectively paired with extended critiques from three thinkers: Hannah Arendt, Jean Baudrillard, and Guy Debord. The pairings centre on Arendt's account of the "rise of the social", on Baudrillard's analysis of consumption and on Debord's dissection of the spectacle. The argument is presented in the form of an assemblage. Although the nature of this method invites each reader to construct their own meaning, this thesis grounds itself on a defined polemic. It considers public space to be marked by 1) the erosion of a clear distinction between our public and private realms, and their subsequent dissolution into the realm of the social, 2) the ideology of consumption overtaking the realm of the social, and 3) the world of the commodity replacing reality with the world of the spectacle. "Assembly" first consists of three main sections corresponding to the three sites. Each of these parts is assembled from three distinct strands: factual, theoretical and visual. The factual strand forms the main "field" of each section and is made up of selected quotations from mass media ? newspapers, public documents and websites. The theoretical strand, consisting of pointed quotations from the relevant social theorist, is threaded through the field of mass media. The visual strand comprises two elements: a postcard that marks the beginning of the section and a series of authored photographs that follows and complements the text-based assemblage.

Inevitably, the relationship between general social values and those of individuals is fraught. Consequently, and perhaps also inevitably, architectural design tends to reduce the manifoldness of the public realm into a homogenous and singular public space: the "whole". This thesis pursues the question of how to conciliate individual agency with collective public experience. The process and form of "Assembly" deliberately celebrates this uncertainty of design, and takes "heterogeneity" as a necessary condition of public space. That it cannot offer a comprehensive solution is, perhaps, inherent to the question.

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Pasquier, Aurélien. "L’influence de la résurgence des questions mémorielles sur la représentation du Japon dans les blockbusters sud-coréens : analyse de la répétition de l’Histoire dans « Fantôme » (1999), « 2009 Lost Memories » (2002) et « Péninsule » (2006)." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3024.

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Ce travail explore la figure de la répétition de l’Histoire entre la Corée (du Sud) et le Japon dans plusieurs blockbusters sud-coréens depuis 1998. Les années 1990 qui devaient voir la désintégration de l’État-nation sont celles qui marquent le retour des « nationalismes ethniques ». Ce retour des nationalismes qui suit la fin de l’affrontement des deux blocs se manifeste par une résurgence des questions mémorielles entre la Corée du Sud et le Japon. Dans notre première partie, nous analysons comment les problèmes liés à la colonisation qui ressurgissent dès le début des années 1990 transforment le Japon en nouvel « ennemi national » de la Corée du Sud, au moment où les relations entre les deux pays se développent et que la consommation des produits culturels de l’autre est sans précédent. La réaffirmation de l’État dans certains secteurs qui accompagne le nationalisme sud-coréen des années 1990 se concrétise par la mise en place de politiques en faveur du développement de l’industrie cinématographique nationale. L’alliance de l’État et de plusieurs chaebol (conglomérats sud-coréens) permet à l’industrie cinématographique sud-coréenne de redevenir populaire grâce à la production de blockbusters sud-coréens. Après avoir mis en évidence la proximité existante entre les superproductions hollywoodiennes, chinoises, argentines et les superproductions sud-coréennes, nous établissons l’existence de ce que nous nommons une « Aura nationale » au centre de la consommation de ces films et qui permet de les considérer comme des films nationaux, car malgré son caractère fictif, la nation a une réalité effective sur les populations des États-nations. Ayant mis en évidence que les blockbusters sud-coréens qui mettent en scène l’histoire nationale sont devenus le miroir du spectacle national et nous consacrons notre dernière partie à la représentation de la répétition de l’Histoire dans les trois films au centre de notre problématique. L’analyse de ces trois superproductions nous permet de comprendre que la lutte pour défendre l’histoire nationale dans la résurgence des questions mémorielles s’inscrit, à l’image de Louis Bonaparte décrit par Karl Marx, dans les luttes passées pour la défense de la souveraineté nationale
This work explores the pattern of the repetition of the history between (South) Korea and Japan in several South Korean blockbusters since 1998. The 1990s, which was prophetised to mean the disintegration of the nation-state, marked the return of "ethnic nationalisms". The comeback of nationalisms that follows the end of the confrontation of the two blocs is manifested in the case of South Korea and Japan by a resurgence of memorial issues between the two countries. In the first part, we analyze how the issues from the colonial period that reappeared in the early 1990s transformed Japan into the new "national enemy" of South Korea at a time when relations between the two countries are developing and the consumption of cultural goods producted by the other side is unprecedented. The reaffirmation of the state in certain sectors that accompanies the South Korean nationalism of the 1990s is realized, among other things, by the establishment of policies in favor for the development of the national film industry. The alliance of the state and several chaebol (South Korean family conglomerates) allows the South Korean film industry to regain popularity through the production of South Korean blockbusters. After brought to light the proximity between Hollywood, Chinese, Argentinean blockbusters and South Korean blockbusters, we establish the existence of what we call a "national aura" at the center of the consumption of these films and which makes it possible to consider them as national films, for in spite of its fictitious character, the nation has real effects on the populations of the nation-states. The South Korean blockbusters staging the national history have become the mirror of the national spectacle and we devote our last part to the representation of the repetition of history in the three films at the center of our problematic. The analysis of the films allows us to understand that the struggle to defend national history in the resurgence of memorial issues is staged, like Louis Bonaparte described by Karl Marx, in the past struggles for the defense of sovereignty National level

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Theodoropoulou, Evgenia. "L'"Internationale situationniste" : un projet d'art total." Paris 1, 2008. http://www.theses.fr/2008PA010521.

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Cette thèse propose une étude de 1'« Internationale situationniste» et de son histoire, en tant que projet artistique et mouvement d'avant-garde. Nous analysons ce projet comme un projet d'« art total », et tentons l'élucidation de ses dimensions, à la fois esthétique et politique, de ses manifestations sensibles et conceptuelles. Deux perspectives principales sont adoptées. La première, historique, retrace tout d’abord les parcours de Guy Debord et Asger Jorn, jusqu’au moment de la fondation de l’ « Internationale situationniste » en juillet 1957. Nous considérons comme point de départ de cette histoire, le surréalisme, comme principale source d’inspiration idéologique et poétique de ces derniers. Le mouvement Cobra et le Lettrisme d'Isidore Isou sont étudiés comme phases préliminaires durant lesquelles une grande partie des pratiques et des concepts situationnistes commencent à être élaborés. La deuxième perspective adoptée est celle des œuvres et des concepts. Nous replaçons l'I. S. Dans le contexte artistique des années soixante, et tentons ainsi de contribuer à la réflexion sur le sens et l'avenir du concept d'« avant-garde »

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Dubay, Chelsie M. "Handling Authenticity: A Discourse Analysis of Interviews with Signs-following Preachers." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2455.

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The National Geographic Channel’s miniseries “Snake Salvation” resurrected a vested interest with the heavily documented practices of signs-following believers in central Appalachia. The current body of scholarship surrounding these congregations focuses mostly on oral history narratives and explanations of religious fundamentalism; a critical analysis of the discourse shared by these congregation members is noticeably absent. This thesis explores selected interviews with George Hensley, Andrew Hamblin, Jamie Coots, and Alfred Ball through the interdisciplinary application of discourse analysis paired with social disclosure theory to unveil the underlying struggles with power and personal beliefs expressed by each pastor. The research performed throughout this study spans interviews collected and published from the 1940s to 2014. Through a discourse analysis performed on these interviews coupled with support from sociological and communicative theoretical frameworks, this study looks to highlight struggles with power and authenticity present for signs-following pastors.

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Marcolini, Patrick. "Esthétique et politique du mouvement situationniste : pour une généalogie de ses pratiques et de ses théories (1952-1972)." Nice, 2009. http://www.theses.fr/2009NICE2001.

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Alors que les avant-gardes artistiques de la première moitié du 20e siècle avaient amorcé un rapprochement voire une collaboration avec les mouvements politiques de leur temps, le mouvement situationniste (ici considéré dès sa naissance avec l’Internationale lettriste en 1952 et jusqu’à la dissolution de l’Internationale situationniste en 1972) se caractérise par la fusion achevée de l’esthétique et du politique. Dans cette perspective, notre travail a pour objet de démontrer comment le spectacle, pensé d’abord par les situationnistes dans le cadre d’une critique de la représentation artistique et de la contemplation passive et compensatoire qu’elle induit chez celui qui l’appréhende, s’est finalement révélé être pour eux le paradigme même du rapport des individus aux produits de leur activité en régime capitaliste ; comment la dérive et la psychogéographie, pensées dans le contexte du dépassement de l’art, leur ont aussi servi à contester l’ordre social dominant en procédant à une critique de la vie quotidienne, et à préfigurer la société communiste de l’avenir ; et enfin, comment cette préfiguration utopique a été constamment partagée entre une vision futuriste des perspectives ouvertes par le développement technologique et un romantisme révolutionnaire qui puisait son inspiration dans le passé de l’humanité, dans les sociétés nomades et médiévales
Artistic avant-gardes of the first part of the 20th century had started to bring closer, and for some of them to collaborate to the contemporary political movements, but the situationist movement (which begun in 1952 with the foundation of the Lettrist International, and ended in 1972 with the auto-dissolution of the Situationist International) was characterized by the complete fusion between art and politics. From this viewpoint, our work demonstrates how spectacle, which was initially used by situationists to designate the artistic representation and the passive and compensatory contemplation that accompanies it, proved to be for them the paradigmatic experience of the modern man faced with the products of his activity in the capitalist society. We also demonstrate how dérive and psychogeography, which were initially thought in the context of the supersession of art, were used by situationists as means to protest against the established order, making a critique of everyday life, and to imagine another form of society. Finally, we show how this vision of another society was divided between a futuristic utopia based on the technological development and a revolutionary romanticism inspired by the examples of the nomadic peoples and the medieval societies

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Sabatini, Gerald Andrew. "Graffiti Architecture: Alternative Methodologies for the Appropriation of Space." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1216901954.

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Eldridge, Jeremy. "Investigation of The Home, a Metaphor for Belonging." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5630.

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The written portion of this investigation gathers materials and information that deals with the conception of the family unit and the house that is literally, and metaphorically, utilized in the notion of home. This focus on the structure as a metaphor for home has further reaching implications than the structure itself. Findings show that a Western view of community and belonging is rooted in a place of stability in one's community. The basis for personal growth within that community has a direct impact on an individual's development in it. (Goldburgh, 67) The fractured nature of my experience and emotions tied with the notions of home, are expressed through both A Home Divided and the Chez Moi series photographic series. Within this investigation there are references to the artist's memories and experiences that are in contrast and discord with the traditional concept of acceptance and belonging.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer

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Kinkle, Jeffrey. "Spectacular developments : Guy Debord's parapolitical turn." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/3225/.

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Following the attacks of September 11th, 2001, Guy Debord’s concept of ‘the spectacle’ re-emerged in the work of a variety of theorists as a critical prism through which the attacks and subsequent ‘War on Terror’ could be approached. Debord’s first book on the spectacle (1967) was written in the context of France’s post-war boom; his later reflections, contained in a series of minor works written throughout the seventies and eighties, are heavily influenced by Italy’s ‘Years of Lead’ and a broader geopolitical climate of armed struggle, terrorism, counter-insurgency and espionage. Nearly all post-9/11 invocations of Debord’s concept draw on the version elucidated in Debord’s 1967 book, with its emphasis on commodity fetishism, ideology, and alienation, and fail to engage his later work and its focus on terrorism, secrecy, and conspiracy. Among those that do in fact reference Debord’s later work are several writers whose work could pejoratively be labelled ‘conspiracy theory’. Looking at Debord’s oeuvre as whole, and investigating how it combines a critique of late capitalism in its totality with parapolitcal concerns of ‘systemic clandestinity’, Spectacular Developments: Guy Debord’s Parapolitical Turn provides a bolstered conception of the spectacle that aims to reconfigure the conceptual foundations of this debate. This conception of the spectacle allows one to approach the 9/11 attacks and all that followed in their wake with both a precision and a breadth lacking in these other works, demonstrating the superficiality of readings that make the concept synonymous with the mass media or that attempt to unravel nefarious conspiracies of power. Simultaneously, this approach foregrounds the epistemological and strategic challenges faced by researchers, politicians and activists working in and on the society of the spectacle.

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Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.

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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

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Corcos, Alex. "Guy Debord's Situationism : theory, politics, ethics, protest." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/88598/.

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Guy Debord (1931-1994) was the director of the International situationniste journal and de facto leader of the group of artists, writers, filmmakers and political agitators who went by the same name. This thesis will consider his many articles, signed and unsigned, that he contributed to the journal alongside his films and the theoretical work for which he is best known, La Société du spectacle (1967) in order to analyse and critique his written, filmic and organisational contribution to the group. The notion of ‘Situationism’, one Debord and the Situationists disdained, will be examined in the course of an assessment of the Situationists’ enduring relevance to contemporary debates in thought and politics as well as to the theory and practice of protest. In resistance to attempts to cast the Situationists as Romantic idealists who founded their critique of society upon a notion of unalienated human nature in need of freeing from the fetters of a capitalistic spectacle, it will be argued that the Situationists presented a radical rejection of such notions in elaborating their own conception of the capacities for egalitarian political subjectivation. The first chapter deals with the formative influence of Marx and Marxism on Debord’s La Société du spectacle and Situationist theory more generally. The second chapter examines the Situationist concept of détournement, the diversion or hijacking of pre-existing cultural elements in new works, with particular reference to Debord’s films. A third chapter presents a particular conception of ethics which emerges from both the writings and the organisational practice of the Situationist International before a final chapter assessing the Situationists’ pertinence to twenty-first century emancipatory politics.

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Morales, Bonilla Juan del Cristo. "La Internacional Situacionista: la superación de la sociedad del espectáculo a través de la realización de la poesía." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/275962.

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El objetivo de esta tesis doctoral ha sido el estudio de la Internacional Situacionista desde una perspectiva contemporánea, es decir, no con la intención de entender su proyecto en las condiciones en las que surgió, sino en lo que, todavía, nos puede aportar para los retos políticos y estéticos contemporáneos. Para ello, el trabajo se divide en cuatro partes, en las cuales se desarrollan todos los aspectos más importantes de los situacionistas: -En la primera parte, se intenta describir el concepto de "realización del arte", fundamental para entender el proyecto estético de los situacionistas. Para ello, se estudian los elementos que tomaron tanto del dadaísmo como del surrealismo para producir su propia respuesta a esta pregunta. Entendieron esta idea como la necesidad de ir más allá de los medios artísticos como herramientas para la transformación de la vida cotidiana. -En la segunda parte, se intenta describir el concepto de "realización de la filosofía" como una especie de centro conceptual que resume el aspecto político-filosófico de la Internacional Situacionista. Se hace una reconstrucción de los elementos de la filosofía de Hegel, Karl Korsch, Georg Lukacs, Herbert Marcuse, Ernst Bloch o Socialisme ou Barbarie en relación a la formulación de un marxismo muy poco ortodoxo que, sin embargo, contenía elementos esenciales para la renovación del marxismo. Además, se hace un estudio detallado de las principales ideas-fuerza de los situacionistas: el papel de la alienación, la pregunta por el nuevo sujeto de la historia, la crítica al trabajo asalariado, el concepto de "situación construida", el "juego" o los consejos obreros, entre otros. -En la tercera parte, se hace un estudio de las revueltas sociales inspiradas por ese modo de hacer política inaugurado por los situacionistas, en especial el Mayo del 68 francés y el Otoño caliente italiano. Posteriormente, se investiga la recuperación de las ideas situacionistas en el contexto de una readaptación del capitalismo a las necesidades de libertad y emancipación de las sociedades occidentales. -En la cuarta parte, se intenta hacer un esbozo de las aportaciones que hicieron los situacionistas en el contexto de las necesidades político-filosóficas actuales. Conceptos como los de "malestar" o "anonimato" surgen de las prácticas de los situacionistas, y nos sirven todavía hoy para pensar un mundo que tiene que ser interpretado con nuevas categorías.

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Bunyard, Tom. "A genealogy and critique of Guy Debord's theory of spectacle." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6393/.

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This thesis addresses Guy Debord's theory of spectacle through its primary philosophical and theoretical influences. Through doing so it highlights the importance of his largely overlooked concerns with time and history, and interprets the theory on that basis. The theory of spectacle is shown to be not simply a critique of the mass media, as is often assumed, but rather an account of a relationship with history; or more specifically, an alienated relation to the construction of history. This approach thus offers a means of addressing Debord’s Hegelian Marxism. The thesis connects the latter to Debord’s interests in strategy, chance and play by way of its existential elements, and uses these themes to investigate his own and the Situationist International’s (S.I.) concerns with praxis, political action and organisation. Addressing Debord and the S.I.’s work in this way also highlights the shortcomings of the theory of spectacle. The theory is based upon the separation of an acting subject from his or her own actions, and in viewing capitalist society under this rubric it tends towards replacing Marx's presentation of capital as an antagonistic social relation with an abstract opposition between an alienated consciousness and a homogenised world. Yet whilst the theory itself may be problematic, the conceptions of time, history and subjectivity that inform it may be of greater interest. Drawing attention to Debord's claims that theories should be understood as strategic interventions, and also to the S.I.'s calls for their own supersession, the thesis uses its observations on the nature of Debord's Hegelian Marxism to cast the theory of spectacle as a particular moment within a broader notion of historical agency. It thus contends that Debord's work can be seen to imply a model of collective political will, and offers initial suggestions as to how that interpretation might be developed.

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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.

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Trespeuch-Berthelot, Anna. "Des situationnistes aux situationnisme : genèse, circulation et réception d'une théorie critique en Occident (1948-2009)." Paris 1, 2011. http://www.theses.fr/2011PA010532.

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L'Internationale Situationniste (1957-1972) connaît une postérité importante et protéiforme jusqu' à nos jours. En France comme à l'étranger, les milieux artistiques, politiques et intellectuels se réapproprient ses thèses et ses postures, en les réinterprétant, ce qui donne naissance à autant de « situationnismes ». En 2009 en France, le classement « Trésor national » des archives de son leader Guy Debord scelle un processus de légitimation à l'oeuvre depuis une vingtaine d'années. Cette thèse reprend l'histoire de cette organisation née avant-garde artistique dans les années 1950, mais connue du grand public dans les années 68 en tant que mouvement politique contestataire à bien des égards atypique. L'attention est portée sur l'évolution de sa théorie, glissant de l'utopie vers la critique sociale, et sur ses échanges au sein de réseaux de sociabilité internationaux. L'analyse de sa réception est menée en amont et en aval de son auto dissolution en 1972. Elle s'attache au rôle joue par plusieurs vecteurs: les producteurs eux-mêmes (les situationnistes), leurs héritiers. Directs (les « prosituationnistes »), et les médiateurs du culturel. Différents usages, parfois conflictuels, sont faits de cette théorie et de ces pratiques importées du passé, et introduites dans des débats du temps pressent. Ces circulations dans le temps et dans de nombreux espaces culturels et politiques sont ici décryptées.

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Ivanov, Georgi. "Freedom of Interpretation." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2808.

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The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.

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Gay, Debora [Verfasser]. "Die Vermittlung der italienischen Fachsprache der Kunstgeschichte und der Archäologie / Debora Gay." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/117366307X/34.

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Carvalho, Eurico Albino Gomes Martins. "Guy Debord e as aventuras do sujeito." Doctoral thesis, 2018. https://repositorio-aberto.up.pt/handle/10216/118452.

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Carvalho, Eurico Albino Gomes Martins. "Guy Debord e as aventuras do sujeito." Tese, 2018. https://repositorio-aberto.up.pt/handle/10216/118452.

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Štern, Jan. "Situacionistický pokus o znovuoživení avantgardního projektu - jeho kořeny, cíle a úskalí." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323604.

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This thesis focuses on the work and thoughts of Guy Debord and with him associatedart group called Situationist International. In the begining we focus on the philosophical roots behind the most important of Debord's books - The Society of the Spectacle. In the main part of our thesis we deal with the way in which the situationists elaborated the legacy of the interwar avant- gardes. We put it in the context of the world of art at that time and show what aspects of dadaism and surrealism were crucial for the situationist production. In the end we analyze in a critical way the main reasons of the situationist failure. The most improtant of them is for us their strict refusal of any form of distance.

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Štern, Jan. "Situacionistický pokus o znovuoživení avantgardního projektu - jeho kořeny, cíle a úskalí." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-328804.

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This thesis focuses on the work and thoughts of Guy Debord and with him associated art group called Situationist International. In the begining we focus on the philosophical roots behind the most important of Debord's books - The Society of the Spectacle. In the main part of our thesis we deal with the way in which the situationists elaborated the legacy of the interwar avant-gardes. We put it in the context of the world of art at that time and show what aspects of dadaism and surrealism were crucial for the situationist production. In the end we analyze in a critical way the main reasons of the situationist failure. The most improtant of them is for us their strict refusal of any form of distance.

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Trudel, Alexandre. "Une sagesse qui ne vient jamais : esthétique, politique et personnalité dans l’œuvre de Guy Debord." Thèse, 2010. http://hdl.handle.net/1866/5069.

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Cette thèse se propose de réévaluer l’œuvre de Guy Debord en privilégiant la lecture de ses autoportraits littéraires et cinématographiques. Cette recherche favorise une réception de Debord mettant en lumière l’importance de l’écriture de soi dans l’ensemble de sa production. L’inscription de soi, chez Debord, passe en effet par la création d’une légende. L’introduction démontre comment la trajectoire singulière de Debord témoigne d’un brouillage entre les frontières traditionnelles séparant l’esthétique et le politique. Elle explore les moyens pris par Debord afin de redéfinir le statut de l’artiste et la fonction de l’écriture dans le cadre d’une transformation d’une vie quotidienne. Dans ce cadre, la production artistique se subordonne entièrement au caractère de Debord, une personnalité qui se manifeste d’abord à travers la création d’un Grand style qui lui est propre. En célébrant le primat du vécu sur l’œuvre, la manœuvre de Debord s’inscrit dans la tradition moderniste de l’art. Le chapitre II montre comment Debord souhaita participer à l’entreprise de politisation de l’esthétique qui définit l’action des avant-gardes historiques. On y explique notamment comment l’œuvre de Debord s’est construite à partir des ruines du surréalisme. Pour se distinguer de ses ancêtres, le mouvement situationniste rejeta cependant l’esthétique surréaliste du rêve au profit d’une nouvelle poétique de l’ivresse se basant sur la dérive et sur l’intensification du moi. La dernière section de ce chapitre se consacre à la question de la création d’un mythe moderne, volonté partagée par les deux groupes. La troisième partie de cette thèse traite spécifiquement de la construction mythologique de Debord. Ce chapitre situe le projet mémorialiste de Debord dans la tradition littéraire française de l’écriture du moi. Il explore ensuite l’économie des sources classiques de Debord, en soulignant l’importance chez lui d’une éthique aristocratique issue du Grand siècle, éthique qui met de l’avant la distinction individuelle. Enfin, l’importance de la mentalité baroque est abordée conjointement à la question primordiale de la stratégie et de la manipulation. Le quatrième chapitre aborde la question de l’identification. Quand Debord décide de parler de sa vie, il le fait toujours en employant des éléments qui lui sont extérieurs : des « détournements ». Son « mode d’emploi » des détournements est défini dans la perspective d’un dévoilement de soi. On explore par la suite la question de l’imaginaire politique de Debord, imaginaire qui convoque sans cesse des représentations issues du XIXe siècle (classes dangereuses, conspirateur, bohème). Ce dernier chapitre se termine sur un essai d’interprétation approfondissant l’utilisation répétée de certaines figures criminelles, notamment Lacenaire. On mettra de l’avant la fonction centrale qu’occupent le crime et la transgression dans la sensibilité de Debord.
This thesis offers a critical reappraisal of the work of Guy Debord through a close study of his literary and cinematographic self-portraits. The research offers a reading of Debord that sheds light on the author’s attempts at a “writing of the self”. Such writing, according to Debord, is intimately connected to the creation of a legend. The introduction shows how Debord’s unique trajectory blurs the traditional boundaries that divide aesthetics and politics. It explores the various means through which Debord attempts to redefine the status of the artist and the function of writing through a transformation of everyday life. In this context, artistic production becomes entirely subservient to Debord’s character, to his singular personality that manifests itself through the creation of a “Grand style”. By emphasizing the importance of lived experience over that of the work itself, Debord’s maneuvers are entirely within the modernist tradition. Indeed, chapter II shows how Debord attempts to participate to the politicization of aesthetics, a project that is also central to that of the historical avant-garde. Special emphasis is placed on how Debord’s work was constructed on the ruins of surrealism. To distinguish himself from his immediate predecessors, the Situationist movement substituted the Surrealist infatuation with dream states with a poetics of intoxication based on dérive (urban drifting) and on the intensification of the self. The last section of this chapter explores how both Surrealism and Situationism attempted to create modern forms of myths. Chapter III deals specifically with the mythological construction of Debord’s character. It situates Debord’s late memorialist project in a distinct French tradition of the “writing of the self”. It also explores the economy of Debord’s classical sources, underlying his fascination with the aristocratic ethics of the “Grand Siècle”. Finally, the question of the baroque worldview is analyzed in relation to Debord’s various strategies of manipulation. Chapter IV considers the question of identification. Whenever Debord speaks of his life, he only ever does so by using external elements, through the “détournement” of various literary and popular sources. We look specifically how such “détournements” participated to a complex revealing of the self. We then explore the question of Debord’s political imaginary, which constantly conjures up images from the nineteenth century (the so-called “dangerous classes”, conspirators, bohemians). This last chapter concludes with an interpretative analysis of Debord’s recurring allusions to well-known criminal figures (such as Lacenaire) in his work, in order to explain the preeminent function that crime and transgression play in the author’s sensibility.

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CHEN, Bo-Ting, and 陳柏婷. "On the Merchandisation of Intellectuals: With the Theory of Society of Spectacle of Guy Debord." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/71717954715399299206.

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碩士
淡江大學
法國語文學系碩士班
99
Debord observed sixties society in French and then proposed the concept of spectacle, which constructed a stage to audience for promote certain merchandise. However, as a result of the evolution of capitalism, the goods are not only consumable items, but also immaterialities that include people, things, abstract ideas and intellectuals who are engaged in transfering knowledge and research. That means intellectuals towards to merchandisation. This thesis is composed of three parts. First, I generalize the characters of intellectuals in the 19th and 20th centuries, then with the comparison of the theory of alienation by Karl Marx and separation by Guy Deord, I synthesize the points of view of the merchandisation of intellectuals in the works “Charles Baudelaire, A Lyric Poet in the Era of High Capitalism” and “the Art in the Age of Mechanical Reproduction” of Walter Benjamin by the historical context to explore the possibility of intellectuals as a commodity and its commercialization process. Second, through the conception of merchandise in Henri Lefèbvre’s Critique of Everyday Life, the notion of sign in Jean Baudrillard’s the Consumer Society, and the idea of spectacle in Guy Debord’s the Society of the Spectacle, I attempt to elucidate the role that intellectuals play and their function according to their codes in the consumer society. In the end, fallowing the evoluation of these three Marxist theories, I will try to analyse the influence of the mass media’s manipulation on the merchandisation of intellectuals by citing the idea from Pierre Bourdieu’s On the Television, especially the ratings system. In addition, I will try to find out how a media, a television for instance, use the attraction of popularity as a spectacle to produce the phenomenon of intellectuals’ commercialization, the pundits for example.

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Cuenca, Daniel. "El Norte tampoco existe: First-and-Third-World as show (essays on the epistemology of the spectacle from Guy Debord, Santiago Álvarez, Gregory Nava and Arthur Tuoto, 1965-2016)." Thesis, 2019. https://hdl.handle.net/2144/39516.

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The history of United States – Latin American relations has been dominated by discourses of development since the earliest stages of independent nationhood. In the twentieth century, these discourses found an epistemological anchoring in the geopolitical concepts of First World and Third World well past the Cold War Era, as well as in the related notions of Empire and Neo-Colony in more recent postcolonial studies. As cultural concepts, these binary categories exceed the economic basis to which they claim reference. The dissertation examines this projection beyond the economic foundation as a function of spectacular media and focuses on the degree to which these categories (which regulate crucial aspects of the mutual U.S. – Latin American imagination) may constitute compromised epistemological dogmas firmly governed by the very capitalist status quo that they attempt to counter. In order to develop a theorization of the textual forces at work in the formation of the cultural concepts of First and Third World, this dissertation examines the work of Cuban revolutionary filmmaker Santiago Álvarez in dialogue with an update of Guy Debord’s theories on the spectacle, the dérive, and psychogeography. Together with critical considerations of theories of space-time, modernity and postmodernity, as well as of the nation-state epistemological order, it formulates a reading of the development discourses, called here “demarcational critique.” This model is also put into conversation with a key theoretical work on the topic (John P. Leary’s A Cultural History of Underdevelopment), a fictional film (Gregory Nava’s El Norte), and an experimental montage of crucial meta-reflective value (Arthur Tuoto’s Não Me Fale Sobre Recomeços). Through an exploration that seeks to blur the line between theoretical and fictional texts, this dissertation concludes that development discourses, and their main subsidiary notions of First and Third World, generally studied as purely economic categories, possess a spectacular dimension, and that the analysis of this dimension must involve cultural studies. It further highlights the problematic nature of those notions in relation to a postcolonial project by examining their Eurocentric, moralizing, and racialized nature. Finally, this dissertation proposes and demonstrates an alternative, non-national model for postcolonial discourse.

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Dissertations / Theses on the topic 'Guy debord'

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