Debord, Time And Spectacle: Hegelian Marxism And Situationist Theory

Description

In Debord, Time and Spectacle Tom Bunyard provides a detailed philosophical study of the theoretical work of Guy Debord and the Situationist International. Drawing on evidence from Debord’s books, films, letters and notes, Bunyard reconstructs the Hegelian and Marxian ideas that support Debord’s central concept of ‘spectacle’. This affords a reconsideration of Debord’s theoretical claims, and a reinterpretation of his broader work that foregrounds his concerns with history and lived time. By bringing Situationist theory into dialogue with recent reinterpretations of Marx, this book also identifies problems in Debord’s critique of capitalism. It argues, however, that the conceptions of temporality and spectacle that support that critique amount to a philosophy of praxis that remains relevant today. ‎Contents......Page 6 ‎Acknowledgements......Page 8 ‎List of Illustrations......Page 11 ‎Introduction. Radioactivity......Page 14 ‎Part 1. Subjectivity, Temporality and Spectacle......Page 28 ‎Chapter 1. Interpreting the Theory of Spectacle......Page 30 ‎Chapter 2. Five Aspects of Debord’s Theoretical Work......Page 52 ‎Part 2. The New Beauty 1951–62......Page 92 ‎Chapter 3. ‘We are Artists Insofar as We are No Longer Artists’......Page 94 ‎Chapter 4. The Everyday and the Absolute......Page 121 ‎Chapter 5. ‘Avant-Gardes Have Only One Time’......Page 154 ‎Part 3. ‘Everything That Had Formerly been Absolute Became Historical’......Page 166 ‎Chapter 6. Debord and French Hegelianism......Page 168 ‎Chapter 7. Subjects and Objects: Debord, Lukács and the Young Marx......Page 204 ‎Chapter 8. Life and Non-life......Page 232 ‎Part 4. In Pursuit of the Northwest Passage 1963–73......Page 252 ‎Chapter 9. Never Work!......Page 254 ‎Chapter 10. ‘I am Nothing and I Should be Everything’......Page 283 ‎Chapter 11. The ‘Fetishism of Capital’......Page 319 ‎Part 5. The Integrated Spectacle 1974–94......Page 344 ‎Chapter 12. Moving with History’s ‘Bad Side’......Page 346 ‎Chapter 13. Strategy and Tactics in the Integrated Spectacle......Page 367 ‎Chapter 14. The Knight, Death and the Devil......Page 403 ‎Bibliography......Page 414 ‎Index......Page 435