Previous Chapter Chapter 78: The Spectacle and the Culture Industry, the Transcendence of Art and the Autonomy of Art: Some Parallels between Theodor Adorno’s and Guy Debord’s Critical Concepts Next Chapter

Anselm Jappe & Donald Nicholson-Smith

In: The SAGE Handbook of Frankfurt School Critical Theory

Chapter 78: The Spectacle and the Culture Industry, the Transcendence of Art and the Autonomy of Art: Some Parallels between Theodor Adorno’s and Guy Debord’s Critical Concepts

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The Spectacle and the Culture Industry, the Transcendence of Art and the Autonomy of Art: Some Parallels between Theodor Adorno’s and Guy Debord’s Critical Concepts
The Spectacle and the Culture Industry, the Transcendence of Art and the Autonomy of Art: Some Parallels between Theodor Adorno's and Guy Debord's Critical Concepts
Anselm Jappe Donald Nicholson-Smith

Our focus will be a comparative analysis of the contributions of Theodor W. Adorno and Guy Debord, author of The Society of the Spectacle (1967) and main theoretician of the Situationists.1 It is about objective parallels, not about direct influence: no book of Adorno’s was translated into French before 1974, by which time Situationist theory had already been worked out; similarly, we can be sure ...

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