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The SAGE Handbook of Frankfurt School Critical Theory expounds the development of critical theory from its founding thinkers to its contemporary formulations in an interdisciplinary setting. It maps the terrain of a critical social theory, expounding its distinctive character vis-a-vis alternative theoretical perspectives, exploring its theoretical foundations and developments, conceptualising its subject matters both past and present, and signalling its possible future in a time of great uncertainty. Taking a distinctively theoretical, interdisciplinary, international and contemporary perspective on the topic, this wide-ranging collection of chapters is arranged thematically over three volumes: Volume I: Key Texts and Contributions to a Critical Theory of Society Volume II: Themes Volume III: Contexts This Handbook is essential reading for scholars and students in the field, showcasing the scholarly rigor, intellectual acuteness and negative force of critical social theory, past and present.

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

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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