Abstract

This paper aims to examine the nature of the situationist concept of spectacle, especially by separating it into its philosophical elements, in order to check the effectiveness, from a systematic point of view, of situationism’s radical critique. In doing so, the main focus of our attention will be Debord’s major theoretical work: Society of the Spectacle. In fact, the concept of spectacle, repeatedly evoked in other writings, has its most far-reaching version in that small but great book, whose first edition was published in 1967.