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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.

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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Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Daniel Dalmoro.pdf: 937799 bytes, checksum: 2de885b42cac7d5bee7abccea95884db (MD5) Previous issue date: 2013-10-17 / 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

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. <br /><br /> 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.

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. <br /><br /> 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.

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

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

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.