The End Of The Art, The Tedium And Misery Of Everyday Life: Guy Debord’s Work: An Essential Place From The Critical Point Of View Of Our Times

Authors

  • Eurico Carvalho Faculdade de Letras da Universidade do Porto

DOI:

https://doi.org/10.18012/arf.2016.18343

Keywords:

art, capitalism, Guy Debord, modernity, revolution

Abstract

Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics (the hysterical attitude of fascists), but also the politicization of aesthetics (Stalinism’s totalitarian obsession). For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of this paper.

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References

BAUDELAIRE, Charles (1863) — O Pintor da Vida Moderna. 5.ª edição. Trad. de Teresa Cruz. Lisboa: Vega, 2009.

DEBORD, Guy (2006) — Œuvres. Édition établie et annotée par Jean Louis Rançon en collaboration avec Alice Debord. Préface et introduction de Vincent Kaufmann. Paris: Gallimard.

HABERMAS, Jürgen (19852) — O Discurso Filosófico da Modernidade. Trad. de Ana Maria Bernardo et al. Revisão científica de António Marques. Lisboa: Publicações Dom Quixote, 1990.

LYOTARD, Jean François (1979) — A Condição Pós moderna. 2.ª edição. Trad. de José Navarro (revista e apresentada por José Bragança de Miranda). Lisboa: Gradiva, 1989.

RANCIÈRE, Jacques (2000) — Le Partage du Sensible: Esthétique et Politique. Paris: La Fabrique éditions.

Published

2014-03-11

How to Cite

Carvalho, E. (2014). The End Of The Art, The Tedium And Misery Of Everyday Life: Guy Debord’s Work: An Essential Place From The Critical Point Of View Of Our Times. Aufklärung, 1(1), p.123–130. https://doi.org/10.18012/arf.2016.18343