From the culture industry to the society of the spectacle: - download pdf or read online

By Kevin Fox Gotham, Daniel A. Krier

Filenote: epub retail
Author note: Harry Dahms (Editor)
ISBN: 9781849505383
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Abstract
Since Karl Marx shaped his thought of capitalism within the 19th century, students have always up-to-date Marxian conception to trap the pervasiveness of commodity family members in sleek society. prompted by means of Georg Lukács and Henri Lefebvre, the participants of the French avant-guard team, the Situationist foreign (1957–1972), built an intransigent critique of purchaser capitalism in accordance with the concept that of the spectacle. within the spectacle, media and buyer society exchange lived adventure, the passive gaze of pictures supplants lively social participation, and new sorts of alienation set off social atomization at a extra summary point than in earlier societies.

We pastime to make theoretical contributions: First, we spotlight the contributions of the Situationist foreign, declaring how they revised the Marxian different types of alienation, commodification, and reification with a purpose to learn the dynamics of 20th century capitalism and to provide those techniques new explanatory strength. moment, we construct a serious idea of shopper capitalism that includes the theoretical assumptions and arguments of the Situationists and the Frankfurt university.

Today, serious concept could make a tremendous contribution to sociology by means of severely studying the plurality of spectacles and their reifying manifestations. additionally, severe theorists can discover how various spectacles connect with each other, how they hook up with varied social associations, and the way spectacles show contradictions and conflicting meanings. A serious conception of spectacle and intake can expose either novelties and discontinuities within the present interval, in addition to continuities within the improvement of globalized purchaser capitalism.

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Read or Download From the culture industry to the society of the spectacle: Critical theory and the situationist international, in No Social Science without Critical Theory (Current Perspectives in Social Theory, Volume 25) PDF

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Extra info for From the culture industry to the society of the spectacle: Critical theory and the situationist international, in No Social Science without Critical Theory (Current Perspectives in Social Theory, Volume 25)

Sample text

La seule chose qui compte, c’est le prix ? Oui. Mais pour certains clients, ce critère ne vient qu’après avoir fait leur choix ! Etc. La croyance est une certitude à laquelle le collectif est attaché et qui l’unit. Jamais remise en question parce qu’elle produit de l’identité, c’est souvent le marché qui se charge de la bousculer, comme dans l’exemple d’IBM qui, dans les années quatre-vingt, était la meilleure firme sur le marché informatique. Cette assurance lui donnait une légitimité pour penser que le marché lui appartenait et que les micro-ordinateurs inventés par ses concurrents n’avaient pas d’avenir.

Ch. Midler, L’auto qui n’existait pas, InterEditions, 2004. 2. D. Toussaint, Renault ou l’Inconscient d’une entreprise, L’Harmattan, 2004. 3. Le Monde, 31 octobre 2006. 40 CULTURE D’ENTREPRISE salariés de juger sans concessions leur entreprise : seuls 47 % en ont une image favorable par rapport à la concurrence. « Il y a en interne une conscience insuffisante des succès de l’entreprise », juge la direction de l’entreprise. C’est peut-être cette exigence couplée à la sensation intime de ne pas « y arriver » (« ça ne marchera jamais ?

Selon E. Schein 1, théoricien reconnu de la culture d’entreprise, celle-ci est « l’ensemble des hypothèses fondamentales qu’un groupe donné a inventé, découvert ou constitué en apprenant à résoudre ses problèmes d’adaptation à son environnement et d’intégration interne. » Comparable à la « personnalité » d’un individu, la culture d’entreprise ressort du talent spécifique de l’entreprise et de son expérience dans le domaine qui est le sien. Chaque culture est unique. Entre les trois marques françaises de voiture (Peugeot, Citroën et Renault), chacun peut percevoir des différences de manières et de style puis de produits.

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