The Society of the Spectacle (La Société du spectacle) is a work of critical theory by Guy Debord. It was first published in 1967 in France.
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There have been several previous English translations of The Society of the Spectacle. I have gone through them all and have retained whatever seemed already to be adequate. In particular, I have adopted quite a few of Donald Nicholson-Smith’s renderings, though I have diverged from him in many other cases. His translation (Zone Books, 1994) and the earlier one by Fredy Perlman and John Supak (Black and Red, 1977) are both in print, and both can also be found at the Situationist International Online website.
I believe that my translation conveys Debord’s actual meaning more accurately, as well as more clearly and idiomatically, than any of the other versions. I am nevertheless aware that it is far from perfect, and welcome any criticisms or suggestions.
If you find the opening chapters too difficult, you might try starting with Chapter 4 or Chapter 5. As you see how Debord deals with concrete historical events, you may get a better idea of the practical implications of ideas that are presented more abstractly in the other chapters.
The book is not, however, as difficult or abstract as it is reputed to be. It is not an ivory-tower academic or philosophical discourse. It is an effort to clarify the nature of the society in which we find ourselves and the advantages and drawbacks of various methods for changing it. Every single thesis has a direct or indirect bearing on issues that are matters of life and death. Chapter 4, which with remarkable conciseness sums up the lessons of two centuries of revolutionary experience, is simply the most obvious example.
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