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The game of war : the life and death of Guy Debord / Andrew Hussey.

By: Material type: TextTextPublisher: London : J. Cape, 2001Description: x, 420 pages, 8 unnumbered pages of plates : illustrations ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 022404348X
  • 9780224043489
Subject(s): DDC classification:
  • 303.484092 21
LOC classification:
  • HN440.R3 H87 2001
Online resources: Review: "Since his death in 1994 (when he put a bullet through his heart in his lonely farmhouse) Guy Debord has been hailed as one of the key thinkers of the age. In Britain and the United States, his theories on the 'spectacle' of modern life were simultaneously hailed as deadly truths by underground subversives and accorded the highest academic prestige. In the same way, the Situationist International (SI), a volatile group of artists, revolutionaries, and intellectuals which Debord led through the 1950s and 1960s, is considered to be the most important art movement since Dada and the Surrealists." "This biography is an appraisal of a lone and defiant figure whose story both follows and, at one historic moment in 1968, appears to lead the drift of art and politics in post-war Paris. 'It could almost be believed that I was the only person to have loved Paris, ' Debord said. Then, almost with a shrug, 'But no one has twice raised Paris to revolt.'"--Jacket.Review: "Since his death in 1994 (when he put a bullet through his heart in his lonely farmhouse) Guy Debord has been hailed as one of the key thinkers of the age. In Britain and the United States, his theories on the 'spectacle' of modern life were simultaneously hailed as deadly truths by underground subversives and accorded the highest academic prestige. In the same way, the Situationist International (SI), a volatile group of artists, revolutionaries, and intellectuals which Debord led through the 1950s and 1960s, is considered to be the most important art movement since Dada and the Surrealists." "This biography is an appraisal of a lone and defiant figure whose story both follows and, at one historic moment in 1968, appears to lead the drift of art and politics in post-war Paris. 'It could almost be believed that I was the only person to have loved Paris,' Debord said. Then, almost with a shrug, 'But no one has twice raised Paris to revolt.'"--BOOK JACKET.
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Includes bibliographical references (pages 396-405) and index.

"Since his death in 1994 (when he put a bullet through his heart in his lonely farmhouse) Guy Debord has been hailed as one of the key thinkers of the age. In Britain and the United States, his theories on the 'spectacle' of modern life were simultaneously hailed as deadly truths by underground subversives and accorded the highest academic prestige. In the same way, the Situationist International (SI), a volatile group of artists, revolutionaries, and intellectuals which Debord led through the 1950s and 1960s, is considered to be the most important art movement since Dada and the Surrealists." "This biography is an appraisal of a lone and defiant figure whose story both follows and, at one historic moment in 1968, appears to lead the drift of art and politics in post-war Paris. 'It could almost be believed that I was the only person to have loved Paris, ' Debord said. Then, almost with a shrug, 'But no one has twice raised Paris to revolt.'"--Jacket.

"Since his death in 1994 (when he put a bullet through his heart in his lonely farmhouse) Guy Debord has been hailed as one of the key thinkers of the age. In Britain and the United States, his theories on the 'spectacle' of modern life were simultaneously hailed as deadly truths by underground subversives and accorded the highest academic prestige. In the same way, the Situationist International (SI), a volatile group of artists, revolutionaries, and intellectuals which Debord led through the 1950s and 1960s, is considered to be the most important art movement since Dada and the Surrealists." "This biography is an appraisal of a lone and defiant figure whose story both follows and, at one historic moment in 1968, appears to lead the drift of art and politics in post-war Paris. 'It could almost be believed that I was the only person to have loved Paris,' Debord said. Then, almost with a shrug, 'But no one has twice raised Paris to revolt.'"--BOOK JACKET.

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