Second part of the paper delivered at the conference "The Situationist International to the test of time", held in 2008 at the University of Naples "Federico II". The first part was posted on March 3.
Pasquale Stanziale
Spectra situation (2)
SOCIETY 'OF THE SHOW: PROPOSAL FOR A Détournement
2.1
Debord's Society of the Spectacle is unquestionably a point of no return in a critical social theory, critical in the sense che sarà sempre della Sds che occorrerà tener conto per comprendere correttamente le strategie di autoriproduzione e accumulazione capitalistiche. Proposte di analisi come quelle contenute nei concetti di accesso rifkiniano, di new economy, di alienazione biotecnologica, di economia finzionale, viste in una loro collocazione critica, non possono non essere ricondotte alle concezioni di fondo della Sds, unitamente alle analisi di R. Vaneigem e degli altri situazionisti ortodossi e non. La Sds corrisponde, come abbiamo già detto, ad una fase storica di ristrutturazione del capitale - nella seconda metà del ‘900 - che consolida talune strategie di dominio nell’ambito produttivo e dà origine a nuove direttrici di consumo relative al passaggio to simulate having and Baudrillard. The SDS reflects this with a critical awareness of undeniable.
2.1.a-You can also verify that there is a correspondence between Debord's theoretical elements and some significant areas of contemporary analytical. In particular, the distinction between Debord's society where the show is focused, widespread and integrated (SDS and Commentaries of 1988) is, in many ways being enshrined with the phases of the development of consumer capitalism examined by Lipovetsky (2007) namely: 1) the phase of the rise of mass markets, 2) the phase of the historical cycle that began in the '50s, characterized by mass-consumer society, and draws extensively the diffuse spectacle Debord, 3) the last stage that is beyond the standing and is characterized by emotional and consumption is relevant to the post-Fordist economic organization and turboconsumerismo marking the happy fate of 'homo consumericus. This third phase corresponds to that for many aspects of the show settled in its ultimate meaning (G. Debord 1988), when the spectacle "was mixed with every situation. ... Because the experience of carrying out the wishes of unrestrained commercial shows why quickly and without exception, that the becoming-world of forgery was (is) becoming a falsification of the world. " (G. Debord, cited).
2.2
The reading then you can bring today's SDS can also be played through a détournement, that is:
1) critical analysis from theoretical debate related to its labor movement in the late '60s;
2) take note of a process embracing critical issues such as the time (of which we have already occupied), the land and culture;
3) land so prophetic scope of the phenomenology of the society of the spectacle, the point of reference for criticism of capitalism caught in its historical development .
Having said that Debord's work is also seen in the context of various theoretical formulations of the variable own team situation, there is are going to be able to read, along the characteristic structure divided in 221 theses notes collected in nine chapters.
2.3 The definition of a historical and philosophical base from which certainly comes from a long chapter 4. It begins by identifying the historical horizon as an area just for the construction of a perspective of policy analysis and action, and ends by stating that "any revolutionary theory is the enemy of all revolutionary ideology" a fundamental concept that this will have an important role in the secondary veritable Scission of the SI. Moving from Hegel and Marx, Debord shows the shortcomings of their socialism and anarchism. He provides a critique of the Stalinist bureaucracy, but also of the illusions neoleniniste and inspiration of Trotsky Fourth International (Thesis 113), saying instead the validity of workers' councils as the highest reality of the labor movement (Thesis 118). The path to overflow is affected here, as many have already written, the analysis of the first Lukacs, Korsch, Gramsci and Pannakoek, together with the ideas brought forward in those years by Socialisme ou Barbarie and Arguments.
2.4
In Chapters 5 and 6, the relationship between time and history is examined by Debord in its development, proceeding from a cyclical time without conflicts to an irreversible time of the Middle Ages. With the rise of the bourgeoisie says historical time, also fatal, but whose use is prohibited by the bourgeoisie to the company owner (Thesis 144). In this irreversible time is the time corresponding commodity-production, in turn, pseudociclico at the time of consumption. This is the time to an era without its spectacular celebration (Thesis 154), a dimension where the show is to act as "false consciousness of time" (Thesis 158).
2.5
Debord Chapter 7 shows how the space will become the scene of capitalism and how the organization of territory, so instrumental in altering the relationship between town and country, aims at achieving greater control of people and thus their isolation. A revolution che tenderebbe ad affermarsi nell’ambito dell’urbanismo viene individuata da Debord in un ritorno ai bisogni ed alle condizioni dei lavoratori fatte proprie dai Consigli.
2.6
Nel capitolo 8 il consumo spettacolare viene da Debord denunciato come consumo della cultura-merce anche nei suoi correlati sociologici di comodo. "La cultura che viene ad affermarsi va negata unitamente al linguaggio che la veicola" mentre “il plagio necessario” e il “détournement” vengono a costituire prospettive di recupero creativo del senso.
2.7
L’ultimo breve capitolo tratta in nove tesi del trionfo dell’ideologia (qui, come in tutta la Sds, il termine ideologia va inteso in senso rigorosamente marxiano) nella sua materializzazione che è lo spettacolo. La falsa coscienza, in tal modo, "celebra il proprio trionfo che è il trionfo di una base materiale relativa ad una verità capovolta." La lotta è dunque per un’effettiva verità e per l’emancipazione da questa base materiale.
Pasquale Stanziale
Spectra situation (2)
SOCIETY 'OF THE SHOW: PROPOSAL FOR A Détournement
2.1
Debord's Society of the Spectacle is unquestionably a point of no return in a critical social theory, critical in the sense che sarà sempre della Sds che occorrerà tener conto per comprendere correttamente le strategie di autoriproduzione e accumulazione capitalistiche. Proposte di analisi come quelle contenute nei concetti di accesso rifkiniano, di new economy, di alienazione biotecnologica, di economia finzionale, viste in una loro collocazione critica, non possono non essere ricondotte alle concezioni di fondo della Sds, unitamente alle analisi di R. Vaneigem e degli altri situazionisti ortodossi e non. La Sds corrisponde, come abbiamo già detto, ad una fase storica di ristrutturazione del capitale - nella seconda metà del ‘900 - che consolida talune strategie di dominio nell’ambito produttivo e dà origine a nuove direttrici di consumo relative al passaggio to simulate having and Baudrillard. The SDS reflects this with a critical awareness of undeniable.
2.1.a-You can also verify that there is a correspondence between Debord's theoretical elements and some significant areas of contemporary analytical. In particular, the distinction between Debord's society where the show is focused, widespread and integrated (SDS and Commentaries of 1988) is, in many ways being enshrined with the phases of the development of consumer capitalism examined by Lipovetsky (2007) namely: 1) the phase of the rise of mass markets, 2) the phase of the historical cycle that began in the '50s, characterized by mass-consumer society, and draws extensively the diffuse spectacle Debord, 3) the last stage that is beyond the standing and is characterized by emotional and consumption is relevant to the post-Fordist economic organization and turboconsumerismo marking the happy fate of 'homo consumericus. This third phase corresponds to that for many aspects of the show settled in its ultimate meaning (G. Debord 1988), when the spectacle "was mixed with every situation. ... Because the experience of carrying out the wishes of unrestrained commercial shows why quickly and without exception, that the becoming-world of forgery was (is) becoming a falsification of the world. " (G. Debord, cited).
2.2
The reading then you can bring today's SDS can also be played through a détournement, that is:
1) critical analysis from theoretical debate related to its labor movement in the late '60s;
2) take note of a process embracing critical issues such as the time (of which we have already occupied), the land and culture;
3) land so prophetic scope of the phenomenology of the society of the spectacle, the point of reference for criticism of capitalism caught in its historical development .
Having said that Debord's work is also seen in the context of various theoretical formulations of the variable own team situation, there is are going to be able to read, along the characteristic structure divided in 221 theses notes collected in nine chapters.
2.3 The definition of a historical and philosophical base from which certainly comes from a long chapter 4. It begins by identifying the historical horizon as an area just for the construction of a perspective of policy analysis and action, and ends by stating that "any revolutionary theory is the enemy of all revolutionary ideology" a fundamental concept that this will have an important role in the secondary veritable Scission of the SI. Moving from Hegel and Marx, Debord shows the shortcomings of their socialism and anarchism. He provides a critique of the Stalinist bureaucracy, but also of the illusions neoleniniste and inspiration of Trotsky Fourth International (Thesis 113), saying instead the validity of workers' councils as the highest reality of the labor movement (Thesis 118). The path to overflow is affected here, as many have already written, the analysis of the first Lukacs, Korsch, Gramsci and Pannakoek, together with the ideas brought forward in those years by Socialisme ou Barbarie and Arguments.
2.4
In Chapters 5 and 6, the relationship between time and history is examined by Debord in its development, proceeding from a cyclical time without conflicts to an irreversible time of the Middle Ages. With the rise of the bourgeoisie says historical time, also fatal, but whose use is prohibited by the bourgeoisie to the company owner (Thesis 144). In this irreversible time is the time corresponding commodity-production, in turn, pseudociclico at the time of consumption. This is the time to an era without its spectacular celebration (Thesis 154), a dimension where the show is to act as "false consciousness of time" (Thesis 158).
2.5
Debord Chapter 7 shows how the space will become the scene of capitalism and how the organization of territory, so instrumental in altering the relationship between town and country, aims at achieving greater control of people and thus their isolation. A revolution che tenderebbe ad affermarsi nell’ambito dell’urbanismo viene individuata da Debord in un ritorno ai bisogni ed alle condizioni dei lavoratori fatte proprie dai Consigli.
2.6
Nel capitolo 8 il consumo spettacolare viene da Debord denunciato come consumo della cultura-merce anche nei suoi correlati sociologici di comodo. "La cultura che viene ad affermarsi va negata unitamente al linguaggio che la veicola" mentre “il plagio necessario” e il “détournement” vengono a costituire prospettive di recupero creativo del senso.
2.7
L’ultimo breve capitolo tratta in nove tesi del trionfo dell’ideologia (qui, come in tutta la Sds, il termine ideologia va inteso in senso rigorosamente marxiano) nella sua materializzazione che è lo spettacolo. La falsa coscienza, in tal modo, "celebra il proprio trionfo che è il trionfo di una base materiale relativa ad una verità capovolta." La lotta è dunque per un’effettiva verità e per l’emancipazione da questa base materiale.
2.8
Questo tragitto del détournement si conclude aprendosi e ritornando ai primi tre capitoli che disegnano tesi il cui valore è continuamente avvalorato dal riscontro periodico con la realtà del capitalismo contemporaneo. Le 72 tesi dei primi tre capitoli tracciano un percorso organico, partendo dal concetto di separazione - che riprende in una prospettiva innovativa both the concept of alienation (in the line Hegel, Feuerbach, Marx) that the concept of division (of Lukacs's Theory of the Novel 1920) - to arrive at the concept of false unity which informs it all the spectacular reality. The separation is accomplished by Debord (with reference also to the excess of metaphysics Lukacs) seems to complete the process of division between the subject and itself originated from the rupture of unity in the greek world and now being carried out in capitalism . The separation is thus one of the experienced and its representation, that is the representation tends to accumulate and predominate on the experience that, in capitalist society, is increasingly to marginalizing and to become, in truth, only when a false representation that we know all-encompassing.
2.8.a-This is where you mention some convergence between the situations with some psychoanalytic theories (despite Debord) developed in France in those years. Convergence, for example, is the refusal of Lacan and Debord of Maoism - Maoist Lacan to the context: "You want a boss, you will have!" - E. Roudinesco 1995). We see, then, that Lacan uses the term derives from the English translation of the word Trieb as drive means that drive, instinct. Freud had spoken with regard to the economy-the psyche of a hallucinatory satisfaction, which tends to take the place of fulfillment of desire: the show, according to Debord, is, more and more organized (a measure of marketing), to replace a real possibility of living with ghostly images. And Lacan (1974) adds that the subjective reality is supported and replaced by the ghost that sustains a level of desire (Lacan 1974).
2.8.b-It seems appropriate at this point, a reference to the Lacanian theory to which the subject (Es), naturally oriented towards the object of desire, he is forced to turn to substitutes in order to achieve the object of desire I imagined her a second processuality in which those who run the game is the Order Other symbolic or large. This theory is certainly a strong theoretical contribution. In this subjective structure operating records of the real, imaginary, and symbolic including the latter, the economy and hegemony, an Order which clearly contributes to the establishment by providing identifications of the ego, gadget, fiction, in a speech acts, largely through the spectacular Debord. The subject, then, must necessarily be alienated if he wants to be accepted by society, since this requires "fidelity ever changing, constantly disappointing a number of accessions in fake products" (G. Debord 1997) thereby removing their authentic needs and desires. In this context, the unconscious is no longer part of a topic in which he is inside the subject, but is outsourced by Lacan as a major "oh, sure has a mortgage structure, but which has a significant role regarding the relationship between the real desiring (without end) of the subject el ' materialized ideology (G. Debord 2002) that the capitalist economy through the show, constantly engulfs the imagination.
Stanziale Pasquale was born in Casciano di Sessa Aurunca in the province of Caserta, a graduate in Philosophy, Professor of History and Philosophy in high schools, and collaborates with universities Training Agencies. He has extensive publications in the field of Humanities. Contributed to the magazine for the part socioantropologica aurunca Civilization. Among his publications Certifications and anomalies (Caserta 1999), research become a classic study of local maps of alienation (Rome 1995), Political Philosophy essay, the translation of best-sellers the Society of the Spectacle G. Debord (Viterbo 2002). He also edited The Handbook etiquette for use by younger generations of R. Vaneigem (Viterbo 2004) and an anthology of authors Situationists (Viterbo 1998). Among recent publications Culture and Society in the South (Caserta 2007).
Questo tragitto del détournement si conclude aprendosi e ritornando ai primi tre capitoli che disegnano tesi il cui valore è continuamente avvalorato dal riscontro periodico con la realtà del capitalismo contemporaneo. Le 72 tesi dei primi tre capitoli tracciano un percorso organico, partendo dal concetto di separazione - che riprende in una prospettiva innovativa both the concept of alienation (in the line Hegel, Feuerbach, Marx) that the concept of division (of Lukacs's Theory of the Novel 1920) - to arrive at the concept of false unity which informs it all the spectacular reality. The separation is accomplished by Debord (with reference also to the excess of metaphysics Lukacs) seems to complete the process of division between the subject and itself originated from the rupture of unity in the greek world and now being carried out in capitalism . The separation is thus one of the experienced and its representation, that is the representation tends to accumulate and predominate on the experience that, in capitalist society, is increasingly to marginalizing and to become, in truth, only when a false representation that we know all-encompassing.
2.8.a-This is where you mention some convergence between the situations with some psychoanalytic theories (despite Debord) developed in France in those years. Convergence, for example, is the refusal of Lacan and Debord of Maoism - Maoist Lacan to the context: "You want a boss, you will have!" - E. Roudinesco 1995). We see, then, that Lacan uses the term derives from the English translation of the word Trieb as drive means that drive, instinct. Freud had spoken with regard to the economy-the psyche of a hallucinatory satisfaction, which tends to take the place of fulfillment of desire: the show, according to Debord, is, more and more organized (a measure of marketing), to replace a real possibility of living with ghostly images. And Lacan (1974) adds that the subjective reality is supported and replaced by the ghost that sustains a level of desire (Lacan 1974).
2.8.b-It seems appropriate at this point, a reference to the Lacanian theory to which the subject (Es), naturally oriented towards the object of desire, he is forced to turn to substitutes in order to achieve the object of desire I imagined her a second processuality in which those who run the game is the Order Other symbolic or large. This theory is certainly a strong theoretical contribution. In this subjective structure operating records of the real, imaginary, and symbolic including the latter, the economy and hegemony, an Order which clearly contributes to the establishment by providing identifications of the ego, gadget, fiction, in a speech acts, largely through the spectacular Debord. The subject, then, must necessarily be alienated if he wants to be accepted by society, since this requires "fidelity ever changing, constantly disappointing a number of accessions in fake products" (G. Debord 1997) thereby removing their authentic needs and desires. In this context, the unconscious is no longer part of a topic in which he is inside the subject, but is outsourced by Lacan as a major "oh, sure has a mortgage structure, but which has a significant role regarding the relationship between the real desiring (without end) of the subject el ' materialized ideology (G. Debord 2002) that the capitalist economy through the show, constantly engulfs the imagination.
2.9
Debord is the proper domain of a company is performing, in which "most tend to confirm the appearance, the more the man is separated from life" (G. Debord 2002). The show then becomes a social relationship will be shown in his being all-encompassing and pervasive capitale. Sono presenti in questi assunti del primo capitolo rielaborazioni tratte dal giovane Marx, quando scrive dell’alienazione nella società borghese, mentre il secondo capitolo riprende il concetto di feticismo della merce sulla linea Marx-Lukàcs.
Debord afferma che il predominio dello spettacolo si attua attraverso l’occupazione della vita sociale da parte della merce. A ciò corrisponde la vittoria del valore di scambio sul valore d’uso in una società che sancisce la vittoria dell’economia autonoma. Ma è nel rapporto tra economia e società che Debord individua una possibile forma di riscatto là dove, infine, l’economia finirebbe col dipendere pur sempre dalla società e dalla lotta di classe. To paraphrase Freud, Debord writes that "where there was such statement must be the ego" (G. Debord, cited) says that "the desire of consciousness" and "the conscience of the desire to" form a single project aimed the abolition of classes.
This step, generally quite ignored, represents an important point because, despite Debord's aversion to the human sciences in general, again reflects a critically important core of psychoanalysis of Lacan. These, in effect showing how the spaltung, splitting, is constitutive of the human being and represents a condition in which the subject has to go to alienate - and be recognized - To / from the 'symbolic order. We are here in terms of structuring a sale (P. Stanziale 1995).
Debord is the proper domain of a company is performing, in which "most tend to confirm the appearance, the more the man is separated from life" (G. Debord 2002). The show then becomes a social relationship will be shown in his being all-encompassing and pervasive capitale. Sono presenti in questi assunti del primo capitolo rielaborazioni tratte dal giovane Marx, quando scrive dell’alienazione nella società borghese, mentre il secondo capitolo riprende il concetto di feticismo della merce sulla linea Marx-Lukàcs.
Debord afferma che il predominio dello spettacolo si attua attraverso l’occupazione della vita sociale da parte della merce. A ciò corrisponde la vittoria del valore di scambio sul valore d’uso in una società che sancisce la vittoria dell’economia autonoma. Ma è nel rapporto tra economia e società che Debord individua una possibile forma di riscatto là dove, infine, l’economia finirebbe col dipendere pur sempre dalla società e dalla lotta di classe. To paraphrase Freud, Debord writes that "where there was such statement must be the ego" (G. Debord, cited) says that "the desire of consciousness" and "the conscience of the desire to" form a single project aimed the abolition of classes.
This step, generally quite ignored, represents an important point because, despite Debord's aversion to the human sciences in general, again reflects a critically important core of psychoanalysis of Lacan. These, in effect showing how the spaltung, splitting, is constitutive of the human being and represents a condition in which the subject has to go to alienate - and be recognized - To / from the 'symbolic order. We are here in terms of structuring a sale (P. Stanziale 1995).
-2.9.a is inevitable at this point, to address an important theoretical issue concerns that indissoluble relationship between economics, entertainment and imagination. Borromean knot that is becoming a core dialectical structure able to articulate in an evolving insights Debord. This basically translates the meaning and structure of the signifier of the goods or the image-commodity, the commodity-fetish or fascination, illusion, exchange, consumption. This is in a phase of structural evolution of the economy towards a clear and established its autonomy may be well correlated with the two Marxist abstractions / disposals (A. Jappe 1999) or the state and money on becoming a member of a community and access to employment. The hypostatization of these abstractions / alienation is real in the show to be understood as an ideology materialized (G. Debord 2002). These references which discount through Debord, instances of the young Marx are reaffirmed, as rightly pointed out Jappe (cit) - in the capital which locates in the abstraction, corresponding to the commodity-form, what drives the modern economy.
2.9.b How-note, then, M. Pezzella (1996) the economic power immediately brings to mind an imaginary inseparabile dal desiderio, un immaginario che va oltre il valore d’uso realizzando il valore di scambio. Si tratta qui di individuare “ l’economia nella sua cultura” (W. Benjamin 1986 in Pezzella cit.) che mostra come economia e immaginario siano termini legati da un indissolubile legame funzionale nell’ambito di quella economia libidinale di cui parla Lyotard (1978). Per quanto riguarda lo spettacolo esso non è una sovrastruttura - nel tradizionale linguaggio marxista - e neanche una simulazione (J. Baudrillard 1979). Esso, nel contesto della Sds, è allo stesso tempo: una figurazione dell'immaginario, una tecnica di produzione e un motore della circolazione del capitale.
2.9.c- Versante di articolazione of this structure, and an important constituent of it is desire. Desire is a key theme in the human sciences in France since the 30s as a result of the famous lectures of A. Kojeve on Hegel's Phenomenology of Spirit. "It is the desire (conscious) of a being to be to be like this and I reveal it as such ... .. the ego of Desire is an emptiness that receives a real positive content only denies that the action satisfies the desire .." ( A. Kojeve 1947). It is theorized that the desire among many, G. Deleuze, F. Guattari and Lacan writes that "The exploitation of the desire is the greatest invention of the discourse of the capitalist, because dopotutto bisogna indicarlo col proprio nome. Devo dire che è un marchingegno maledettamente riuscito... "(1974).
2.9.d- Anche nei situazionisti il desiderio ha una ruolo centrale sia in Debord che in Vaneigem il quale struttura una vera e propria antropologia del desiderio (P. Stanziale 2004) risvolto inevitabile di una soggettività radicale (R. Vaneigem 1996 2004).
2.10
Il terzo capitolo probabilmente è il più francofortese. Nella sua unità fittizia, lo spettacolo maschera le contraddizioni e le lacerazioni della società e dei poteri che la dominano. La banalizzazione, la vedette specializzata nel vissuto apparante, le finte lotte spettacolari: tutto ciò rappresenta un artificiale che traduce spectacular in the falsification of social life. A show that presents itself on the global stage as a concentrate or diffuse depending on the poverty that denies or maintain.
(continued)
2.9.b How-note, then, M. Pezzella (1996) the economic power immediately brings to mind an imaginary inseparabile dal desiderio, un immaginario che va oltre il valore d’uso realizzando il valore di scambio. Si tratta qui di individuare “ l’economia nella sua cultura” (W. Benjamin 1986 in Pezzella cit.) che mostra come economia e immaginario siano termini legati da un indissolubile legame funzionale nell’ambito di quella economia libidinale di cui parla Lyotard (1978). Per quanto riguarda lo spettacolo esso non è una sovrastruttura - nel tradizionale linguaggio marxista - e neanche una simulazione (J. Baudrillard 1979). Esso, nel contesto della Sds, è allo stesso tempo: una figurazione dell'immaginario, una tecnica di produzione e un motore della circolazione del capitale.
2.9.c- Versante di articolazione of this structure, and an important constituent of it is desire. Desire is a key theme in the human sciences in France since the 30s as a result of the famous lectures of A. Kojeve on Hegel's Phenomenology of Spirit. "It is the desire (conscious) of a being to be to be like this and I reveal it as such ... .. the ego of Desire is an emptiness that receives a real positive content only denies that the action satisfies the desire .." ( A. Kojeve 1947). It is theorized that the desire among many, G. Deleuze, F. Guattari and Lacan writes that "The exploitation of the desire is the greatest invention of the discourse of the capitalist, because dopotutto bisogna indicarlo col proprio nome. Devo dire che è un marchingegno maledettamente riuscito... "(1974).
2.9.d- Anche nei situazionisti il desiderio ha una ruolo centrale sia in Debord che in Vaneigem il quale struttura una vera e propria antropologia del desiderio (P. Stanziale 2004) risvolto inevitabile di una soggettività radicale (R. Vaneigem 1996 2004).
2.10
Il terzo capitolo probabilmente è il più francofortese. Nella sua unità fittizia, lo spettacolo maschera le contraddizioni e le lacerazioni della società e dei poteri che la dominano. La banalizzazione, la vedette specializzata nel vissuto apparante, le finte lotte spettacolari: tutto ciò rappresenta un artificiale che traduce spectacular in the falsification of social life. A show that presents itself on the global stage as a concentrate or diffuse depending on the poverty that denies or maintain.
(continued)
Stanziale Pasquale was born in Casciano di Sessa Aurunca in the province of Caserta, a graduate in Philosophy, Professor of History and Philosophy in high schools, and collaborates with universities Training Agencies. He has extensive publications in the field of Humanities. Contributed to the magazine for the part socioantropologica aurunca Civilization. Among his publications Certifications and anomalies (Caserta 1999), research become a classic study of local maps of alienation (Rome 1995), Political Philosophy essay, the translation of best-sellers the Society of the Spectacle G. Debord (Viterbo 2002). He also edited The Handbook etiquette for use by younger generations of R. Vaneigem (Viterbo 2004) and an anthology of authors Situationists (Viterbo 1998). Among recent publications Culture and Society in the South (Caserta 2007). 
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