Abstract
The article first reflects upon Guy Debord’s concept of the society of the spectacle and discusses some of its aspects, such as the theatricality of all human gestures and relations, the marginalization of privacy, and the influence of mass culture on the human imagination. The boundary between art and entrepreneurship has blurred, and there are not any permanent aesthetic or ethic criteria of assessing the value of art. Subsequently, the article describes three possible relations between the modern society of the spectacle and its literature: 1) (popular) literature and its attachment to the logic of the spectacle, 2) (high) literature as a vehicle for cultural criticism, 3) the theatrical/ dialogical aspect of all human enunciations.
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