von Susan Sontag
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von Susan Sontag
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von Susan Sontag
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von Elaine Scarry
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von Gilbert Adair
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From Publishers Weekly
Twenty-six years after the publication of her influential collection of essays On Photography (1977), Sontag (In America) reconsiders ideas that are "now fast approaching the status of platitudes," especially the view that our capacity to respond to images of war and atrocity is being dulled by "the relentless diffusion of vulgar and appalling images" in our rapaciously media-driven culture. Sontag opens by describing Virginia Woolf's essay on the roots of war, "Three Guineas," in which Woolf described a set of gruesome photographs of mutilated bodies and buildings destroyed during the Spanish Civil War. Woolf wondered if there truly can be a "we" between man and woman in matters of war. Sontag sets out to reopen and enlarge the question. "No `we' should be taken for granted when the subject is looking at other people's pain," she writes. The "we" that Sontag has come to be much more aware of in the decades since On Photography is the world of the rich. She has come to doubt her youthful contention that repeated exposure to images of suffering necessarily shrivels sympathy, and she doubts even more the radical yet influential spin that others put on this critique-that reality itself has become a spectacle. "To speak of reality becoming a spectacle... universalizes the viewing habits of a small, educated population living in the rich part of the world...." Sontag reminds us that sincerity can turn a mere spectator into a witness, and that it is the heart rather than fancy rhetoric that can lead the mind to understanding.
Copyright 2003 Reed Business Information, Inc.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Sontag, one of our most perceptive and valiant thinkers, offered a seminal critique of camera-mediated images in On Photography. Now, 25 years later, photographs and video of the bloody consequences of terrorism and war routinely fill the media, and Sontag offers a fresh, meticulous, and deeply affecting dissection of the role images of suffering play in our lives. Do photographs and television footage of the injured and dead serve as "shock therapy" or merely elicit a momentary shudder before they're forgotten? Do images of systematic violence engender compassion and antiwar sentiments or arouse hunger for revenge? Writing with electrifying clarity and conciseness, Sontag traces the evolution of the "iconography of suffering" from paintings by Goya, to photographs of concentration camps, to the first live and in-color war coverage to rage across television screens, that of the Vietnam War, to images of the destruction of the World Trade Center taken by amateurs and professionals alike. Sontag parses the difference in our response to images of terrorism at home versus abroad, and forthrightly addresses our pornographic fascination with images of the wounded and dead. Ultimately, Sontag, scrupulous in her reasoning and exhilarating in her arguments, arrives at a paradox: although we're inundated more than ever before by stark visual evidence of the "pain of others," we've yet to increase our capacity to do something about it. Donna Seaman
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
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80% kaufen den auf dieser Seite vorgestellten Artikel: Regarding the Pain of Others |
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9% kaufen On Photography EUR 10,08 |
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4% kaufen Against Interpretation: And Other Essays EUR 9,99 |
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3% kaufen Illness as Metaphor and AIDS and Its Metaphors EUR 9,99 |
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Einleitungssatz
In June 1938 Virginia Woolf published Three Guineas, her brave, unwelcomed reflections on the roots of war. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Auszug | Rückseite
In June 1938 Virginia Woolf published Three Guineas, her brave, unwelcomed reflections on the roots of war. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Auszug | Rückseite
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