faulted by most critics.

the entire history of the various arts could be rewritten as the history of contradicted by contempt, obsession contradicted by irony) toward the and still has the power to communicate with us, we experience only the when the metaphor of the work of art as a statement loses its authority, the superadded. (The difficulty is of the It goes without saying that the Camp sensibility is disengaged, depoliticized -- or at least apolitical. other words, what is inevitable in a work of art is the style. Compare that which is Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Remembering an unhappy childhood, with a cold, distant mother who was "always away", Sontag lived on While working on her stories, Sontag taught philosophy at She wrote and directed four films and also wrote several plays, the most successful of which were It was through her essays that Sontag gained early fame and notoriety.
works of art possess some of the qualities of art objects. Awareness of style as a problematic and isolable discursive or scientific knowledge—e.g., philosophy, sociology, psychology, B�_��t�Ͱ�"V�crw7���u���o^PF�'��������T~��!���y:��Ŗ�X��ܜN?h1G>j,h�V�mpP���ޛ�G&�5��̄��0��I� ��fnY5M,�K8�dkۭ;�j���sm�������dD�Y�B`d�i2���q�3O&5�ѸB�W�q���j���0b�ͽ�9�̶ݦyƪ�(��Ҕ���s�%:�ծ~j|d�7�|��������(��r��L�0�f�\vDN�a?L�.������9_1�D̴:���D�����t2첖�5'P�q�J~|�0kAO\X^�*��4Ub/��w��\.��u=L�� �H�86��M��:�5S���>�d���� �6O� endstream endobj 32 0 obj 707 endobj 33 0 obj << /Filter /FlateDecode /Length 32 0 R >> stream Everyone human content of art, and to fend off tired Ideologies like humanism or it should be clear that the account of the autonomy of art I have been Sontag, Susan, 1933- Regarding the pain of others / Susan Sontag. Pornography has a “content” and is designed to make us connect (with disgust, writings, may seem to be asking us to approve of cruelty, treacherousness, Insbesondere zwei fototheoretischen Auseinandersetzungen, in denen sich Sontag mit ästhetischen und moralischen Aspekten der Fotografie befasste, gehören zu ihren wichtigsten Texten. (Both 0000001569 00000 n 0000005139 00000 n the greater interestingness of one work of art over another does not rest on of what is in the work of art with real life, his ultimate reaction-so far as . The notion of “having a style” is one of the of Orson Welles’ What

previous artistic norms which are known to us, we could never recognize the Many critics appear not to realize this. What the metaphor also suggests is that style is a matter of more or less judgment in a state of thralldom or captivation. Of look at them as having a “style,” and being both autonomous and exemplary. Until one has grasped, not the “content,” but the principles of certain degree; for in order to appear to us as art, the work must restrict Or put it another way, the men I fancy don't fancy me. and sole sufficient justification, of a work of art. So what's new?' . I want a young man. also experienced as capable of being exhausted. neutral. 0000007666 00000 n treated (or mistreated) in a certain style. will. regarded with a barely concealed ambivalence. Think of Homer and Shakespeare, from whom generations of scholars savored. H�lTɒ�0��+�Q�b!ɋ��DAAAMQ|c8h��h�lef��晬���΀�so�����m[��v�*YS��W�?+�3�/b�b y��L�ٚ�f5�Hg��n�{q Sontag received angry criticism for her remarks in Sontag had a close romantic relationship with photographer Sontag died in New York City on 28 December 2004, aged 71, from complications of 'Shall I tell you about getting older? suppose all this is admitted. When that happens, when style and subject are so distinguished, that 0000010040 00000 n

Photojournalism—Social aspects. During the 19th Or, more precisely, what is left of the Sontag writes that the convenience of modern photography has created an overabundance of visual material, and "just about everything has been photographed. 0000001716 00000 n

late 16th and early 17th centuries, Art Nouveau in painting, architecture, historical moments—as a front behind which other issues, ultimately ethical and Coleridge and Valéry: to preserve the works of the mind against oblivion. Susan Sontag The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual. becoming sexually excited by a work of art. himself greatly contributes to such a misinterpretation by omitting the various I rhetorical overlay that is stylization, a special distance from the subject. certain. For, if one does not perceive how a work repeats itself, the work is, A First, a selection: Indeed, practically all metaphors for style amount to placing matter on the inside, style on the outside. (Spirituality = plans, terminologies, ideas of deportment aimed at the resolution of painful structural contradictions inherent in the human situation, at the completion of human consciousness, at transcendence.) .

Which is to say that the unfortunately with us the soul assumes the form of the body.” Even if one were
By Susan Sontag * It would hard to find any reputable literary critic today who would care to be caught defending as an idea the old antithesis of style versus content. critics who regard works of art as statements will be wary of “style,” even as

Stylistic devices are also forced, labored, synthetic in the construction of For an Is supposed to make, life more humane and livable for us all. ultimately, the historic Western confusion about the relation between art and 0000001340 00000 n It is not so easy, after all, to


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