Frases de Susan Sontag (189 citações, página 5)

In the matter of courage (a morally neutral virtue)
"At the same time: essays and speeches‎" - Página 106, de Susan Sontag, Paolo Dilonardo, Anne Jump, David Rieff - Publicado por Farrar, Straus, and Giroux, 2007, ISBN 0-374-10072-1, 9780374100728 - 235 páginas

Coragem

“Nuca precisei de sonhos para interpretar minha vida, mas da vida para interpretar meus sonhos.”

Susan Sontag

Variante: Eu não estava querendo que meus sonhos interpretassem minha vida, mas antes que minha vida interpretasse meus sonhos.

De sonhos , De vida

“Quanto mais retrocedemos na história menos nítida é a distinção entre imagens e coisas reais, como observou E. H. Gombrich; nas sociedades primitivas, a coisa e a sua imagem não eram mais do que duas manifestações diferentes, ou seja, fisicamente distintas, da mesma energia ou espírito. A isso se deve a suposta eficácia das imagens para propiciar e controlar presenças de grande poder. Esses poderes, essas presenças estavam presentes nelas.”

Susan Sontag livro On Photography

On Photography

História

“Quando faço uma fotografia", escreve Siskind, "quero que seja um objeto onovo, completo e autosuficiente, cuja condição básica é a ordem." Para Cartier-Bresson, tirar fotografias é "encontrar a estrutura do mundo, deleitar-se com o prazer puro da forma", revelar que "em todo este caos, há ordem".”

Susan Sontag livro On Photography

On Photography

De mundo , De cães , De prazer

“A fotografia não se limita a reproduzir o real, recicla-o, o que constitui um processo-chave de uma sociedade moderna”

Susan Sontag livro On Photography

On Photography

“Toda a capacidade de compreender está enraizada na capacidade de dizer não.”

Susan Sontag livro On Photography

On Photography

“O fotógrafo é um superturista, um prolongamento do antropólogo, que visita os nativos e regressa com notícias dos seus costumes exóticos e estranhos ornamentos. O fotógrafo procura sempre colonizar novas experiências ou encontrar novos modos de olhar para temas familiares - para lutar contra o tédio.”

Susan Sontag livro On Photography

On Photography

“As fotografias eram vistas como um modo de dar informação a pessoas que não tinham o hábito da leitura. o Daily News ainda se autodenomina New York's Picture Newspaper, apelando a uma identificação populista. No extremo oposto da escala, o Le Monde, um jornal destinado a leitores preparados, bem informados, não utiliza quaisquer fotografias, pois pressupõe-se que, para os seus leitores, a fotografia só serviria de ilustração para a análise contida num artigo.”

Susan Sontag livro On Photography

On Photography

Leitura , De pessoas

Susan Sontag: Frases em inglês

“The AIDS crisis is evidence of a world in which nothing important is regional, local, limited; in which everything that can circulate does, and every problem is, or is destined to become, worldwide.”

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Susan Sontag livro AIDS and Its Metaphors

AIDS and Its Metaphors (1989), p. 180

“What the overemphasis on the idea of content entails is the perennial, never consummated project of interpretation. And, conversely, it is the habit of approaching works of art in order to interpret them that sustains the fancy that there really is such a thing as the content of a work of art.”

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Susan Sontag livro Against Interpretation

"Against Interpretation" (1964), p. 5
Against Interpretation and Other Essays (1966)

“I believe that courage is morally neutral. I can well imagine wicked people being brave and good people being timid or afraid. I don't consider it a moral virtue.”

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Susan Sontag

Salon interview (2001)

“The unanimously applauded, self-congratulatory bromides of a Soviet Party Congress seemed contemptible. The unanimity of the sanctimonious, reality-concealing rhetoric spouted by American officials and media commentators in recent days seems, well, unworthy of a mature democracy.”

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Susan Sontag

The New Yorker: Talk of the Town (24 September 2001)

“The notion of art as the dearly purchased outcome of an immense spiritual risk, one whose cost goes up with the entry and participation of each new player in the game”

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Susan Sontag livro Styles of Radical Will

“The Pornographic Imagination,” p. 45
Styles of Radical Will (1966)

“The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs ‘behind’ the text, to find a sub-text which is the true one.”

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Susan Sontag

Fonte: Against Interpretation and Other Essays (1966), p. 6

“I'll take the American empire any day over the empire of what my pal Chris Hitchens calls "Islamic fascism." I'm not against fighting this enemy — it is an enemy and I'm not a pacifist.
I think what happened on Sept. 11 was an appalling crime, and I'm astonished that I even have to say that, to reassure people that I feel that way. But I do feel that the Gulf War revisited is not the way to fight this enemy.”

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Susan Sontag

Salon interview (2001)

“The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.”

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Susan Sontag livro On Photography

"The Heroism of Vision", p. 105
On Photography (1977)

“It is hard for people not to see the world in polarizing terms ("them" and us") and these terms have in the past strengthened the isolationist theme in American foreign policy as much as they now strengthen the imperialist theme. Americans have got used to thinking of the world in terms of enemies. Enemies are somewhere else, as the fighting is almost always "over there," with Islamic fundamentalism now replacing Russian and Chinese communism as the implacable, furtive menace to "our way of life." And terrorist is a more flexible word than communist. It can unify a larger number of quite different struggles and interests.”

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Susan Sontag

Frankfurt Book Fair speech (2003)

“The course of modern history having already sapped the traditions and shattered the living wholes in which precious objects once found their place, the collector may now in good conscience go about excavating the choicer, more emblematic fragments.”

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Susan Sontag livro On Photography

On Photography

“In some respects the use of sexual obsessions as a subject for literature resembles the use of a literary subject whose validity for fewer people would contest: religious obsessions. So compared, the familiar fact of pornography’s definite, aggressive impact upon its readers looks somewhat different. Its celebrated intention of sexually stimulating readers is really a species of proselytizing. Pornography that is serious literature aims to “excite” in the same way that books which render an extreme form of religious experience aim to “convert.””

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Susan Sontag livro Styles of Radical Will

“The Pornographic Imagination,” pp. 47-48
Styles of Radical Will (1966)

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

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Susan Sontag livro Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

“The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past.”

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Susan Sontag livro On Photography

"In Plato's Cave", p. 21
On Photography (1977)

“An erotic life is, for more and more people, that which can be captured on digital photographs and on video. And perhaps the torture is more attractive, as something to record, when it has a sexual component.”

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Susan Sontag

Regarding the Torture of Others (2004)

“Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning.”

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Susan Sontag

Fonte: Against Interpretation and Other Essays (1966), p. 6

“Modernist tasks and liberties have stirred up a canny diffidence among painters of the largest accomplishment when pressed to talk about their art. It appears unseemly, or naive, to have much to say about the pictures or to attach to them any explicit "program." No more theories expounding an ideal way of painting. And, as statements wither and with them counter-statements, hardly anything in the way of provocation either. Decorum suggests that artists sound somewhat trapped when being drawn out, and venturing a few cagey glimpses of intention.”

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Susan Sontag

"About Hodgkin," from Howard Hodgkin Paintings edited by Michael Auping (1995), p. 105,

“The sublimity of color in Hodgkin's pictures can be thought of as, first of all, expressive of gratitude — for the world that resists and survives the ego and its discontents.”

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Susan Sontag

"About Hodgkin," from Howard Hodgkin Paintings (1995), p. 109

“The tide of undecipherable signatures of mutinous adolescents which has washed over and bitten into the facades of monuments and the surface of public vehicles in the city where I live: graffiti as an assertion of disrespect, yes, but most of all simply an assertion… the powerless saying: I'm here, too.”

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Susan Sontag

"The Pleasure of the Image" (1985) from Writers on Artists edited by Daniel Halpern (1988), p. 98, North Point Press ISBN 0-86547-340-4

“War is a culture, bellicosity is addictive, defeat for a community that imagines itself to be history's eternal victim can be as intoxicating as victory. How long will it take for the Serbs to realize that the Milosevic years have been an unmitigated disaster for Serbia, the net result of Milosevic's policies being the economic and cultural ruin of the entire region, including Serbia, for several generations? Alas, one thing we can be sure of, that will not happen soon.”

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Susan Sontag

"Why Are We in Kosovo?", The New York Times (2 May 1999)

“If within the last century art conceived as an autonomous activity has come to be invested with an unprecedented stature—the nearest thing to a sacramental human activity acknowledged by secular society—it is because one of the tasks art has assumed is making forays into and taking up positions on the frontiers of consciousness (often very dangerous to the artist as a person) and reporting back what’s there.”

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Susan Sontag livro Styles of Radical Will

“The Pornographic Imagination,” p. 45
Styles of Radical Will (1966)

“Americans are constantly extolling "traditions"; litanies to family values are at the center of every politician's discourse. And yet the culture of America is extremely corrosive of family life, indeed of all traditions except those redefined as "identities" that can be accepted as part of larger patterns of distinctiveness, cooperation, and openness to innovation.”

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Susan Sontag

Frankfurt Book Fair speech (2003)

“In place of a hermeneutics we need an erotics of art.”

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Susan Sontag livro Against Interpretation

"Against Interpretation" (1964), p. 14
Against Interpretation and Other Essays (1966)

“Total experiences, of which there are many kinds, tend again and again to be apprehended only as revivals or translations of the religious imagination. To try to make a fresh way of talking at the most serious, ardent, and enthusiastic level, heading off the religious encapsulation, is one of the primary intellectual tasks of future thought.”

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Susan Sontag livro Styles of Radical Will

“The Pornographic Imagination,” p. 69
Styles of Radical Will (1966)

“For Cioran the aphoristic style is less a principle of reality than a principle of knowing: that it’s the destiny of every profound idea to be quickly checkmated by another idea, which it itself has implicitly generated.”

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Susan Sontag livro Styles of Radical Will

“‘Thinking against oneself’: reflections on Cioran,” p. 79
Styles of Radical Will (1966)

“Painters and sculptors under the Nazis often depicted the nude, but they were forbidden to show any bodily imperfections. Their nudes look like pictures in physique magazines: pinups which are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy.”

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Susan Sontag livro Under the Sign of Saturn

Fascism" http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/SontagFascinFascism75.htm"Fascinating (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 92, ISBN 0312420080

“I'm sickened by the way that the delivery of so-called humanitarian aid is once again being used as a justification — or cover — for war.”

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Susan Sontag

Salon interview (2001)

“So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.”

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Susan Sontag livro On Photography

"The Heroism of Vision", p. 85
On Photography (1977)

“Evans wanted his photographs to be "literate, authoritative, transcendent." The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent.”

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Susan Sontag livro On Photography

"America, Seen Through Photographs, Darkly", p. 31
On Photography (1977)

“The destiny of photography has taken it far beyond the role to which it was originally thought to be limited: to give more accurate reports on reality (including works of art). Photography is the reality; the real object is often experienced as a letdown.”

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Susan Sontag livro On Photography

"Photographic Evangels", p. 147
On Photography (1977)

“In contrast to the asexual chasteness of official communist art, Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community.”

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Susan Sontag

"Fascinating Fascism" (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 93

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