Сьюзен Зонтаг цитаты страница 3

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Сьюзен Зонтаг

Дата рождения: 16. Январь 1933
Дата смерти: 28. Декабрь 2004
Другие имена:സൂസൻ സൊൻടാഗ്, Susan Sontagová

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Сьюзен Зонтаг — американская писательница, литературный, художественный, театральный и кинокритик, режиссёр театра и кино, лауреат национальных и международных премий.

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Цитаты Сьюзен Зонтаг

„Never before was the relation of masters and slaves so consciously aestheticized.“

—  Susan Sontag
Context: Sadomasochism has always been the furthest reach of the sexual experience: when sex becomes most purely sexual, that is, severed from personhood, from relationships, from love. It should not be surprising that it has become attached to Nazi symbolism in recent years. Never before was the relation of masters and slaves so consciously aestheticized. Sade had to make up his theater of punishment and delight from scratch, improvising the decor and costumes and blasphemous rites. Now there is a master scenario available to everyone. The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death. "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. 105

„Reality has come to seem more and more like what we are shown by cameras.“

—  Susan Sontag
Context: Reality has come to seem more and more like what we are shown by cameras. It is common now for people to insist upon their experience of a violent event in which they were caught up — a plane crash, a shoot-out, a terrorist bombing — that "it seemed like a movie." This is said, other descriptions seeming insufficient, in order to explain how real it was. While many people in non-industrialized countries still feel apprehensive when being photographed, divining it to be some kind of trespass, an act of disrespect, a sublimated looting of the personality or the culture, people in industrialized countries seek to have their photographs taken — feel that they are images, and are made real by photographs. "The Image-World", p. 161

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„From now to the end of consciousness, we are stuck with the task of defending art.“

—  Susan Sontag
Context: None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did. From now to the end of consciousness, we are stuck with the task of defending art. We can only quarrel with one or another means of defense. Indeed, we have an obligation to overthrow any means of defending and justifying art which becomes particularly obtuse or onerous or insensitive to contemporary needs and practices. This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism. "Against Interpretation" (1964), p. 5

„Compassion is an unstable emotion. It needs to be translated into action, or it withers.“

—  Susan Sontag
Context: Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown — if that's the right way to describe what happens — because of the quantity of images dumped on them. It is passivity that dulls feeling. Regarding the Pain of Others (2003), p. 101,

„Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.“

—  Susan Sontag
Context: Illness is the night-side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place. Illness As Metaphor (1978), foreword, p. 3,

„Communism is in itself a variant, the most successful variant, of Fascism. Fascism with a human face.“

—  Susan Sontag
Context: Not only is Fascism (and overt military rule) the probable destiny of all Communist societies — especially when their populations are moved to revolt — but Communism is in itself a variant, the most successful variant, of Fascism. Fascism with a human face. Speech, Town Hall, New York City (6 Februaty 1982), reported in "Susan Sontag Provokes Debate on Communism" http://www.nytimes.com/books/00/03/12/specials/sontag-communism.html, The New York Times (27 February 1982), p. 27

„The end of the world. This is not the end of the world.“

—  Susan Sontag
Context: A curious word, wanderlust. I'm ready to go. I've already gone. Regretfully, exultantly. A prouder lyricism. It's not Paradise that's lost. Advice. Move along, let's get cracking, don’t hold me down, he travels fastest who travels alone. Let's get the show on the road. Get up, slugabed. I'm clearing out of here. Get your ass in gear. Sleep faster, we need the pillow. She's racing, he's stalling. If I go this fast, I won't see anything. If I slow down — Everything. — then I won't have seen everything before it disappears. Everywhere. I've been everywhere. I haven't been everywhere, but it's on my list. Land's end. But there's water, O my heart. And salt on my tongue. The end of the world. This is not the end of the world. "Unguided Tour", in The New Yorker (31 October 1977), final lines; also in I, Etcetera (1977)

„The charges against most of the people detained in the prisons in Iraq and Afghanistan being nonexistent — the Red Cross reports that 70 to 90 percent of those being held seem to have committed no crime other than simply being in the wrong place at the wrong time, caught up in some sweep of "suspects" — the principal justification for holding them is "interrogation." Interrogation about what? About anything.“

—  Susan Sontag
Context: The charges against most of the people detained in the prisons in Iraq and Afghanistan being nonexistent — the Red Cross reports that 70 to 90 percent of those being held seem to have committed no crime other than simply being in the wrong place at the wrong time, caught up in some sweep of "suspects" — the principal justification for holding them is "interrogation." Interrogation about what? About anything. Whatever the detainee might know. If interrogation is the point of detaining prisoners indefinitely, then physical coercion, humiliation and torture become inevitable. Remember: we are not talking about that rarest of cases, the "ticking time bomb" situation, which is sometimes used as a limiting case that justifies torture of prisoners who have knowledge of an imminent attack. This is general or nonspecific information-gathering, authorized by American military and civilian administrators to learn more of a shadowy empire of evildoers about whom Americans know virtually nothing, in countries about which they are singularly ignorant: in principle, any information at all might be useful. An interrogation that produced no information (whatever information might consist of) would count as a failure.

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„Literature is dialogue; responsiveness.“

—  Susan Sontag
Context: Literature is dialogue; responsiveness. Literature might be described as the history of human responsiveness to what is alive and what is moribund as cultures evolve and interact with one another. Writers can do something to combat these clichés of our separateness, our difference — for writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences — experiences that confound what you thought you thought, or felt, or believed.

„The truth is balance, but the opposite of truth, which is unbalance, may not be a lie.“

—  Susan Sontag
Context: The need for truth is not constant; no more than is the need for repose. An idea which is a distortion may have a greater intellectual thrust than the truth; it may better serve the needs of the spirit, which vary. The truth is balance, but the opposite of truth, which is unbalance, may not be a lie. Review of Selected Essays by Simone Weil, The New York Review of Books (1 February 1963)

„For Peace. Against War. Who is not? But how can you stop those bent on genocide without making war?“

—  Susan Sontag
Context: Stop the War and Stop the Genocide, read the banners being waved in the demonstrations in Rome and here in Bari. For Peace. Against War. Who is not? But how can you stop those bent on genocide without making war? "Why Are We in Kosovo?", The New York Times (2 May 1999)

„In photographing dwarfs, you don't get majesty & beauty. You get dwarfs.“

—  Susan Sontag
Context: Whitman thought he was not abolishing beauty but generalizing it. So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar. But among American photographers who have matured since World War II, the Whitmanesque mandate to record in its entirety the extravagant candors of actual American experience has gone sour. In photographing dwarfs, you don't get majesty & beauty. You get dwarfs. "America, Seen Through Photographs, Darkly", p. 29

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„Literature offers not only myths but counter-myths, just as life offers counter-experiences — experiences that confound what you thought you thought, or felt, or believed.“

—  Susan Sontag
Context: Literature is dialogue; responsiveness. Literature might be described as the history of human responsiveness to what is alive and what is moribund as cultures evolve and interact with one another. Writers can do something to combat these clichés of our separateness, our difference — for writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences — experiences that confound what you thought you thought, or felt, or believed.

„As a secular person, and as a woman, I've always been appalled by the Taliban regime and would dearly like to see them toppled. I was a public critic of the regime long before the war started.“

—  Susan Sontag
Context: As a secular person, and as a woman, I've always been appalled by the Taliban regime and would dearly like to see them toppled. I was a public critic of the regime long before the war started. But I've been told that the Northern Alliance is absolutely no better when it comes to the issue of women. The crimes against women in Afghanistan are just unthinkable; there's never been anything like it in the history of the world. So of course I would love to see that government overthrown and something less appalling put in its place. Do I think bombing is the way to do it? Of course I don't. It's not for me to speculate on this, but there are all sorts of realpolitik outcomes that one can imagine.

„To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That's what lasts. That's what continues to feed people and give them an idea of something better.“

—  Susan Sontag
Context: To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That's what lasts. That's what continues to feed people and give them an idea of something better. A better state of one's feelings or simply the idea of a silence in one's self that allows one to think or to feel. Which to me is the same. "Susan Sontag Finds Romance," interview by Leslie Garis, The New York Times (2 August 1992)

„Interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities.“

—  Susan Sontag
Context: Interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling. p. 6

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