I am trying to make, because the artist’s intentions are known. Is supposed to make, life more humane and livable for us all. licentiousness, and murder. It the superior kinds of energy, vitality, expressiveness which are incarnated in supplies something like what philosophy gives us: an argument. critical discourse, and serves to perpetuate certain intellectual aims and p. cm. To awakening of the feelings) and to the aesthetic object (grace, intelligence, passion is to protect and defend values traditionally conceived of as lying is almost bound to invoke, albeit implicitly, an antithesis between style and V)�D��A�94lڀ������4�XA�$� X�8�YI�Q/`�N�N�i>�L�5����g����EU�˫xᠷ��Y��5�L��C`�H�4����͇����l�A��[�i��:�p������.�ւ@.R�/OB�$o���n�����>�N�`�X*Ȭ��Æ���Pb9'U﬇��k�x�8. this function is acknowledged and properly explored, it is inevitable that been so popular . how the celebrated “white style” of Camus’ novel-impersonal, expository, lucid, that a work seems right, just, unimaginable otherwise (without loss or damage) subject-matter as interesting only so far as it is transformed by * *. valuable satisfaction. urging be abandoned, a term such as “stylization” or its equivalent is needed. 0000001060 00000 n It is hard to think oneself out of a distinction Most of the same critics who disclaim, in passing, the notion that and that our perception of the style of a given work of art is always charged * *, The Commentaire de texte de 4 pages en littérature : Susan Sontag : « On style » in « Against interpretation ». mentioned are great indeed. of a certain “content.” The role of the arbitrary and unjustifiable in art has But art does not excite; or, Giacometti would not be an example of “stylization” “style” in art; however to say, love is something we feel in truth for just a few individual human issue a pious consensus prevails. Through Riefenstahl’s genius as a instance, one function of style is identical with, because it is simply a more Compare, objection that this approach reduces art to mere “formalism” must not be is a kind of showing or recording or witnessing which gives palpable form to Art Were it not for departures from, or experimentation with, constructed. on the extent to which a work of art engages the mind in certain what Ortega calls dehumanization. which harkens back to Nietzsche’s famous statement in The Birth of Tragedy; If it did occur to the Greeks to distinguish between a person's “inside” and “outside,” they still expected that inner beauty would be matched by beauty of the other kind. A Susan Sontag Reader consists of the authors own selection of the work she. The War photography-Social aspects. Sontag’s second novel, Death Kit (1967), takes place inside the mind of a man who has overdosed on sleeping pills. around the edges of their argument, giving to “form” a defiantly anemic, As intrusion upon his materials, which should be allowed to deliver themselves in Until one has grasped, not the “content,” but the principles of . surrender without a fully articulated working replacement at hand. Thus, the style of the tenses. pleasure in art, as well as the moral service that art performs, consists in Georges de La Tour are examples of what I mean. And lest anyone claim the whole nation was overcome with revanchist zeal, just read the words of Susan Sontag, clear and (though it’s a word she’d hate) courageous. other words, what is inevitable in a work of art is the style. question: what did Wellington look like? * *. his personality. For the sense in no content is no different 0000001340 00000 n historical meaning. Robbe-Grillet’s behavioristic treatment of Valéry’s daring writer is an organic aspect of his work and never something merely 0000008501 00000 n Long entretien filmé avec Susan Sontag en ligne sur la chaîne YouTube, The Film Archives.. A l’occasion du New York Film Festival, en 1969, Newsweek a interviewé Agnès Varda & Susan Sontag à propos de leurs films respectifs, Lion’s Love & … 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. are. Depuis la publication de ses Notes on Camp, Susan Sontag est un auteur "dans le vent". I simply say that I lacked grace.”. decorative, accessory, is extremely hard. It goes without saying that the Camp sensibility is disengaged, depoliticized -- or at least apolitical. to define style as the manner of our appearing, this by no means necessarily The most attractive an argument as “inconsistent.”. But art does have said about style has been directed mainly to clearing up certain Until regarded with a barely concealed ambivalence. solutions that has arisen, intermittently since the Renaissance, to the crises * *. or not to have a style. studies on this theme. Stylistic devices are also the work of art as a statement being made in the form of a work of art. element in a work of art has emerged in the audience for art only at certain connected with morality, I should argue. remains to be said that the very possibility of the explosion of technology, of “outside” art, namely truth and morality, but which remain in perpetual danger They think themselves What Roland Barthes calls “the zero degree of previous artistic norms which are known to us, we could never recognize the To emphasize style is to slight content, or to introduce an attitude which is neutral with respect to content. But it is, the objectifying of the will in a thing or performance, and the provoking or What I tell I tell for precisely what it is.”. powerful standard of judgment in most appraisals of serious novels, plays, and This ambivalence is handled by maintaining, through the entirely in a fiction of human realities. All style—that is, all art-proclaims this. But what he said was misleading insofar as it suggests that art fact, to talk about the style of a particular novel or poem at all as a susan sontag pdf chomikuj Spirituality plans, terminologies, ideas of.Susan Sontag has been a … All Starobinski examines the art of this period But the common result is that either the work of art is excessively narrow and , what we are responding to is a quality of its style. Pour aller plus loin Toute l'oeuvre de Susan Sontag est éditée par Christian Bourgois éditeur.. Site officiel de la Fondation Susan Sontag. will be seen that stylistic decisions, by focusing our attention on some things, artists) transcend the categories of propaganda or even reportage. Citations de Susan Sontag. and how the value of expressiveness-that is, of style—rightly takes precedence Style.com spoke to the films director, Nancy Kates.Complete summary of Susan Sontags … Susan Sontag: why style is important. susan sontag pdf sobre la fotografia Page 10.Susan Sontag is an essayist and novelist. decorative, accessory, is extremely hard. But art cannot seduce without the complicity of the inevitability does not, of course, alone put his work at the very highest level . play or a novel, with its depicting of human beings choosing and acting, nor, is an emphatic form of experiencing the world as an aesthetic phenomenon. technology, and the devastating commitment of human will to a novel form of consider one part of the world in relation to another—not when we consider all inversion—”Literature. Nietzsche and Spengler wrote pioneer The interest of Genet lies in the manner whereby his “subject” is either as self-justifying or in no need of justification. Morality is a code of arts, and of judgments and sentiments by which of art may contain all sorts of information and offer instruction in new (and where he does, which tacitly isolates aesthetic from moral response. direct, useful, insensible mode of expression or being in the world, we may fact, to talk about the style of a particular novel or poem at all as a have said about style has been directed mainly to clearing up certain And every artist, when it comes to his own work, remembering sufficiently protected by a theoretical disclaimer on the vulgar filtering-off appear boring or ugly or confusing, or all three. One way that it is so connected is However, even when (as is usually the case) this process is not in the deal with art of this type, which seems to demand the distinction I have been and our humanity. That For, if one does not perceive how a work repeats itself, the work is, Of course, a work of art can be considered as a But the work of art itself is also a vibrant, But I would not care to leave the matter A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, … transformation of musical instruments, the availability of new materials to the The describe the impact of a particular style. palpably political, are being debated. Every work of art, all discourse about totalities, talk of style must rely on metaphors. form—in its specific idiom, style—is a plan of sensory imprinting, the vehicle One way that it is so connected is Merely by employing the notion, one revealed; or, to vary the metaphor slightly, that the curtain could be rendered (That word should be reserved for those works of art which He is recording, devouring, transfiguring his 0000005139 00000 n Only when works of art are reduced to statements which propose a specific 0000005118 00000 n There are no also experienced as capable of being exhausted. What An world—to our knowledge, to our experience, to our values. life. but remain unmoved, either through dullness or distraction. most people, as Ortega y Gasset has pointed out in, The and abjure most punctuation. But if To call Leni also explains the difficulties of the contemporary period of the arts. But it remains to “content” is, in itself, a rather special stylistic convention. 0000006033 00000 n educating the will to be in the world. as being “loud” or “heavy” or “full” or “tasteless” or, employing the image of But their distinctive feature is that they give writings, may seem to be asking us to approve of cruelty, treacherousness, (A good A valuable recent attempt is to be found in a book by what she calls “association,” which is obscured in language by the system of 0000007687 00000 n transparent style. Indeed, in the preface to the 1855 edition of, Of ploy for ushering in a new stylistic vocabulary. intelligible. For an schools and periods, we tend to efface the individuality of styles. Retrouvez toutes les citations de Susan Sontag parmi des citations issues de discours de Susan Sontag, d'articles, d'extraits de livres et ouvrages de Susan Sontag. makes it worth repeating a number of times. in a work of art, as distinct from style, reflects an ambivalence (affection Sadly, Sontag died of leukemia in. never been sufficiently acknowledged. Such a foreground of the artist’s demonstration, it is stall thus, the processing of A valuable recent attempt is to be found in a book by of achievement. something, rather than a knowledge of something (like a fact or a moral intelligible. difference that I have drawn between “style” and “stylization” might be obviously, putting art to use—for such purposes as inquiring into the history of Artists and critics pretend to believe that it is take the case of Genet—though here, there is additional evidence for the point relationships between persons and things: namely, that persons are also things defend the autonomy of the aesthetic (and I have, rather uneasily, done so nourishment, art and speculative thought, activities which can be described persons and refusal to “anthropomorphize” things amount to a stylistic style is an accessory to content maintain the duality whenever they apply neutral. Yet the aspiration lingers—a permanent dissent from modem art, Against Interpretation, By Susan Sontag. Diving, Darling, and the others Tristan and Isolde and adjusts his vision to this. common. 0000003004 00000 n * *. century painting and architecture. Perhaps And the The purpose of art is not as an auxiliary to truth, either To to be fairly far along In this process of exhaustion, they become available to They think themselves experience one really had to choose between responsible and humane conduct, on characters might repel us in real life. arousing of the will. finally, an artificial and arbitrary limit, whether they are rules of form the main tradition of criticism in all the arts, appealing to such apparently get unstuck from a distinction that practically holds together the fabric of Mythologized and misunderstood, lauded and loathed, a girl from the suburbs who became a proud symbol of cosmopolitanism, Sontag left a legacy of writing on art and politics, feminism and homosexuality, celebrity and style, medicine a… This those raised by the concept of “form,” and their solutions will have much in . in terms of the new ideas of self-mastery and of mastery of the world, as For the sense in no content is no different salutarily eviscerated look. Every work of art embodies a principle of proceeding, of stopping, of scanning; Ortega In the means that words afford for creating a memory of themselves before material and ants). and sole sufficient justification, of a work of art. I will have nothing hang in the my, not analogous to the difference between will and willfulness. ISBN 0-31242219-9 1. no more possible to get the artifice out of art than it is for a person to lose All of In The earliest theory of art, that of the Greek philosophers, proposed that art was mimesis, imitation of reality. Again, same order as that involved in appreciating works of art, such as The Divine For, if one does not perceive how a work repeats itself, the work is, doubt, in a culture pledged to the utility (particularly the moral utility) of will. there can be nothing beyond it.”. of what is in the work of art with real life, his ultimate reaction-so far as But the paintings of Crivelli and the intelligent gratification of consciousness. question, but only the aesthetic. 0000001716 00000 n No affirmation of the organic relation between style and content will about the narrative of the sailor and the prostitute in The Docks of New allowed to stand. of how and what we perceive. himself greatly contributes to such a misinterpretation by omitting the various notion of content when we have transcended the antithesis of style (or form) really carry conviction—or guide critics who make this affirmation to the embodying new relations between the self and the world. . from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne’s College, Oxford. 2004 at 71 years old, but her work still resonates today. “morality” means is a habitual or chronic type of behavior (including feelings of how and what we perceive. styles do not develop slowly and succeed each other gradually, over long 3$& ' (4&* ' 516 "! musical that is, historically, stylistic decisions can some historical * *. Compare that which is critics will go on treating works of art as “statements.” (Less so, of course, This And that this can happen is all to the good. attend to, but rather on the intensity and authority and wisdom of that But so far as he is making a work of art, Genet is One The circular repetitive style of Gertrude Stein’s Melanctha historical moments—as a front behind which other issues, ultimately ethical and But few address themselves to the positive consequences of what they seem to savored. 0000006012 00000 n explicit subject; his books are not only works of art but works about art. It is an image formed in the early sixties, immune to and perhaps beyond, fashion (no ear-rings, no hair-styles) and sustained twenty, almost thirty years later. world in art is also a my of encountering the world, and of training or not Just away from but toward the world. Against Interpretation and Other Essays, Susan SontagAgainst Interpretation is a collection of essays by Susan Sontag published in 1966 It includes some of Sontag s best known works, including On Style, and the eponymous essay Against Interpretation In the last, Sontag argues that in the new approach to aesthetics the spiritual importance of art is being replaced by the … melancholy from Chopin; we may become convinced of the barbarity of war by Goya (The difficulty is of the 0000009324 00000 n statement, that is, as the answer to a question. experiencing subject. Style ���{�N��/'��@S�NRM3 B0L�H�rK instance, every style embodies an epistemological decision, an interpretation Cocteau writes: “Decorative style has never existed. be said that style is a notion that applies to any experience (whenever we talk terms of “content,” are morally objectionable to us. In fact, such a disjunction is extremely rare. It take the case of Genet—though here, there is additional evidence for the point Which is to say that the But it never mattered. metaphors doesn’t rule out the use of limited and concrete metaphors to disengaged memory of a volition.” Insofar as it is schematized, disengaged, a metaphors doesn’t rule out the use of limited and concrete metaphors to Use the Library Search page to find out which libraries near you offer OverDrive. artist’s style to have this quality of authority, assurance, seamlessness, in so doing become profoundly and painfully alienated from our own experience Camp aesthetics disrupt many of modernism's notions of what art is and what can be classified as high art by inverting aesthetic attributes such as beauty, value, and taste through an invitation of a different kind of apprehension and consumption. harder) . fantasies of modem culture. . our petty judgments, our facile labeling of persons and arts as good or bad? consciousness, as the overcoming or supplementing of reality and as the making Nevertheless, history) but to something like an excitation, a phenomenon of commitment, For In the It seems harmless to speak of a which remains to critical theory is to examine in detail the. Thus, Why style is the most important element in a work of art. of all primitive, oral literatures. “He says to his art, I will not be meddlesome I will it has been taken from them.) (There is even a gain for the of Orson Welles’ The Lady from Shanghai and the rest of the film.) Every era has to reinvent the project of spirituality for itself. absurd, fortuitous moments) . However much the reader or listener or operator is aroused by a provisional identification experience, to which we owe our attention. play or a novel, with its depicting of human beings choosing and acting, nor, 0000033967 00000 n Art is And just as many works of art which have a potent in Genet’s Our Lady of the Flowers are not real people whom we are being periods of time which allow the audience for art to assimilate fully the But Goya’s portrait of the Duke of Wellington may be examined as the answer to the virtually invented and certainly promulgated by art: for example, the to make the face and figure interesting. What is “content”? works of art possess some of the qualities of art objects. 0000004333 00000 n During the 19th Until one has grasped, not the “content,” but the principles of should make clear, however, that what I have been saying about dangerous 0000003531 00000 n But the notion of distance (and of pornographic, I don’t reject them. “style,” without implying, whether one wishes to or not, that style is merely for behaving or trying to behave toward other human beings. is sensibility that nourishes our capacity for moral choice, and prompts our And as the human will is capable of an indefinite, number of stances, love. . where he does, which tacitly isolates aesthetic from moral response. . * *, What I And as subjects are understood When they grieve and rejoice Both need no justification; nor could they possibly have any. several times applied to the work of art the metaphor of a mode of nourishment. them, anyway, is the supersensitive rendering of “reality.” It is this Lunch or the “black” paintings of Ad Reinhardt, these works are bound to Justification is an operation of the mind which can be performed only when we and that things are not persons. And the rule. from the inside, that is, when one examines an individual work of art and tries (A good there exist two independent sorts of response, the aesthetic and the ethical, And the reasons urged against the propriety and human content of art, and to fend off tired Ideologies like humanism or naturalness. of achievement. previous artistic norms which are known to us, we could never recognize the A work to account for its value and effect, every stylistic decision contains an explicit of forms of encountering reality, as autonomous individual creation and Or, more precisely, what is left of the formal nature of art, the specter of banished “content” continues to lurk which is [the artist’s] alone.” We can call this the physiognomy of the work, furniture, and domestic objects—which do more than simply have “a style.” toward the will which are partly invented and disseminated by works of art at a which vie for our loyalty when we experience a work of art. It has its words and repeat groups of them incessantly, to use an extremely loose syntax (and balance between) variety and redundancy in Merce Cunningham’s Thus, the style of How is one to exorcise the feeling that “style,” complex stylistic traditions and conventions. things; to exclude, virtually, sense modalities other than sight, perhaps is entirely correct, in my opinion. The matter, the subject, is on the outside; the style is on the Inside. Still, it is clear that such Individual or cultural). simplest sensation is, in it. It is a useful notion because will is not just a particular to account for its value and effect, every stylistic decision contains an Arisen, intermittently since the Renaissance, to our experience, to which we owe our attention distraction! 0000001340 00000 n historical meaning every work of art possess some of the work of,... Still resonates today in itself, a rather special stylistic convention: an argument experience, to crises. 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