KINDLE [Regarding the Pain of Others]

• Paperback
• 117
• Regarding the Pain of Others
• Susan Sontag
• English
• 04 September 2020
• 9780141012377

Susan Sontag ↠ 7 Read & Download

Free download ñ Regarding the Pain of Others 107 Twenty five years after her classic On Photography Susan Sontag returns to the subject of visual representations of war and violence in our culture today How does the spectacle of the sufferings of others via television or newspapers affect us Are viewers inured or incited to violence by the depiction of cruelty In Regarding the Pain of Others Sontag takes a fresh. A brilliant expansion and revision of On Photography Regarding the Pain of Others argues for approaching images of suffering only as invitations to consider the origins and impact of social ineuality Drawing attention to how photography is always both art and testimony Sontag convincingly deconstructs the idea that a photo of pain by itself can reveal anything universal or self evident about oppression historical or ongoing The author then claims that even if photos of suffering can t act as objective evidence of anything civil society shouldn t shy away from them but rather self consciously embrace them as sparks to learn act up and speak out about specific injustices Sontag s condemnation of Western apathy is lucid and even if some of her claims merit scrutiny her work s incredibly stimulating and rewarding Publication Manual of the American Psychological Association in our culture today How does the spectacle of the sufferings of others via television or newspapers affect us Are viewers Tycoons Tender Touch Second Sisters # 3 incited to violence by the depiction of cruelty In Regarding the Pain of Others Sontag takes a fresh. A brilliant expansion and revision of On Photography Regarding the Pain of Others argues for approaching After We Collided images of suffering only as Cocaine An Unauthorized Biography invitations to consider the origins and Hold Tight The Embrace Series #2 impact of social Basic Documents in Medieval History ineuality Drawing attention to how photography UnBonded Ruth Gron #3 is always both art and testimony Sontag convincingly deconstructs the Bead and Weave Primer idea that a photo of pain by TheMoving Pictures Generation itself can reveal anything universal or self evident about oppression historical or ongoing The author then claims that even In the Hall with the Knife if photos of suffering can t act as objective evidence of anything civil society shouldn t shy away from them but rather self consciously embrace them as sparks to learn act up and speak out about specific The Collar injustices Sontag s condemnation of Western apathy Live and Let Fly is lucid and even Live and Let Fly if some of her claims merit scrutiny her work s Así funciona su ordenador por dentro incredibly stimulating and rewarding

Free download ñ Regarding the Pain of Others 107 Look at the representation of atrocity from Goya's The Disasters of War to photographs of the American Civil War lynchings of blacks in the South and the Nazi death camps to contemporary horrific images of Bosnia Sierra Leone Rwanda Israel and Palestine and New York City on September 11 2001 In Regarding the Pain of Others Susan Sontag once again changes the way. An examination of images of war and how those that view these images react to them Concise Sontag writes of the history of war photography and earlier depictions of war through paintings and the purpose of these images for the victims of war the perpetrators as well as those that view them The understanding of war among people who have not experienced war is now chiefly a product of the impact of these images A fact that many can confirm Although I did experience war myself at some point in my life it was early enough that I have no surviving memories from the period and so I too know of war mainly from the images that I ve seen on the television about war Sontag writes about how these pictures come to the viewers the intent behind those that capture these images being less important than the response from the viewers Also examining what repeated exposure of tragic events does to those that repeatedly view them the tragic events are commemorated and those that are not We don t get it We truly can t imagine what it was like We can t imagine how dreadful how terrifying war is and how normal it becomes Can t understand can t imagine That s what every soldier and every journalist and aid worker and independent observer who has put in time under fire and had the luck to elude the death that struck down others nearby stubbornly feels And they are right This was a fantastic read the kind that perfectly articulates snatches of thoughts that you couldn t have shaped into the ideas presented to you while informing you and jolting you to think beyond what you would typically of war and its representation

Summary Regarding the Pain of Others

Free download ñ Regarding the Pain of Others 107 We think about the uses and meanings of images in our world and offers an important reflection about how war itself is waged and understood in our timeFeatures an analysis of our numbed response to images of horror This title alters our thinking about the uses and meanings of images and about the nature of war the limits of sympathy and the obligations of conscien. Reducing The Pain of The Other Susan Sontag takes a fresh look at the representation of atrocity from Goya s The Disasters of War to photographs of the American Civil War lynchings of blacks in the South and the Nazi death camps to contemporary horrific images of Bosnia Sierra Leone Rwanda Israel and Palestine and New York City on September 11 2001Sontag attacks the modern obsession with photography with documenting everything She looks at all the arguments on why photography might help us understand better the suffering and trauma of war of the pain of others but concludes that it is an ineffective medium because it reduces the observer to a single frame instead of taking himher beyond to the true excesses of suffering that is trapped within the same frame just out of reachIn fact she euates photography and war saying that one cannot exist without the other There is no war without photography that notable aesthete of war Ernst Jiinger observed in 1930 thereby refining the irrepressible identification of the camera and the gun shooting a subject and shooting a human being War making and picture taking are congruent activities It is the same intelligence whose weapons of annihilation can locate the enemy to the exact second and meter wrote Jiinger that labors to preserve the great historical event in fine detail Instead of bringing home the reality of war and pain photography transmutes horror into an aesthetic into fiction into the surreal Instead she proposes that words should be the medium of conveying this pain for photographs also enlist some baser spectatorship appetite Perhaps through works such as Dexter Filkins writings She even goes on to suggest that maybe a censuring os some sort should be involved so that we are not caught in an eternal ratchet gory pictures make us inured and we need gorier pictures so the next war can ratchet up its violence till the new reuirementlimit is satisfied She admits that this sort of censure is not going to happen so it is up to the reading public perhaps to deliberately avoid such representations of the pain of others We have to accept that These dead are supremely uninterested in the living in those who took their lives in witnesses and in us Why should they seek our gaze What would they have to say to us We this we is everyone who has never experienced anything like what they went through don t understand We don t get it We truly can t imagine what it was like We can t imagine how dreadful how terrifying war is and how normal it becomes Can t understand can t imagine That s what every soldier and every journalist and aid worker and independent observer who has put in time under fire and had the luck to elude the death that struck down others nearby stubbornly feels And they are right