Sontag spelled out this critical program in her 1964 essay, “Against Interpretation,” which now appears in the Norton Anthology of Theory and Criticism in its most recent third edition—the sure sign of her domestication by American humanities. But after Sontag unpacked the concept, with the help of Oscar Wilde, I began to see the cultural world in a different light. "[6] Brandon Robshaw of The Independent later observed, "This classic collection of essays and criticism from the 1960s flatters the reader's intelligence without being intimidating." The chief commodity of Susan Sontag's Against Interpretation, according to its author and her reviewers, is a modern sensibility.Stress the modernity here, since she is distinguished less by a decided or passionate point of view (compare her as a film critic, for example, with two such disparate personalities as James Agee and Kenneth Tynan) than by an eagerness to explore anything new. Sontag explains that "interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art." [Susan Sontag] Against interpretation and other es(BookZZ.org) Amy Hollinrake Tune. Sontag also refers to the contemporary world as one of “overproduction... material plentitude”,[4] where one's physical senses have been dulled and annihilated by mass production and complex interpretation to the extent that appreciation of the form of art has been lost. Literary Bennington: In her essay about the whole ‘Susan Sontag Affair,’ “Sontag, Bloody Sontag,” Camille Paglia claims that Against Interpretation (1967) marks the “high point” of Sontag’s reputation. Though they bear the stamp of their time, Sontag was remarkably prescient; her project of analysing popular culture as well as high culture, the Doors as well as Dostoevsky, is now common practice throughout the educated world. All culture is a displacement, however temporary, of violence. And the artists and intellectuals she discusses – Nietzsche, Camus, Godard, Barthes etc – demonstrate that she knew which horses to back. Though she claims that interpretation can be “stifling”, making art comfortable and “manageable” and thus degrading the artist’s original intention, Sontag equally presents a solution to the dilemma she sees as an abundance of interpretation on content. Sontag simply failed to understand that All culture is a metaphor for violence. Sontag objects to critics' need to decode art into its "meaning" or "content," divorcing it from how this content is embodied. The book was a finalist for the Arts and Letters category of the National Book Award [1]. She is the author of four novels, a collection of stories, several plays, and six books of essays, among them Against Interpretation and On Photography.Her books are translated into thirty-two languages. As the name suggests, the essay is all about Susan’s idea of what interpretation is, and why she’s against it. Here Sontag is saying that photographs provide evidence, that the trip was taken and that is it almost like the trip didn’t happen, In “Why We Take Pictures,” Susan Sontag discusses the increase use of technology and its ability to impact the daily lives of mankind. Sontag argues how the use of photography is capable of surpassing our reality by helping us understand the concept of emotion, diversity, and by alleviating anxiety and becoming empowered. Asif Ali Swetha Antony, Assistant Professor, DU IA Term Paper Sem - II 3 APRIL 2015 Susan Sontag’s View on Interpretation and its Applications and Analysis Using Bedlam Painting Number Eight Interpretation has been a phenomenon existing from the time immemorial. She writes her views on how she feels the overuse of interpretation diminishes the value of any given art piece by redundantly searching for meaning that might not even, photograph as fact or an interpretation because they only see a part of what has happened during that captured moment. The task of interpretation is virtually one of translation. 10 “Interpretation,” according to Sontag, “is the revenge of the intellect upon art. Sontag’s objection is that interpretation destroys our understanding of the text. Photographs will offer indisputable evidence that the trip was made, that the program was carried out, that fun was had” (9). Or is it?” So begins Susan Sontag's introductory essay to the book Women, a collection of photographs by Annie Leibovitz. Against Interpretation, Susan Sontag’s second book, was published in 1966, but some of the essays date back to 1961, when she was still writing for The Benefactor.
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