Sontag erotics of art

University of California Press, pp. Fiction comes much easier, in the sense that the first draft contains the essentials — tone, lexicon, velocity, passions — of what I eventually end up with. Despite the promise of her brilliant university career, she had other ideas. Thus, interpretation is not as most people assume an absolute value, a gesture of mind situated in some timeless realm of capabilities. Our time is so full of distractions. Actually, they have no meaning without interpretation. She also claims that the over emphasis on the content of a work of art comes about through excessive interpretation which itself is designed to illustrate certain codes or rules of interpretation e. Chase. Age: 28. Hi my name is Nina Meg. Age: 26. *Intellectual convo

This Week’s Special: Susan Sontag’s “Against Interpretation”

The Benefactor and Death Kit are particularly fine, provided they are read as parodies of intellectual solemnity. And ironically enough, it is the dispassionate, wintry, methodical approach that Sontag herself had warned against. In none of these endeavors has her tone faltered from the serious, committed voice of her early essays. It has such capabilities and artists use them. Perhaps this is a result of art's delight in play or its irreverence. Every style is a means of insisting on something. I, personally, was not interested in scratching the itch, but my partner allowed it to consume her for awhile. I mean the nascent movement against the American war on Vietnam, which was to consume a large part of my life from through the early s. Search Search this site: Behind the ambivalence toward style is, ultimately, the historic Western confusion about the relation between art and morality, the aesthetic and the ethical. You describe two problems: But in her mitigations of interpretation she seems to allow that it is not always in the wrong, just out of balance.

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The new sensibility | The New Criterion

Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. Thirty years later, the undermining of standards of seriousness is almost complete, with the ascendancy of a culture whose most intelligible, persuasive values are drawn from the entertainment industries. Here, Sontag would seem to be a connoisseur of language. Dialectics of Criticism and Culture Ithaca and London: Susan Sontag spoke of the promiscuity of art and literature-the willingness of great artists and writers to scandalize their spectators through critical frankness, complexity, and beauty. Sontag's notion that "the characteristic aim of modern art" is "to be unacceptable to its audience" [her italics] is central also to the essay "The Aesthetics of Silence," in S. The debt to Wilde is manifest on almost every page.

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