128 ordspråk av Susan Sontag

Susan Sontag

Susan Sontag föddes den 16 januari 1933 och dog den 28 december 2004 - amerikansk författarinna.
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Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probing below the surface, for a redemption and celebration of the body of the world. Ultimately, having an experience becomes identical with taking a photograph of it.

Jews and homosexuals are the outstanding creative minorities in contemporary urban culture. Creative, that is, in the truest sense: they are creators of sensibilities. The two pioneering forces of modern sensibility are Jewish moral seriousness and homosexual aestheticism and irony.

I do not think white America is committed to granting equality to the American Negro... this is a passionately racist country; it will continue to be so in the foreseeable future.

Tamed as it may be, sexuality remains one of the demonic forces in human consciousness -- pushing us at intervals close to taboo and dangerous desires, which range from the impulse to commit sudden arbitrary violence upon another person to the voluptuous yearning for the extinction of one's consciousness, for death itself. Even on the level of simple physical sensation and mood, making love surely resembles having an epileptic fit at least as much as, if not more than, it does eating a meal or conversing with someone.

A large part of the popularity and persuasiveness of psychology comes from its being a sublimated spiritualism: a secular, ostensibly scientific way of affirming the primacy of "spirit" over matter

The standard that a society should actually embody its own professed principles is a utopian one, in the sense that moral principles contradict the way things really are --- and always will be. How things really are --- and always will be --- is neither all-evil nor all-good but deficient, inconsistent, inferior. Principles invite us to do something about the morass of contradictions in which we function morally. Principles invite us to clean up our act; to become intolerant of moral laxity and compromise and cowardice and the turning away from what is upsetting: that secret gnawing of the heart that tells us that what we are doing is not right, and so counsels us that we'd be better off just not thinking about it.

Etik

The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.

Fewer and fewer Americans possess objects that have a patina, old furniture, grandparents pots and pans / the used things, warm with generations of human touch, essential to a human landscape. Instead, we have our paper phantoms, transistorized landscapes. A featherweight portable museum.

The love of the famous, like all strong passions, is quite abstract. Its intensity can be measured mathematically, and it is independent of persons.

One set of messages of the society we live in is: Consume. Grow. Do what you want. Amuse yourselves. The very working of this economic system, which has bestowed these unprecedented liberties, most cherished in the form of physical mobility and material prosperity, depends on encouraging people to defy limits.

AIDS occupies such a large part in our awareness because of what it has been taken to represent. It seems the very model of all the catastrophes privileged populations feel await them.

It is not altogether wrong to say that there is no such thing as a bad photograph -- only less interesting, less relevant, less mysterious ones.

Victims suggest innocence. And innocence, by the inexorable logic that governs all relational terms, suggests guilt.

The taste for worst-case scenarios reflects the need to master fear of what is felt to be uncontrollable. It also expresses an imaginative complicity with disaster.

In good films, there is always a directness that entirely frees us from the itch to interpret.

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