Illness As Metaphor Susan Sontag
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Metaphor in Complementary Medicine, Which Was Found in Nearly All
This is a peer-reviewed, post-print (final draft post-refereeing) version of the following published document: Stibbe, Arran ORCID: 0000-0002-3854-9854 (1998) The role of image systems in complementary medicine. Complementary Therapies in Medicine, 6 (4). pp. 190-194. doi:10.1016/S0965- 2299(98)80027-7 Official URL: http://dx.doi.org/10.1016/S0965-2299(98)80027-7 DOI: http://dx.doi.org/10.1016/S0965-2299(98)80027-7 EPrint URI: http://eprints.glos.ac.uk/id/eprint/1060 Disclaimer The University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material. The University of Gloucestershire makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited. The University of Gloucestershire makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights. The University of Gloucestershire accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. PLEASE SCROLL DOWN FOR TEXT. This is a peer-reviewed, post-print (final draft post-refereeing) version of the following published document: Stibbe, A. (1998). The role of image systems in complementary medicine.Complementary Therapies in Medicine, 6(4), 190-194. Published in Complementary Therapies in Medicine, and available online at: http://www.sciencedirect.com/science/journal/09652299 We recommend you cite the published (post-print) version. -
Three Elegies for Susan Sontag
Three Elegies for Susan Sontag 1. Art WHEN I WAS FINDING my voice as a writer in the thick of the sixties, Susan Sontag loomed large: she was among the relatively few literary intellectuals who were seriously trying to grapple with a new, rich, and, for many, disconcerting cultural situation. The title essay of her first collection, Against Interpretation, combined a formidable erudition about the avant-garde with a manifesto-like plea that critics end their one- sided emphasis on teasing out the meaning of art and embrace their pleasure in it. "What is important now," she wrote, "is to recover our senses. We must learn to see more, to hear more, to feel more . In place of a hermeneutics we need an erotics of art." The arch- interpreters of the modernist canon, Marx and Freud, had in Sontag's view outlived their usefulness. Film, she declared, was "the most alive, the most exciting, the most important of all art forms right now" because its vivid immediacy discouraged interpretation. The reason, in part, was "the happy accident that films for such a long time were just movies; in other words, that they were supposed to be part of mass, as opposed to high, culture, and were left alone by most people with minds." Another essay in the same volume, "One Culture and the New Sensibility," argued that the distinction between high and low culture was breaking down and that the hallmark of the "new sensibility" was its orientation toward non-literary forms. "Sensations, feelings, the abstract forms and styles of sensibility": this was the stuff of contemporary art. -
Susan Sontag's Dying in Photography and Prose
humanities Article Temporality and the Carer’s Experience in the Narrative Ecology of Illness: Susan Sontag’s Dying in Photography and Prose Yianna Liatsos School of English, Irish, and Communication, University of Limerick, V94 T9PX Limerick, Ireland; [email protected] Received: 24 June 2020; Accepted: 11 August 2020; Published: 16 August 2020 Abstract: This paper joins a discussion about the representational dissonance and commemorative ethics of two self-referential works that engage with Susan Sontag’s 2004 death from Myelodysplastic Syndrome: Annie Leibovitz’s A Photographer’s Life 1990–2005 (2006) and David Rieff’s Swimming in a Sea of Death: A Son’s Memoir (2008). Instead of approaching these two texts as testimonial accounts measured by standards of reliability and grace, this paper considers how the temporal dissonance produced by an incurable cancer diagnosis thwarts questions of personhood and ethical intention in Leibovitz’s photography and Rieff ’s prose. By contextualizing these works as the caregivers’ experience of Sontag’s illness, this paper reads them as attempts at gauging two distinct temporal perspectives that confound identification—those of living through and of remembering terminal time. Keywords: illness memoir; illness photography; cancer; prognosis; temporality Susan Sontag’s 2004 death from Myelodysplastic Syndrome (MDS) is routinely addressed in publications on Sontag’s oeuvre and the Medical Humanities at large, mostly through reference to two texts: Annie Leibovitz’s A Photographer’s Life 1990–2005 (2006), -
American Characters Reflected in Susan Sontag's Literary Writings
American International Journal of Social Science Vol. 2 No. 7; October 2013 American Characters Reflected in Susan Sontag’s Literary Writings Song Shenli (宋沈黎) College of Foreign Languages, Zhejiang Gongshang University 1 Foreign Language College Zhejiang Gongshang University Xia Sha City-University-Town, Hangzhou, Zhejiang, 310018 China Abstract The influential yet controversial American writer and critic Susan Sontag, is reputable for her sharp insight and profound learning, Sontag’s writings cover a wide range of fields, including social criticism, literary creation, cultural studies, and political critiques. To further understand Sontag’s contributions to contemporary American literature and culture, this thesis is aimed at exploring the formation of her thematic consideration and the employment of artistic techniques so as to reveal the core values of Sontag’s creative writings. Key Words: American Characters; National identity; Utopia But there’s everything in Shakespeare. Exactly. As in America. America is meant to mean everything. — Susan Sontag, In America At the end of the twentieth century, Susan Sontag stands as a highly visible international figure for her established fame in the literary circle and the domain of social criticism. As an essayist, short story writer, novelist and a leading commentator on modern culture, Susan Sontag has produced many essays covering such diverse topics as camp, pornographic literature, fascist aesthetics, photography, AIDS, and revolution in the third world countries. Within the American literary circle, she was called “a literary pinup,” and “the dark lady of American Letters,” while she remains as one of 50 Great Living Americans in Marquis’s Who’s Who (1995). Ranking number 61 on Life’s list of “Women Who Shook the World,” (1995) Sontag has been named a Chevalier in the Order of Arts and Letters in Paris (1995) and has won a Macarthur “genius” award (1990) and the Montblanc de la Culture award (1994) for her humanitarian work in Sarajevo. -
A Few Lies: Queer Theory and Our Method Melodramas David Kurnick
A Few Lies: Queer Theory and Our Method Melodramas David Kurnick ELH, Volume 87, Number 2, Summer 2020, pp. 349-374 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/elh.2020.0011 For additional information about this article https://muse.jhu.edu/article/757342 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] A FEW LIES: QUEER THEORY AND OUR METHOD MELODRAMAS BY DAVID KURNICK “We have been telling a few lies”: the words mark the end of what we could call the overture of Leo Bersani’s 1987 essay “Is the Rectum a Grave?”1 The lies Bersani is referring to are, in the first place, the dignifying fantasies gay male activists have spun about the necessarily liberatory consequences of same-sex attraction. Right-wing politics, he has just reminded us, consort quite nicely with some men’s “marked sexual preference for sailors and telephone linemen.”2 He is about to tear off into what for some of us, more than thirty years later, remains a famous rebuttal of Dennis Altman’s claims for the gay bathhouse as a space of Whitmanian democracy. Bersani begs to differ: “Your looks, muscles, hair distribution, size of cock, and shape of ass determined exactly how happy you were going to be during those few hours[.]”3 Such deflationary rhetoric is, of course, one of Bersani’s hallmarks. But he’s not alone in it. In fact, uncomfortable truth-telling constitutes a central tradition in what we have for a while been calling queer culture. -
Downloaded from Brill.Com09/25/2021 10:40:21AM Via Free Access
part 2 Drugs and Cancers: From Nation to Fiction ⸪ Haomin Gong - 9789004319219 Downloaded from Brill.com09/25/2021 10:40:21AM via free access <UN> Haomin Gong - 9789004319219 Downloaded from Brill.com09/25/2021 10:40:21AM via free access chapter 4 Unmaking of Nationalism: Drug Addiction and Its Literary Imagination in Bi Shumin’s Novel Haomin Gong 龚浩敏 The “genesis” of modern Chinese literature is closely connected with disease. Lu Xun’s 鲁迅 symbolic shift from medical studies to literature has, over the years, become a myth in the narrative of the rebuilding of a national litera- ture. His relentless critique of the corrupt Confucian tradition and the defec- tive Chinese national character, best exemplified in his short stories such as “A Madman’s Diary” (“Kuangren riji” 狂人日记), “The True Story of Ah Q” (“Ah Q zhengzhuan” 阿Q正传) and, more manifestly, “Medicine,” constitutes a start- ing point for much modern Chinese literature and serves to shape its most striking characteristic, which is, in C.T. Hsia’s influential phrase, “an obsession with China.” What characterizes modern Chinese literature, in Hsia’s view, is “its burden of moral contemplation: its obsessive concern with China as a na- tion afflicted with a spiritual disease and therefore unable to strengthen itself or change its set ways of inhumanity.”1 This concern with spiritual disease, so prominent in Lu Xun’s works, as well as those of his followers, is inevitably in wedlock with national concerns, given modern Chinese literature’s “obsessive concern with China as a nation.” Re- cent studies have shown that writing of diseases in modern China is deeply shaped by sociocultural conditions and, as a result, diseases are often used as a metaphor and become highly ideological.2 However, drug addiction, a dis- ease that is so central to Chinese national crisis, has unfortunately yet been adequately explored. -
SUSAN .SONTAG ESSAYS of the 1960S & 70S
SUB Hamburg A 2014/7453 SUSAN .SONTAG ESSAYS OF THE 1960s & 70s Against Interpretation Styles of Radical Will On Photography ' Illness as Metaphor Uncollected Essays David Rieff, editor Contents AGAINST INTERPRETATION AND OTHER ESSAYS (1966) I Against Interpretation, 10 On Style, 21 II The Artist as Exemplary Sufferer, 44 Simone Weil, 53 Camus' Notebooks, 56 Michel Leiris' Manhood, 64 The Anthropologist as Hero, 71 The Literary Criticism of Georg Lukacs, 83 Sartre's Saint Genet, 93 Nathalie Sarraute and the Novel, 99 in Ionesco, 112 Reflections on The Deputy, 120 The Death of Tragedy, 127 Going to Theater, etc., 135 Marat/Sade/Artaud, 157 - iv Spiritual Style in the Films of Robert Bresson, 170 Godard's Vivre Sa Vie, 187 The Imagination of Disaster, 199 Jack Smith's Flaming Creatures, 215 Resnais' Muriel, 220 A Note on Novels and Films, 229 v Piety Without Content, 234 Psychoanalysis and Norman O. Brown's Life Against Death, 241 Happenings: An Art of Radical Juxtaposition, 248 Notes on "Camp," 259 One Culture and the New Sensibility, 275 STYLES OF RADICAL WILL (1969) I The Aesthetics of Silence, 292 The Pornographic Imagination, 320 "Thinking Against Oneself ": Reflections on Cioran, 353 II Theatre and Film, 374 Bergman's Persona, 394 Godard, 414 Vlll CONTENTS ill What's Happening in America (1966), 452 Trip to Hanoi, 462 ON PHOTOGRAPHY (1977) In Plato's Cave, 529 America, Seen Through Photographs, Darkly, 546 Melancholy Objects, 563 The Heroism of Vision, 587 Photographic Evangels, 608 The Image-World, 635 A Brief Anthology of Quotations, 656 ILLNESS AS METAPHOR (1978), 675 UNCOLLECTED ESSAY'S William Burroughs and the Novel, 733 The Double Standard of Aging, 745 The Third World of Women, 769 Francis Bacon: "About Being in Pain," 800 A Woman's Beauty: Put-Down or Power Source?, 803 Beauty: How Will It Change Next?, 806 • Chronology, 815 Note on the Texts, 825 Notes, 831 Index, 853 . -
Against Interpretation: and Other Essays Free
FREE AGAINST INTERPRETATION: AND OTHER ESSAYS PDF Susan Sontag | 336 pages | 25 Aug 2001 | St Martin's Press | 9780312280864 | English | New York, United States Against Interpretation - Wikipedia However, your assignment doesn't have to be a hair-pulling, frazzled all-nighter. In the middle, you'll find the meat. Your introduction is like the top bun announcing the subject, your supporting paragraphs are the beef in the middle, and your conclusion is the bottom bun, supporting everything. Who, after all, would eat a burger composed only of bread and beef? Each part needs to be present: A soggy or missing bun would cause your fingers to slip immediately into the beef without being able to hold and enjoy the burger. But if your burger had no beef in the middle, you'd be left with two dry pieces of bread. Your thesis statement could read: "Information technology has revolutionized the way we work. The final sentences of your introduction, then, would be a mini-outline of what your essay will cover. Don't use an outline form, but explain briefly all the key points you intend to discuss in narrative form. These would include well-researched and logical points that support your thesis. Bellevue explains that your supporting paragraphs should provide rich, vivid imagery, or Against Interpretation: And Other Essays and specific supporting details, depending on your topic. A Against Interpretation: And Other Essays supporting paragraph for the technology topic, discussed previously, could draw on current events. In its Jan. The younger, hipper, agency, by contrast, had Against Interpretation: And Other Essays with Facebook Inc. -
Critique and Postcritique
CRITIQUE AND POSTCRITIQUE ELIZABETH S. ANKER AND RITA FELSKI, editors CRITIQUE AND POSTCRITIQUE CRITIQUE AND POSTCRITIQUE ELIZABETH S. ANKER & RITA FELSKI, EDITORS duke university press Durham and London 2017 © 2017 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Anker, Elizabeth S. (Elizabeth Susan), [date]— editor. | Felski, Rita, [date]— editor. Title: Critique and postcritique / Elizabeth S. Anker and Rita Felski, editors. Description: Durham : Duke University Press, 2017. | Includes bibliographical references and index. Identifi ers: lccn 2016042487 (print) lccn 2016043715 (ebook) isbn 9780822363613 (hardcover : alk. paper) isbn 9780822363767 (pbk. : alk. paper) isbn 9780822373049 (e- book) Subjects: lcsh: Criticism. | Criticism— Methodology. | Hermeneutics. Classifi cation: lcc pn81 .c853 2017 (print) | lcc pn81 (ebook) | ddc 801/.95— dc23 lc rec ord available at https:// lccn . loc . gov / 2016042487 Cover art: Alma Th omas, Hydrangeas Spring Song, 1976. Acrylic on canvas. 198.1 × 121.9 cm. Courtesy of Charles Th omas Lewis and the Philadelphia Museum of Art, Object Number 2002201. 125th Anniversary Acquisi- tion. Purchased with funds contributed by Mr. and Mrs. Julius Rosenwald II in honor of René and Sarah Carr d’Harnoncourt, Th e Judith Rothschild Foundation, and with other funds being raised in honor of the 125th Anniversary of the museum and in cele bration of African American art, 2002. CONTENTS INTRODUCTION 1 Elizabeth S. Anker and Rita Felski PART I. COUNTERTRADITIONS OF CRITIQUE 1 “Nothing Is Hidden”: From Confusion to Clarity; or, Wittgenstein on Critique 31 Toril Moi 2 Th e Temptations: Donna Haraway, Feminist Objectivity, and the Prob lem of Critique 50 Heather Love 3 Th e Eighteenth- Century Origins of Critique 73 Simon During PART II. -
Post-Theory and Beyond E-ISSN 2596-304X Pós-Teoria E Além
artigos doi: https://doi.org/10.1590/2596-304x20212342lfv ISSN 0103-6963 Post-Theory and Beyond e-ISSN 2596-304X Pós-teoria e além Luiz Fernando Valente Department of Portuguese and Brazilian Studies. Department of Comparative Literature. Brown University, Providence, Rhode Island, USA E-mail: [email protected] ABSTRACT This article surveys and assesses the eclectic trends in literary theory and criticism in the post- theory age with a focus on three rubrics: the cultural turn, the historic turn, and the affective turn. It concludes with a consideration of the current debate about symptomatic reading versus surface reading. KEYWORDS: cultural; historic; affective; symptomatic; surface. RESUMO Esse artigo faz um levantamento do eclético panorama da teoria e da crítica literárias na era da pós-teoria, avaliando-o a partir de três rubricas: a virada cultural, a virada histórica, e a virada afetiva. Conclui com uma reflexão sobre o debate atual entre leitura sintomática e leitura de superfície. PALAVRAS-CHAVE: cultural; histórico; afetivo; sintomático; superfície. editores: Regina Zilberman Gerson Roberto Neumann submetido: 29.09.2020 aceito: 22.10.2020 INTRODUCTION: THEORY AND POST THEORY headline in the October 13, 1993 edition of the Chronicle of Higher Education, a requisite publication for anyone concerned with the como citar: VALENTE, Luiz Fernando. professional debates in the North American academy, announced Post-Theory and Beyond. theA “beginning of the Age of Post-Theory” (WINKLER, 1993, n/p) after Rev. Bra. Lit. Comp., Porto a thirty-year dominance of what had become known as high theory. In Alegre, v. 23, n. 42, p. 21-37, jan./abr., 2021. -
Review Article in the Archive of Longing: Susan Sontag's Critical Modernism
Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. IX, No. 1, 2017 0975-2935 DOI: https://dx.doi.org/10.21659/rupkatha.v9n1.35 Full Text: http://rupkatha.com/V9/n1/v9n135.pdf Review Article In the Archive of Longing: Susan Sontag’s Critical Modernism Mena Mitrano, In the Archive of Longing: Susan Sontag’s Critical Modernism (Edinburgh: Edinburgh University Press, 2016), 214 Pages, £70.00, ISBN 978-1-4744-1434-0. Reviewed by Rajni Singh Associate Professor, Indian Institute of Technology (Indian School of Mines), Dhanbad, India. ORCID: 0000-0002-1569-8339. Email: [email protected] Mena Mitrano’s In the Archive of Longing: Susan Sontag’s Critical Modernism is an illuminating archival scrutiny of Sontag’s conflicting cravings for ‘knowledge and experience’. The book lays open the rich and diverse intellectual experiences of a young and aspiring writer who wished to transform literary criticism into a privileged space of reflection. Mitrano affirms that Sontag’s cry for ‘new’ brought her accolades (but only in the later part of her career) as well as condemnation. René Wellek paired her with Roland Barthes and rejected her for her appeal for a ‘new’ beginning by tagging her as a destroyer of criticism. As Mitrano shows, Sontag's archive “remains largely understudied” (2) the project presents ‘the Sontag’ who chose to be anti-philosopher or rather ‘non-traditional philosopher’. The archive of Sontag is examined under seven headings: ‘Thoughts about Thinking: Approaching Sontag’, ‘Aesthetic Experience and Critical Theory’, ‘The Public Intellectual’, ‘Modernism and Theory’, ‘Iconologies’, ‘Aura, Dread and the Amateur’, and ‘Interlocution’. -
Edward Said, Marxism, and the Valences of Critique
What’s Left? Marxism, Literature and Culture in the 21st Century How to Cite: Ryan, R C and Fitz Gerald, J 2018 Form at its Limits: Edward Said, Marxism, and the Valences of Critique. Open Library of Humanities, 4(2): 1, pp. 1–21, DOI: https://doi.org/10.16995/olh.241 Published: 20 July 2018 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Robert Cashin Ryan and James Fitz Gerald, ‘Form at its Limits: Edward Said, Marxism, and the Valences of Critique’ (2018) 4(2): 1 Open Library of Humanities, DOI: https://doi.org/10.16995/olh.241 WHAT’S LEFT? MARXISM, LITERATURE AND CULTURE IN THE 21ST CENTURY Form at its Limits: Edward Said, Marxism, and the Valences of Critique Robert Cashin Ryan1 and James Fitz Gerald2 1 University of Illinois-Chicago, US 2 Binghamton University, US Corresponding author: Robert Cashin Ryan ([email protected]) In his 1936 essay ‘Narrate or Describe’, György Lukács writes: ‘when a writer attempts as an observer and describer to achieve a comprehensive description, he must either reject any principle of selection, undertake an inexhaustible labour of Sisyphus or simply emphasize the picturesque and superficial aspects best adapted to description’.