Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Sontag S., On Photography — 2010 (Penguin Modern Classics)

Susan Sontag's groundbreaking critique of photography asks forceful questions about the moral and aesthetic issues surrounding this art form. Photographs are everywhere. They have the power to shock, idealize or seduce, they create a sense of nostalgia and act as a memorial, and they can be used as evidence against us or to identify us. Here Sontag examines the ways in which we use these omnipresent images to manufacture a sense of reality and authority in our lives

Ñîäåðæàíèå: In Plato's Cave ; America, Seen Through Photographs, Darkly ; Melancholy Objects ; The Heroism of Vision ; Photographic Evangels ; The Image-World ; A Brief Anthology of Quotations

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Çîíòàã Ñ., Ïîêëîííèê Âåçóâèÿ. [Ðîìàí] — 2004 (Èíîñòðàííàÿ ëèòåðàòóðà. XX+I)

Áðèòàíñêèé ïîñîë â Íåàïîëå Óèëüÿì Ãàìèëüòîí, ñòðàñòíûé êîëëåêöèîíåð è ïîêëîííèê êðàñîòû, ïîëó÷àåò ãëàâíîå ñîêðîâèùå ñâîåé æèçíè - áûâøóþ ëþáîâíèöó ïëåìÿííèêà, ïðåêðàñíóþ Ýììó. Ïîäíÿâ åå ñî äíà îáùåñòâà â âûñøèé ñâåò, îí, ïîäîáíî Ïèãìàëèîíó, ïðåâðàùàåò ñâîþ âóëüãàðíóþ Ãàëàòåþ â íàñòîÿùåå ïðîèçâåäåíèå èñêóññòâà. Íî ïîÿâëÿåòñÿ Ãåðîé, íåñãèáàåìûé è çàãàäî÷íûé, - ïðîñëàâëåííûé àäìèðàë Íåëüñîí...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñîíòàã Ñ., Ïðîòèâ èíòåðïðåòàöèè è äðóãèå ýññå — 2014

Ñîíòãàí áûëà ÷óòü ëè íå ïåðâîé, êòî ïîñòàâèë âîïðîñ îá îòñóòñòâèè íåïðîõîäèìîé ñòåíû ìåæäó "âûñîêîé" è "íèçêîé" êóëüòóðîé, à âîøåäøèå â ñáîðíèê "Çàìåòêè î êýìïå" è ýññå "Πñòèëå" ñôîðìèðîâàëè öåëóþ ýïîõó â èñòîðèè êðèòè÷åñêîé ìûñëè ÕÕ âåêà. Êíèãà ÏÐÎÒÈ ÈÍÒÅÐÏÐÈÒÀÖÈÈ, âïåðâûå îïóáëèêîâàííàÿ â 1966 ãîäó, äî ñèõ ïîð îñòàåòñÿ îäíèì èç ñàìûõ âïå÷àòëÿþùèõ ïðèìåðîâ êàðòîãðàôèè êóëüòóðíîãî ïðîñòðàíñòâà ìèíóâøåãî ñòîëåòèÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñîíòàã Ñ., Ñîçíàíèå, ïðèêîâàííîå ê ïëîòè. äíåâíèêè è çàïèñíûå êíèæêè 1964-1980 — 2014

"Ïîðîþ, êîãäà â ãîëîâó ìíå ïðèõîäÿò íåîáû÷íûå ìûñëè, ÿ äóìàþ î òîì, ÷òî ìàòåðèíñêèå äíåâíèêè (à íàñòîÿùàÿ êíèãà - ýòî âòîðîé èç òðåõ òîìîâ åå çàïèñîê) - ýòî íå ïðîñòî àâòîáèîãðàôèÿ, êîòîðóþ îíà òàê è íå ñîáðàëàñü ïèñàòü (à ïîñòóïè îíà òàê, òî àâòîáèîãðàôèÿ åå áûëà áû, âåðîÿòíî, ïðîèçâåäåíèåì âûñîêîëèòåðàòóðíûì è ôðàãìåíòàðíûì, â ÷åì-òî ñðîäíè "Ñàìîñîçíàíèþ" Äæîíà Àïäàéêà, êîòîðûì îíà âîñõèùàëàñü), à çàìå÷àòåëüíûé àâòîáèîãðàôè÷åñêèé ðîìàí, ñî÷èíÿòü êîòîðûé îíà íèêîãäà è íå ñîáèðàëàñü. Åñëè ðàçâèâàòü ìîþ ôàíòàçèþ ñîãëàñíî òðàäèöèîííîé òðàåêòîðèè, òî ïåðâûé òîì äíåâíèêîâ, "Çàíîâî ðîæäåííàÿ", îêàæåòñÿ ðîìàíîì âîñïèòàíèÿ - åå "Áóääåíáðîêàìè" (âñïîìèíàÿ ìîíóìåíòàëüíîå ïðîèçâåäåíèå Ìàííà) èëè, íà áîëåå êàìåðíîé íîòå, åå "Ìàðòèíîì Èäåíîì" (ïðî÷èòàííûé åþ â þíîñòè ðîìàí Äæåêà Ëîíäîíà, î êîòîðîì ìîÿ ìàòü ñ íåæíîñòüþ îòçûâàëàñü äî êîíöà æèçíè). Ýòîò âòîðîé òîì, êîòîðûé, ïîçàèìñòâîâàâ ôðàçó èç äíåâíèêîâ, ÿ íàçâàë "Ñîçíàíèå, ïðèêîâàííîå ê ïëîòè", ñòàë áû ðîìàíîì î äåÿòåëüíîé, óñïåøíîé çðåëîñòè". Äýâèä Ðèôô (ñûí Ñ. Ñîíòàã).

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Sontag S., Regarding the Pain of Others — 2004

"Regarding the Pain of Others" is Susan Sontag's searing analysis of our numbed response to images of horror. From Goya's "Disasters of War" to news footage and photographs of the conflicts in Vietnam, Rwanda and Bosnia, pictures have been charged with inspiring dissent, fostering violence or instilling apathy in us, the viewer. Regarding the "Pain of Others" will alter our thinking not only about the uses and meanings of images, but about the nature of war, the limits of sympathy, and the obligations of conscience.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñîíòàã Ñ., Ïîä çíàêîì Ñàòóðíà. [ñáîðíèê ýññå, íàïèñàííûå ñ 1972 ïî 1980 ãîä] — 2019

 ñáîðíèê âîøëè íàèáîëåå âàæíûå êðèòè÷åñêèå ýññå,íàïèñàííûå Ñüþçåí Ñîíòàã ñ 1972 ïî 1980 ãîä.Ïîìèìî ïðîíçèòåëüíûõ âîñïîìèíàíèé î Ðîëàíå Áàðòå è Ïîëå Ãóäìàíå è ýññå î ÂàëüòåðåÁåíüÿìèíå è Àíòîíåíå Àðòî,"Ïîä çíàêîì Ñàòóðíà" âêëþ÷àåò â ñåáÿ êðèòèêó ëþáèìîãî ðåæèññåðà Ãèòëåðà Ëåíè Ðèôåíøòàëü,à òàêæå áëèñòàòåëüíûé àíàëèç àíòèôàøèñòñêîãî ôèëüìà Õàíñà-Þðãåíà Èáåðáåðãà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñîíòàã Ñ., Áîëåçíü êàê ìåòàôîðà. [ñáîðíèê ýññå] — 2016

Âñÿêàÿ áîëåçíü, åñëè îíà òàèíñòâåííà è ïîðîæäàåò ñòðàõ, âñåãäà áóäåò âîñïðèíèìàòüñÿ êàê çàðàçíàÿ, ïóñòü íå â áóêâàëüíîì, íî â íðàâñòâåííîì ñìûñëå». Äâà ýññå Ñüþçåí Ñîíòàã ïîñâÿùåíû îïèñàíèþ è ðàçîáëà÷åíèþ ïîïóëÿðíûõ ìèôîâ î çàáîëåâàíèÿõ Íîâîãî âðåìåíè: êàê èç ôèçè÷åñêèõ íåäóãîâ îòäåëüíûõ ëþäåé îíè ïðåâðàùàþòñÿ â èíñòðóìåíò ìîðàëè è îáùåñòâåííîãî ïîðèöàíèÿ.

Ñîäåðæàíèå:  êí. òàêæå: ÑÏÈÄ è åãî ìåòàôîðû

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ñîíòàã Ñ., Áîëåçíü êàê ìåòàôîðà. [ñáîðíèê ýññå] — 2022

"Áîëåçíü êàê ìåòàôîðà" (1978) - ýññå Ñüþçåí Ñîíòàã, â êîòîðîì îíà ïûòàåòñÿ äåìèñòèôèöèðîâàòü ðàê, ðàçîáëà÷àÿ ìèôû è ìåòàôîðû, îêðóæàþùèå ýòó áîëåçíü. Òåìîé ðàáîòû ÿâëÿåòñÿ íå ôèçè÷åñêàÿ áîëü êàê òàêîâàÿ, à èñïîëüçîâàíèå áîëåçíè â êà÷åñòâå ôèãóðû ðå÷è. Ñîíòàã óòâåðæäàåò, ÷òî ðàê íå ÿâëÿåòñÿ íè ïðîêëÿòèåì, íè íàêàçàíèåì; ýòî ïðîñòî çàáîëåâàíèå (êîòîðîå âîçìîæíî èçëå÷èòü). Ñïóñòÿ äåñÿòü ëåò, ñî âñïûøêîé íîâîé ñòèãìàòèçèðîâàííîé áîëåçíè, èçîáèëóþùåé ìèñòèôèêàöèÿìè è êàðàòåëüíûìè ìåòàôîðàìè, ïîÿâèëîñü ïðîäîëæåíèå "Áîëåçíè..." "ÑÏÈÄ è åãî ìåòàôîðû" (1989) ýññå, ðàñøèðÿþùåå ïîëå èññëåäîâàíèÿ äî ïàíäåìèè ÑÏÈÄà

Ñîäåðæàíèå:  êí. òàêæå: ÑÏÈÄ è åãî ìåòàôîðû

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû ïî åñòåñòâåííûì è òåõíè÷åñêèì íàóêàì

Ïîäðîáíàÿ èíôîðìàöèÿ