scholarly journals O pewnych podobieństwach i zasadniczej różnicy w interpretowaniu tekstów prawnych oraz literackich

2021 ◽  
pp. 157-168
Author(s):  
Jędrzej Janicki
Keyword(s):  
Susan Sontag

Celem artykułu jest ukazanie, że na pewnym poziomie interpretacyjnym zarówno teksty prawne, jak i teksty literackie mają charakter niesamoistny – dla potrzeb tego rodzaju zbliżenia perspektywy analizy tekstów prawnych i literackich wykorzystuję odpowiednio elementy teorii derywacyjnej dla tekstów prawnych oraz elementy teorii Susan Sontag oraz Erica Donalda Hirscha dla tekstów literackich. Przypisanie cechy niesamoistności znaczenia tekstom prawnym oraz literackim wymusza przyjrzenie się możliwym „pozatekstowym źródłom”, pozwalającym na zrekonstruowanie znaczenia tych dwóch rodzajów tekstów. Nie może umknąć jednak uwadze zasadnicza rozbieżność warunkująca możliwości w interpretowaniu tekstów prawnych oraz literackich – interpretacja tekstów prawnych ma na celu ujednolicanie ich znaczeń, a interpretacja tekstów literackich (zwłaszcza w duchu „anarchizmu interpretacyjnego”) może mieć na celu mnożenie wyinterpretowanych znaczeń.

Entrevue avec Susan Sontag

Caliban ◽  
1973 ◽  
Vol 10 (1) ◽  
pp. 93-111
Author(s):  
Maurice Lévy ◽  
Susan Sontag
Keyword(s):  
Susan Sontag

Romance e imagem em O fotógrafo, de Cristóvão Tezza

2012 ◽  
Vol 4 (8) ◽  
Author(s):  
Cimara Valim De Melo
Keyword(s):  
Mikhail Bakhtin ◽  
Roland Barthes ◽  
Susan Sontag

O presente ensaio busca analisar o romance O fotógrafo, de Cristóvão Tezza, para dele extrair elementos comuns à romanesca contemporânea quanto ao modo como esta realiza a projeção imagética e plástica das relações eu/outro nos limites espaciais da criação literária. Para isso, a pesquisa tem como base os estudos de Mikhail Bakhtin sobre as relações entre atividade estética, imagem, espaço e personagem, além dos de Roland Barthes e Susan Sontag sobre o fotográfico e de Erving Goffmann sobre representação.

Remembering Susan Sontag

2005 ◽  
Vol 24 (1) ◽  
pp. 5-7
Author(s):  
Mindy Thompson Fullilove
Keyword(s):  
Susan Sontag

scholarly journals Emancipating the Image: The Beijing Olympics, Regeneration, and the Power of Performance

2013 ◽  
Author(s):  
Carol Mei Barker
Keyword(s):  
Olympic Games ◽  
Public Image ◽  
Beijing Olympics ◽  
The Public ◽  
Susan Sontag ◽  
Counter Narrative ◽  
The Everyday ◽  
The World ◽  
The Government ◽  
Rapid Transformation

“In China, what makes an image true is that it is good for people to see it.” - Susan Sontag, On Photography, 1971 The Olympic Games gave the world an opportunity to read Beijing’s powerful image-text following thirty years of rapid transformation. David Harvey argues that this transformation has turned Beijing from “a closed backwater, to an open centre of capitalist dynamism.” However, in the creation of this image-text, another subtler and altogether very different image-text has been deliberately erased from the public gaze. This more concealed image-text offers a significant counter narrative on the city’s public image and criticises the simulacrum constructed for the 2008 Olympics, both implicitly and explicitly. It is the ‘everyday’ image-text of a disappearing city still in the process of being bulldozed to make way for the neoliberal world’s next megalopolis. It exists most prominently as a filmic image text; in film documentaries about a ‘real’ hidden Beijing just below the surface of the government sponsored ‘optical artefact.’ Film has thus become a key medium through which to understand and preserve a physical city on the verge of erasure.

La fotografia live istant come dispositivo costruttivo di booty Looting di Wim Vanderkeybus.

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Arianna Novaga
Keyword(s):  
False Memories ◽  
Art World ◽  
The Real ◽  
Photographic Image ◽  
Dance Company ◽  
Susan Sontag ◽  
Live Music ◽  
The One ◽  
Venice Biennale

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.

Truth Study Center e as condições para o pensamento a partir de fotografias.

Ícone ◽  
2018 ◽  
Vol 16 (2) ◽  
pp. 210-224
Author(s):  
Marina Feldhues
Keyword(s):  
Gilles Deleuze ◽  
Walter Benjamin ◽  
Jacques Ranciere ◽  
Susan Sontag ◽  
Jacques Rancière ◽  
Study Center

Este trabalho procura refletir sobre se é possível pensar sobre a realidade do mundo, procurar compreender a realidade, por meio da fotografia. Para tanto, parte das proposições levantadas por Susan Sontag sobre o assunto. Na sequência, faz uma revisão teórica das proposições de Sontag à luz das reflexões trazidas por Jacques Rancière sobre imagem, operações de arte e montagem; Walter Benjamin sobre o ato de narrar; Gerry Badger e László Moholy-Nagy sobre narrar como fotos; e Gilles Deleuze sobre o pensamento como experiência.  Por último, procuramos analisar, com base nas reflexões trazidas pelos autores mencionados, como as operações artísticas da instalação Truth Study Center de Wolfgang Tillmans, contribuem para refletirmos sobre a experiência de pensar a realidade do mundo a partir de fotografias.

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