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"Con questo saggio Susan Sontag ci spiega come e perché la fotografia ha influito sui destini dei conflitti, sulla costruzione del senso collettivo, sulla propaganda a favore o contro la prosecuzione degli scontri negli ultimi anni della nostra storia."
"Las imágenes de la violencia y la guerra se han convertido, a través de la pequeña pantalla, en lugares comunes. Susan Sontag nos descubre las implicaciones y los peligros que esto tiene para la sociedad contemporánea. Ya no podemos ser inocentes, somos testigos. Y este planteamiento desemboca en cuestiones fundamentales: la manera en que las imágenes pueden generar rebeldía, fomentar la agresividad o derivar en apatía; la naturaleza de la guerra; los límites de la compasión y la solidaridad; y finalmente, la responsabilidad individual. Otros libros de la autora: En América El Benefactor El Amante del volcán La enfermedad y las metáforas Contra la interpretación Sobre la Fotografía Estilos Radicales."@es
"Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured--or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock? In this investigation of the role of imagery in our culture, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001. Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will forever alter our thinking about the uses and meanings of images in our world."
"Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured--or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock? In this investigation of the role of imagery in our culture, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001. Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will forever alter our thinking about the uses and meanings of images in our world."@en
"Réflexion sur la représentation photographique de la souffrance humaine. L'objectivité de la photographie est étudiée, l'art allant à l'encontre du réel. D'autre part, la perception du public est évoquée : l'exposition répétée aux images rend insensible ou l'impuissance suscitée dégoûte du message. La question du voyeurisme se pose aussi, chaque image pouvant susciter une excitation malsaine."
"Fünfundzwanzig Jahre nach ihrem Epoche machenden Artikel "Über Fotografie" beschäftigt sich Susan Sontag mit dem Thema Kriegsfotografie: Sie rekapituliert die historische Entwicklung, nennt die Vorläufer der Dokumentaristen des Krieges und revidiert ihre einstige Ansicht, dass der Mensch durch solche Bilder abstumpfe. Im Gegenteil: "Das Bild sagt: setz dem ein Ende, interveniere, handle. Und dies ist die entscheidende, die korrekte Reaktion.""
"Reflete sobre o efeito das imagens de sofrimento em nossas vidas, traçando a evolução dessa iconografia desde as pinturas de Francisco de Goya, num percurso que passa pelas fotos dos campos de concentração nazistas e pela guerra do Vietnã, chegando até as imagens da destruição do World Trade Center, em 11 de setembro de 2001."@pt
"Reflete sobre o efeito das imagens de sofrimento em nossas vidas, traçando a evolução dessa iconografia desde as pinturas de Francisco de Goya, num percurso que passa pelas fotos dos campos de concentração nazistas e pela guerra do Vietnã, chegando até as imagens da destruição do World Trade Center, em 11 de setembro de 2001."

genre

http://schema.org/genre

"Eseje"
"Essays"
"Photographie"
"Electronic books"@en

name

http://schema.org/name

"Смотрим на чужие страдания"
"Pang guan ta ren zhi tong ku"
"להתבונן בסבלם של אחרים"
"<&gt"@he
"At betragte andres lidelser : essay"@da
"Pogled na bolečino drugega"@sl
"旁觀他人之痛苦"
"pang guan ta ren zhi tong ku"
"Davanti al dolore degli altri"
"Davanti al dolore degli altri"@it
"Paratērontas ton pono tōn allōn"
"Regarding the pain of others"@en
"Regarding the pain of others"
"S bolestí druhých před očima"
"Smotrim na chuzhie stradanii︠a︡"
"At betragte andres lidelser : essays"@da
"Widok cudzego cierpienia"@pl
"Widok cudzego cierpienia"
"Devant la douleur des autres"
"Das Leiden anderer betrachten"
"Kijken naar de pijn van anderen"
"Diante da dor dos outros"@pt
"Diante da dor dos outros"
"Ante el dolor de los demás"
"Ante el dolor de los demás"@es

workExample

http://schema.org/workExample