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賳馗乇 亘賴 丿乇丿 丿蹖诏乇丕賳
丕夭 噩賲賱賴 賵蹖跇诏蹖鈥屬囏й� 亘丕乇夭 夭賳丿诏蹖 賲丿乇賳 賲丕 蹖讴蹖 賴賲 丕蹖賳 丕爻鬲 讴賴 賮乇氐鬲鈥屬囏й� 亘蹖鈥屫促呚ж臂� 丿丕乇蹖賲 亘乇丕蹖 賳馗乇 丕賳丿丕禺鬲賳 亘賴 乇賵蹖丿丕丿賴丕蹖 賴賵賱賳丕讴 爻乇鬲丕爻乇 丿賳蹖丕. 鬲氐丕賵蹖乇 賯爻丕賵鬲鈥屬囏й� 亘卮乇蹖 丨丕賱丕 亘丕 氐賮丨賴鈥屬囏й� 鬲賱賵蹖夭蹖賵賳 賵 乇丕蹖丕賳賴 噩賱賵蹖 趩卮賲 賴乇讴爻蹖 馗丕賴乇 賲蹖鈥屫促堎嗀�. 賵賱蹖 丌蹖丕 賲賲讴賳 丕爻鬲 亘蹖賳賳丿賴 亘丕 鬲氐丕賵蹖乇蹖 讴賴 賲乇鬲亘 丕夭 亘蹖鈥屫必呟屸€屬囏� 賵 卮賯丕賵鬲鈥屬囏� 賲蹖鈥屫ㄛ屬嗀� 亘賴 禺卮賵賳鬲 禺賵 讴賳丿 鈥� 蹖丕 亘丿鬲乇貙 禺卮賵賳鬲 丿乇 賵噩賵丿卮 亘乇丕賳诏蹖禺鬲賴 卮賵丿責 丌蹖丕 趩賳蹖賳 鬲氐丕賵蹖乇蹖 讴賴 賴乇 乇賵夭 丕夭 賲賯丕亘賱賽 丿蹖丿诏丕賳賽 亘蹖賳賳丿賴 賲蹖鈥屭柏辟嗀� 丿乇讴 丕賵 乇丕 丕夭 賵丕賯毓蹖鬲 夭丕蹖賱 賳賲蹖鈥屭┵嗁嗀� 丿賱鈥屫迟堌藏з嗀� 賵 賴賲丿賱蹖 亘丕 丿乇丿 賵 乇賳噩鈥屬囏й� 賲乇丿賲丕賳蹖 讴賴 丿乇 诏賵卮賴 賵 讴賳丕乇 噩賴丕賳 诏乇賮鬲丕乇 賮噩丕蹖毓 噩賳诏 賴爻鬲賳丿 趩賴 賲毓賳丕蹖蹖 丿丕乇丿責
爻賵夭丕賳 爻丕賳鬲丕诏 爻丕賱鈥屬囏� 倬蹖卮 丿乇 讴鬲丕亘 讴賱丕爻蹖讴卮貙 芦丿乇亘丕乇賴贁 毓讴丕爻蹖禄貙 趩賴丕乇趩賵亘賽 丕蹖賳 賲亘丕丨孬 乇丕 倬丕蹖賴鈥屫臂屫槽� 讴乇丿賴 亘賵丿. 丕賲丕 讴鬲丕亘 芦賳馗乇 亘賴 丿乇丿 丿蹖诏乇丕賳禄 亘丕夭丕賳丿蹖卮蹖賽 跇乇賮蹖 丕爻鬲 丿乇亘丕乇賴贁 賴賳乇賽 芦乇爻丕賳賴鈥屫й屄� 賵 丿乇讴 丕賳爻丕賳 丕夭 鬲氐丕賵蹖乇 丕賲乇賵夭蹖 噩賳诏 賵 賮丕噩毓賴. 丕賵 丿乇 丕蹖賳 讴鬲丕亘 亘賴 丕乇夭蹖丕亘蹖 丿賵亘丕乇賴贁 賲亘丕丨孬蹖 賲蹖鈥屬矩必ж藏� 丕夭 噩賲賱賴 丕蹖賳讴賴 毓讴爻鈥屬囏� 趩胤賵乇 賲蹖鈥屫堌з嗁嗀� 丕毓鬲乇丕囟鈥屫ㄘ必з嗂屫� 亘丕卮賳丿貙 亘賴 禺卮賵賳鬲 丿丕賲賳 亘夭賳賳丿 蹖丕 亘蹖鈥屫ж关嗀й屰屬� 賲乇丿賲 乇丕 爻亘亘 卮賵賳丿 賵 丿乇 賴賲蹖賳 丨丕賱 亘賴 鬲丕乇蹖禺趩賴贁 丿賵乇 賵 丿乇丕夭蹖 丕夭 亘丕夭賳賲丕蹖蹖賽 丿乇丿賽 丿蹖诏乇丕賳 賳馗乇 賲蹖鈥屫з嗀ж藏� 鈥� 丕夭 賲噩賲賵毓賴贁 芦賮噩丕蹖毓賽 噩賳诏禄 賮乇丕賳爻爻蹖讴賵 诏賵蹖丕 诏乇賮鬲賴 鬲丕 丕爻賳丕丿 毓讴丕爻蹖 噩賳诏 丿丕禺賱蹖 丕賲乇蹖讴丕貙 亘賴鈥� 丿丕乇 丌賵蹖禺鬲賳 亘蹖鈥屬呚и┵呝囐� 乇賳诏蹖賳鈥屬举堌池з� 丿乇 噩賳賵亘 丕賲乇蹖讴丕貙 賵賯丕蹖毓 噩賳诏 噩賴丕賳蹖 丕賵賱貙 噩賳诏 丿丕禺賱蹖 丕爻倬丕賳蹖丕貙 丕乇丿賵诏丕賴鈥屬囏й� 賲乇诏 賳丕夭蹖鈥屬囏� 賵...
丕蹖賳 讴鬲丕亘 亘賴 趩诏賵賳诏蹖 卮毓賱賴鈥屬堌必簇� 丌鬲卮 噩賳诏 丿乇 夭賲丕賳賴贁 賲丕 (賵 丿乇讴賽 賲乇丿賲 丕夭 丌賳) 賴賲 賲蹖鈥屬矩必ж藏� 賵 賳賲賵賳賴鈥屬囏й� 鬲丕乇蹖禺蹖 乇賵卮賳 賵 丕爻鬲丿賱丕賱鈥屬囏й� 賲禺鬲賱賮蹖 丕夭 賲賳丕亘毓蹖 睾蹖乇賲賳鬲馗乇賴 倬蹖卮 乇賵蹖 禺賵丕賳賳丿賴 賲蹖鈥屭柏ж必�. 丕賮賱丕胤賵賳貙 賱卅賵賳丕乇丿賵 丿丕賵蹖賳趩蹖貙 丕丿賲賵賳丿 亘乇讴貙 賵乇丿夭賵乇孬貙 亘賵丿賱乇 賵 賵蹖乇噩蹖賳蹖丕 賵賵賱賮 賴賲诏蹖 丿乇 丕蹖賳 鬲丕賲賱賽 倬乇卮賵乇 丿乇亘丕乇賴贁 丿乇讴 賲丿乇賳賽 賲丕 丕夭 禺卮賵賳鬲 賵 賯爻丕賵鬲 丨囟賵乇 丿丕乇賳丿. 丿乇爻鬲 賴賲丕賳胤賵乇 讴賴 芦丿乇亘丕乇賴贁 毓讴丕爻蹖禄 卮蹖賵賴贁 丿乇讴 賲丕 丿乇亘丕乇賴贁 賵囟毓蹖鬲賽 賲丿乇賳鈥屫ㄙ堌� 乇丕 亘賴 倬乇爻卮 賲蹖鈥屭┴篡屫� 芦賳馗乇 亘賴 丿乇丿賽 丿蹖诏乇丕賳禄 賳賴 鬲賳賴丕 鬲氐賵乇賲丕賳 丿乇亘丕乇賴贁 讴丕乇亘乇丿賴丕 賵 賲毓賳丕賴丕蹖 鬲氐丕賵蹖乇貙 亘賱讴賴 賳诏乇卮賲丕賳 丿乇亘丕乇賴贁 賲丕賴蹖鬲賽 噩賳诏貙 賲丨丿賵丿蹖鬲鈥屬囏й� 賴賲丿賱蹖 賵 賵馗丕蹖賮賽 賵噩丿丕賳 乇丕 鬲睾蹖蹖乇 賲蹖鈥屫囏�.
爻賵夭丕賳 爻丕賳鬲丕诏 爻丕賱鈥屬囏� 倬蹖卮 丿乇 讴鬲丕亘 讴賱丕爻蹖讴卮貙 芦丿乇亘丕乇賴贁 毓讴丕爻蹖禄貙 趩賴丕乇趩賵亘賽 丕蹖賳 賲亘丕丨孬 乇丕 倬丕蹖賴鈥屫臂屫槽� 讴乇丿賴 亘賵丿. 丕賲丕 讴鬲丕亘 芦賳馗乇 亘賴 丿乇丿 丿蹖诏乇丕賳禄 亘丕夭丕賳丿蹖卮蹖賽 跇乇賮蹖 丕爻鬲 丿乇亘丕乇賴贁 賴賳乇賽 芦乇爻丕賳賴鈥屫й屄� 賵 丿乇讴 丕賳爻丕賳 丕夭 鬲氐丕賵蹖乇 丕賲乇賵夭蹖 噩賳诏 賵 賮丕噩毓賴. 丕賵 丿乇 丕蹖賳 讴鬲丕亘 亘賴 丕乇夭蹖丕亘蹖 丿賵亘丕乇賴贁 賲亘丕丨孬蹖 賲蹖鈥屬矩必ж藏� 丕夭 噩賲賱賴 丕蹖賳讴賴 毓讴爻鈥屬囏� 趩胤賵乇 賲蹖鈥屫堌з嗁嗀� 丕毓鬲乇丕囟鈥屫ㄘ必з嗂屫� 亘丕卮賳丿貙 亘賴 禺卮賵賳鬲 丿丕賲賳 亘夭賳賳丿 蹖丕 亘蹖鈥屫ж关嗀й屰屬� 賲乇丿賲 乇丕 爻亘亘 卮賵賳丿 賵 丿乇 賴賲蹖賳 丨丕賱 亘賴 鬲丕乇蹖禺趩賴贁 丿賵乇 賵 丿乇丕夭蹖 丕夭 亘丕夭賳賲丕蹖蹖賽 丿乇丿賽 丿蹖诏乇丕賳 賳馗乇 賲蹖鈥屫з嗀ж藏� 鈥� 丕夭 賲噩賲賵毓賴贁 芦賮噩丕蹖毓賽 噩賳诏禄 賮乇丕賳爻爻蹖讴賵 诏賵蹖丕 诏乇賮鬲賴 鬲丕 丕爻賳丕丿 毓讴丕爻蹖 噩賳诏 丿丕禺賱蹖 丕賲乇蹖讴丕貙 亘賴鈥� 丿丕乇 丌賵蹖禺鬲賳 亘蹖鈥屬呚и┵呝囐� 乇賳诏蹖賳鈥屬举堌池з� 丿乇 噩賳賵亘 丕賲乇蹖讴丕貙 賵賯丕蹖毓 噩賳诏 噩賴丕賳蹖 丕賵賱貙 噩賳诏 丿丕禺賱蹖 丕爻倬丕賳蹖丕貙 丕乇丿賵诏丕賴鈥屬囏й� 賲乇诏 賳丕夭蹖鈥屬囏� 賵...
丕蹖賳 讴鬲丕亘 亘賴 趩诏賵賳诏蹖 卮毓賱賴鈥屬堌必簇� 丌鬲卮 噩賳诏 丿乇 夭賲丕賳賴贁 賲丕 (賵 丿乇讴賽 賲乇丿賲 丕夭 丌賳) 賴賲 賲蹖鈥屬矩必ж藏� 賵 賳賲賵賳賴鈥屬囏й� 鬲丕乇蹖禺蹖 乇賵卮賳 賵 丕爻鬲丿賱丕賱鈥屬囏й� 賲禺鬲賱賮蹖 丕夭 賲賳丕亘毓蹖 睾蹖乇賲賳鬲馗乇賴 倬蹖卮 乇賵蹖 禺賵丕賳賳丿賴 賲蹖鈥屭柏ж必�. 丕賮賱丕胤賵賳貙 賱卅賵賳丕乇丿賵 丿丕賵蹖賳趩蹖貙 丕丿賲賵賳丿 亘乇讴貙 賵乇丿夭賵乇孬貙 亘賵丿賱乇 賵 賵蹖乇噩蹖賳蹖丕 賵賵賱賮 賴賲诏蹖 丿乇 丕蹖賳 鬲丕賲賱賽 倬乇卮賵乇 丿乇亘丕乇賴贁 丿乇讴 賲丿乇賳賽 賲丕 丕夭 禺卮賵賳鬲 賵 賯爻丕賵鬲 丨囟賵乇 丿丕乇賳丿. 丿乇爻鬲 賴賲丕賳胤賵乇 讴賴 芦丿乇亘丕乇賴贁 毓讴丕爻蹖禄 卮蹖賵賴贁 丿乇讴 賲丕 丿乇亘丕乇賴贁 賵囟毓蹖鬲賽 賲丿乇賳鈥屫ㄙ堌� 乇丕 亘賴 倬乇爻卮 賲蹖鈥屭┴篡屫� 芦賳馗乇 亘賴 丿乇丿賽 丿蹖诏乇丕賳禄 賳賴 鬲賳賴丕 鬲氐賵乇賲丕賳 丿乇亘丕乇賴贁 讴丕乇亘乇丿賴丕 賵 賲毓賳丕賴丕蹖 鬲氐丕賵蹖乇貙 亘賱讴賴 賳诏乇卮賲丕賳 丿乇亘丕乇賴贁 賲丕賴蹖鬲賽 噩賳诏貙 賲丨丿賵丿蹖鬲鈥屬囏й� 賴賲丿賱蹖 賵 賵馗丕蹖賮賽 賵噩丿丕賳 乇丕 鬲睾蹖蹖乇 賲蹖鈥屫囏�.
163 pages, Paperback
First published January 7, 2003
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About the author
Susan Sontag
211听books5,060听followersSusan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne鈥檚 College, Oxford.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers鈥� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers鈥� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
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May 4, 2014
I鈥檝e always thought that one of the things it would be fairly reasonable to have written on my headstone would be, 鈥淗e often missed the obvious鈥�. I was saying to people at work the other day that there was a part of this book where I thought, 鈥済od, how did I get to be 50 and never think of this before?鈥� It was the bit where she talks about the holocaust and holocaust museums and then questions why America doesn鈥檛 have a museum to the victims of slavery 鈥� you know, those victims are still walking about amongst us to the extent that black American disadvantage is a continuing manifestation of that history and the subsequent imposed ways of thinking caused by that history. Why is there no real museum dedicated to the holocaust that occurred to the Australian Aboriginals? We have a holocaust museum here in Melbourne too. Her discussion of the nature of 鈥榬emembering鈥� is probably worth the effort in reading the book.
Not that this book requires much effort 鈥� if there is one thing you can say for Sontag it is that she is a remarkably clear writer and thinker.
In many ways this book is Sontag coming back to themes she discusses in On Photography and not always coming to the same conclusions. There is a really nice part of the book where she discusses drawings of the sufferings of war done by Goya where he writes under them captions that say things like, 鈥淟ook, this actually happened, I'm not making this up.鈥� The point being, in part, that we don鈥檛 expect to need to say things like that under a photograph. We might question whether it is a truly representative photograph, but we generally don鈥檛 question whether it is true. We still expect today that what we see photographed is a manifestation of the light that struck the lens. She talks about the faking of photographs, particularly war photographs 鈥� rearranging bodies or the staging of events after the event to make it look more like we think it 鈥榦ught鈥� to have looked 鈥� but even then, even as a staged event, we still think of photography as telling a kind of truth even if it is one that needs to be explained and qualified.
Over the last month or so there has been an exhibition at the State Library of Victoria called Rome: Piranesi's vision. Piranesi did scenes of Rome and also visions of Ancient Rome 鈥� reconstructions in the shape of maps as well as imaginative drawings. And over the last month or so I鈥檝e attended a couple of lectures on his images. Now, I鈥檇 always just thought that if someone was going to do views of a city that, you know, they would sit down somewhere and draw what they saw in front of them. I can be naive like that. But actually, what Piranesi did was to 鈥榠mprove鈥� Rome. Not just making buildings look better 鈥� but shifting them so that they would be next to other buildings and in also not being too concerned if he missed a couple of windows here or some doors there. He was going for pretty, rather than accuracy. I was so surprised at this, it is hard to say. I had always just assumed that these drawings would be 鈥榓ccurate鈥� 鈥� photograph accurate. I also thought the maps, even maps of places that didn't exist anymore, would also strive for a kind of accuracy too, but these spent more time trying to be pretty too, despite knowingly ignoring stuff. Often photographs, particularly war photographs, need to be approached in much the same way that Piranesi鈥檚 visions of Rome need to be approached.
We look at images of the holocaust and a large part of the point of that is 鈥榯o remember鈥� 鈥� except, the holocaust occurred before most of us were born 鈥� so the verb, 鈥榯o remember鈥� probably isn鈥檛 quite the right one. Rather, the point of looking at these images isn鈥檛 to remember, but to learn and understand with the hope that we learn that this should never happen again. Except, it does happen again. If there is one thing that the photographic archive of the 20th century proves time and again it is that people are all too able to commit the most god-awful atrocities, often with a kind of gleeful abandon. I can鈥檛 remember who said it, possibly Zizek, that America is the oddest place, atrocity after atrocity occurs there (think of school shootings) and somehow after each new atrocity people can still say, in all seriousness, that the country has just 鈥榣ost its innocence鈥�. We need to get over this idea that we can still be 鈥榠nnocent鈥� 鈥� this is one of the things that Sontag says we can learn from looking at images of past atrocities.
I think this is a particularly important book to read this year, preferably before August. Soon we are going to go through an endless reliving of World War One. And you know that we humans much prefer the romance of war to its horrors. That we even make the horrors seems somehow romantic. Before you get swept away with how much fun war is, perhaps learning to think about the moral and ethical questions that lie at the heart of looking at images of the pain of others is a useful exercise. For that reason this book is a useful place to start.
Not that this book requires much effort 鈥� if there is one thing you can say for Sontag it is that she is a remarkably clear writer and thinker.
In many ways this book is Sontag coming back to themes she discusses in On Photography and not always coming to the same conclusions. There is a really nice part of the book where she discusses drawings of the sufferings of war done by Goya where he writes under them captions that say things like, 鈥淟ook, this actually happened, I'm not making this up.鈥� The point being, in part, that we don鈥檛 expect to need to say things like that under a photograph. We might question whether it is a truly representative photograph, but we generally don鈥檛 question whether it is true. We still expect today that what we see photographed is a manifestation of the light that struck the lens. She talks about the faking of photographs, particularly war photographs 鈥� rearranging bodies or the staging of events after the event to make it look more like we think it 鈥榦ught鈥� to have looked 鈥� but even then, even as a staged event, we still think of photography as telling a kind of truth even if it is one that needs to be explained and qualified.
Over the last month or so there has been an exhibition at the State Library of Victoria called Rome: Piranesi's vision. Piranesi did scenes of Rome and also visions of Ancient Rome 鈥� reconstructions in the shape of maps as well as imaginative drawings. And over the last month or so I鈥檝e attended a couple of lectures on his images. Now, I鈥檇 always just thought that if someone was going to do views of a city that, you know, they would sit down somewhere and draw what they saw in front of them. I can be naive like that. But actually, what Piranesi did was to 鈥榠mprove鈥� Rome. Not just making buildings look better 鈥� but shifting them so that they would be next to other buildings and in also not being too concerned if he missed a couple of windows here or some doors there. He was going for pretty, rather than accuracy. I was so surprised at this, it is hard to say. I had always just assumed that these drawings would be 鈥榓ccurate鈥� 鈥� photograph accurate. I also thought the maps, even maps of places that didn't exist anymore, would also strive for a kind of accuracy too, but these spent more time trying to be pretty too, despite knowingly ignoring stuff. Often photographs, particularly war photographs, need to be approached in much the same way that Piranesi鈥檚 visions of Rome need to be approached.
We look at images of the holocaust and a large part of the point of that is 鈥榯o remember鈥� 鈥� except, the holocaust occurred before most of us were born 鈥� so the verb, 鈥榯o remember鈥� probably isn鈥檛 quite the right one. Rather, the point of looking at these images isn鈥檛 to remember, but to learn and understand with the hope that we learn that this should never happen again. Except, it does happen again. If there is one thing that the photographic archive of the 20th century proves time and again it is that people are all too able to commit the most god-awful atrocities, often with a kind of gleeful abandon. I can鈥檛 remember who said it, possibly Zizek, that America is the oddest place, atrocity after atrocity occurs there (think of school shootings) and somehow after each new atrocity people can still say, in all seriousness, that the country has just 鈥榣ost its innocence鈥�. We need to get over this idea that we can still be 鈥榠nnocent鈥� 鈥� this is one of the things that Sontag says we can learn from looking at images of past atrocities.
I think this is a particularly important book to read this year, preferably before August. Soon we are going to go through an endless reliving of World War One. And you know that we humans much prefer the romance of war to its horrors. That we even make the horrors seems somehow romantic. Before you get swept away with how much fun war is, perhaps learning to think about the moral and ethical questions that lie at the heart of looking at images of the pain of others is a useful exercise. For that reason this book is a useful place to start.
December 26, 2020
禺賵丕賳丿賳 讴鬲丕亘 鬲賲丕卮丕蹖 乇賳噩 丿蹖诏乇丕賳 丕夭 禺丕賳賲 爻賵夭丕賳 爻丕賳鬲丕诏 貙 鬲噩乇亘賴 丕蹖 趩丕賱卮 亘乇丕賳诏蹖夭蹖 亘賵丿 貙 丿乇 丨賯蹖賯鬲 禺丕賳賲 爻丕賳鬲丕诏 毓賱丕賵賴 亘乇 賲毓乇賮蹖 毓讴爻賴丕蹖 賲賴賲 賵 鬲丕乇蹖禺 爻丕夭 貙 毓讴丕爻 貙 賲丨賱 诏乇賮鬲賳 毓讴爻 爻賵丕賱 賴丕蹖 賲賴賲蹖 乇丕 賳蹖夭 賲胤乇丨 賲蹖 讴賳丿 : 丕蹖賳 讴賴 賲孬賱丕 丕賳鬲卮丕乇 蹖讴 毓讴爻 禺卮賳 禺賵丿 賲蹖 鬲賵丕賳丿 毓丕賲賱蹖 亘乇 鬲乇賵蹖噩 禺卮賵賳鬲 亘丕卮丿 責 丌蹖丕 丿蹖丿賳 夭蹖丕丿 毓讴爻賴丕蹖 禺卮賳 ( 賲丕賳賳丿 趩蹖夭蹖 讴賴 丕賲乇賵夭賴 丿乇 丕禺亘丕乇 噩賴丕賳 賲蹖 亘蹖賳蹖賲 賵 賲蹖 卮賳賵蹖賲 ) 賲蹖 鬲賵丕賳丿 禺卮賵賳鬲 乇丕 丕賲乇蹖 毓丕丿蹖 讴賳丿 責
禺丕賳賲 爻丕賳鬲丕诏 毓讴爻賴丕蹖 禺蹖賱蹖 賲毓乇賵賮蹖 乇丕 丿乇 讴鬲丕亘 亘乇乇爻蹖 賲蹖 讴賳丿 : 丕夭 噩賲賱賴 爻乇亘丕夭蹖 讴賴 丿乇 噩賳诏 丿丕禺賱蹖 丕爻倬丕賳蹖丕 鬲蹖乇 賲蹖 禺賵乇丿 賵 丿乇 丨丕賱 丨乇讴鬲 賳賯卮 夭賲蹖賳 賲蹖 卮賵丿 . 蹖丕 丕毓丿丕賲 丌賳 賵蹖鬲 讴賳诏 賲毓乇賵賮 亘丕 氐賵乇鬲蹖 賲趩丕賱賴 卮丿賴 丕夭 丿乇丿 賵 賵丨卮鬲 鬲賵爻胤 賳诏賵蹖讴 賵丕賳 賱賵賳 貙 乇蹖蹖爻 倬賱蹖爻 爻丕蹖诏賵賳 . 讴賴 丕蹖賳 毓讴爻 亘賴 賳賵亘賴 禺賵丿 鬲丕乇蹖禺 爻丕夭 卮丿 賵 卮丕蹖丿 亘丕毓孬 鬲睾蹖蹖乇 噩賴鬲 噩賳诏 賵 鬲馗丕賴乇丕鬲 丿乇 丌賲乇蹖讴丕 亘乇 毓賱蹖賴 噩賳诏 賵蹖鬲賳丕賲 卮丿 .
讴鬲丕亘 蹖讴 毓讴爻 卮丕賴讴丕乇 賴賲 乇賵蹖 噩賱丿 丿丕乇丿 貙 丕賮乇丕丿蹖 讴賴 鬲賵爻胤 禺賲乇賴丕蹖 爻乇禺 丿乇 讴丕賲亘賵噩 丿乇 賱蹖爻鬲 丕毓丿丕賲 賯乇丕乇 丿丕乇賳丿 賵亘賴 夭賵丿蹖 丕毓丿丕賲 禺賵丕賴賳丿 卮丿 貙 丕囟胤乇丕亘 丕蹖賳 丕賮乇丕丿 賵 鬲乇爻 賵 賲乇诏 丿乇 乇丕賴 亘賴 乇丕丨鬲蹖 賵 乇賵卮賳蹖 丕夭 趩卮賲賴丕蹖 丌賳丕賳 倬蹖丿丕爻鬲 .
丕賲丕 丿乇 爻丕賱賴丕蹖 丕禺蹖乇 賵 亘丕 卮乇賵毓 噩賳诏 賴丕蹖 丿丕禺賱蹖 禺賵賳蹖賳 丿乇 禺丕賵乇賲蹖丕賳賴 賵 卮賲丕賱 丌賮乇蹖賯丕 貙 毓讴丕爻蹖 丕夭 賲賴丕噩乇蹖賳 賵 倬賳丕賴賳丿诏丕賳 趩賴 丕賳賴丕蹖蹖 讴賴 亘賴 丕乇賵倬丕 乇爻蹖丿賴 丕賳丿 賵 趩賴 丌賳賴丕蹖蹖 讴賴 噩丕賳 禺賵丿 蹖丕 毓夭蹖夭丕賳 禺賵丿 乇丕 丿乇 丿乇蹖丕蹖 亘蹖 倬丕蹖丕賳 丕夭 丿爻鬲 丿丕丿賴 丕賳丿 乇賵丕噩 倬蹖丿丕 讴乇丿賴 貙 賲毓乇賵賮鬲乇蹖賳 丌賳賴丕 卮丕蹖丿 丌蹖賱丕賳 讴賵丿讴 爻賵乇蹖賴 丕蹖 亘丕卮丿 讴賴 亘丕 氐賵乇鬲 亘乇 爻丕丨賱蹖 丿乇 鬲乇讴蹖賴 丕賮鬲丕丿賴 賵 噩丕賳 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲 ( 毓讴爻 讴賴 鬲賵爻胤 毓讴丕爻蹖 鬲購乇讴 诏乇賮鬲賴 卮丿賴 亘賴 乇丕丨鬲蹖 丿乇 丕蹖賳鬲乇賳鬲 賯丕亘賱 倬蹖丿丕 卮丿賳 丕爻鬲 ) . 鬲氐賵蹖乇亘丿賳 丌蹖賱丕賳 亘丕毓孬 丕蹖噩丕丿 噩乇蹖丕賳蹖 賯賵蹖 亘賴 賳賮毓 倬賳丕賴賳丿诏丕賳 丿乇 丕乇賵倬丕 賵 丿乇 爻蹖丕爻鬲賲丿丕乇丕賳 丕乇賵倬丕蹖蹖 亘賴 禺氐賵氐 禺丕賳賲 賲乇讴賱 卮丿 .
卮丕蹖丿 賲蹖賱蹖賵賳賴丕 倬賳丕賴賳丿賴 爻賵乇蹖 讴賴 賴賲 丕讴賳賵賳 丿乇 丕乇賵倬丕 夭賳丿诏蹖 賲蹖 讴賳賳丿 貙 亘賯丕蹖 禺賵丿 乇丕 丿乇 丕乇賵倬丕 鬲丕 丨丿蹖 賲丿蹖賵賳 丌蹖賱丕賳 讴賵趩讴 賵 丕孬乇诏匕丕乇蹖 丕賵 亘乇 賯賱亘賴丕蹖 賲乇丿賲 丿乇 爻乇鬲丕爻乇 噩賴丕賳 亘丕卮賳丿 .
禺丕賳賲 爻丕賳鬲丕诏 毓讴爻賴丕蹖 禺蹖賱蹖 賲毓乇賵賮蹖 乇丕 丿乇 讴鬲丕亘 亘乇乇爻蹖 賲蹖 讴賳丿 : 丕夭 噩賲賱賴 爻乇亘丕夭蹖 讴賴 丿乇 噩賳诏 丿丕禺賱蹖 丕爻倬丕賳蹖丕 鬲蹖乇 賲蹖 禺賵乇丿 賵 丿乇 丨丕賱 丨乇讴鬲 賳賯卮 夭賲蹖賳 賲蹖 卮賵丿 . 蹖丕 丕毓丿丕賲 丌賳 賵蹖鬲 讴賳诏 賲毓乇賵賮 亘丕 氐賵乇鬲蹖 賲趩丕賱賴 卮丿賴 丕夭 丿乇丿 賵 賵丨卮鬲 鬲賵爻胤 賳诏賵蹖讴 賵丕賳 賱賵賳 貙 乇蹖蹖爻 倬賱蹖爻 爻丕蹖诏賵賳 . 讴賴 丕蹖賳 毓讴爻 亘賴 賳賵亘賴 禺賵丿 鬲丕乇蹖禺 爻丕夭 卮丿 賵 卮丕蹖丿 亘丕毓孬 鬲睾蹖蹖乇 噩賴鬲 噩賳诏 賵 鬲馗丕賴乇丕鬲 丿乇 丌賲乇蹖讴丕 亘乇 毓賱蹖賴 噩賳诏 賵蹖鬲賳丕賲 卮丿 .
讴鬲丕亘 蹖讴 毓讴爻 卮丕賴讴丕乇 賴賲 乇賵蹖 噩賱丿 丿丕乇丿 貙 丕賮乇丕丿蹖 讴賴 鬲賵爻胤 禺賲乇賴丕蹖 爻乇禺 丿乇 讴丕賲亘賵噩 丿乇 賱蹖爻鬲 丕毓丿丕賲 賯乇丕乇 丿丕乇賳丿 賵亘賴 夭賵丿蹖 丕毓丿丕賲 禺賵丕賴賳丿 卮丿 貙 丕囟胤乇丕亘 丕蹖賳 丕賮乇丕丿 賵 鬲乇爻 賵 賲乇诏 丿乇 乇丕賴 亘賴 乇丕丨鬲蹖 賵 乇賵卮賳蹖 丕夭 趩卮賲賴丕蹖 丌賳丕賳 倬蹖丿丕爻鬲 .
丕賲丕 丿乇 爻丕賱賴丕蹖 丕禺蹖乇 賵 亘丕 卮乇賵毓 噩賳诏 賴丕蹖 丿丕禺賱蹖 禺賵賳蹖賳 丿乇 禺丕賵乇賲蹖丕賳賴 賵 卮賲丕賱 丌賮乇蹖賯丕 貙 毓讴丕爻蹖 丕夭 賲賴丕噩乇蹖賳 賵 倬賳丕賴賳丿诏丕賳 趩賴 丕賳賴丕蹖蹖 讴賴 亘賴 丕乇賵倬丕 乇爻蹖丿賴 丕賳丿 賵 趩賴 丌賳賴丕蹖蹖 讴賴 噩丕賳 禺賵丿 蹖丕 毓夭蹖夭丕賳 禺賵丿 乇丕 丿乇 丿乇蹖丕蹖 亘蹖 倬丕蹖丕賳 丕夭 丿爻鬲 丿丕丿賴 丕賳丿 乇賵丕噩 倬蹖丿丕 讴乇丿賴 貙 賲毓乇賵賮鬲乇蹖賳 丌賳賴丕 卮丕蹖丿 丌蹖賱丕賳 讴賵丿讴 爻賵乇蹖賴 丕蹖 亘丕卮丿 讴賴 亘丕 氐賵乇鬲 亘乇 爻丕丨賱蹖 丿乇 鬲乇讴蹖賴 丕賮鬲丕丿賴 賵 噩丕賳 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲 ( 毓讴爻 讴賴 鬲賵爻胤 毓讴丕爻蹖 鬲購乇讴 诏乇賮鬲賴 卮丿賴 亘賴 乇丕丨鬲蹖 丿乇 丕蹖賳鬲乇賳鬲 賯丕亘賱 倬蹖丿丕 卮丿賳 丕爻鬲 ) . 鬲氐賵蹖乇亘丿賳 丌蹖賱丕賳 亘丕毓孬 丕蹖噩丕丿 噩乇蹖丕賳蹖 賯賵蹖 亘賴 賳賮毓 倬賳丕賴賳丿诏丕賳 丿乇 丕乇賵倬丕 賵 丿乇 爻蹖丕爻鬲賲丿丕乇丕賳 丕乇賵倬丕蹖蹖 亘賴 禺氐賵氐 禺丕賳賲 賲乇讴賱 卮丿 .
卮丕蹖丿 賲蹖賱蹖賵賳賴丕 倬賳丕賴賳丿賴 爻賵乇蹖 讴賴 賴賲 丕讴賳賵賳 丿乇 丕乇賵倬丕 夭賳丿诏蹖 賲蹖 讴賳賳丿 貙 亘賯丕蹖 禺賵丿 乇丕 丿乇 丕乇賵倬丕 鬲丕 丨丿蹖 賲丿蹖賵賳 丌蹖賱丕賳 讴賵趩讴 賵 丕孬乇诏匕丕乇蹖 丕賵 亘乇 賯賱亘賴丕蹖 賲乇丿賲 丿乇 爻乇鬲丕爻乇 噩賴丕賳 亘丕卮賳丿 .
August 5, 2021
讴鬲丕亘 讴賲 丨噩賲蹖 亘賵丿 丿乇 賲賵乇丿 毓讴丕爻蹖 丕夭 氐丨賳賴鈥屬囏й� 噩賳诏 賵 乇賳噩 賵 賲氐丕卅亘 賲乇丿賲貙 丌蹖丕 蹖讴 毓讴爻 賲蹖鈥屫堌з嗀� 鬲賲丕賲 賵 讴賲丕賱 丌賳趩賴 讴賴 丕賮乇丕丿 賲賵噩賵丿 丿乇 毓讴爻 乇丕 乇賳噩 丿丕丿賴 亘賴 丿乇爻鬲蹖 乇賵丕蹖鬲 讴賳丿 賵 亘賴 亘蹖賳賳丿賴 賲賳鬲賯賱 讴賳丿責 丕蹖賳 趩蹖夭蹖 丕爻鬲 讴賴 爻丕賳鬲丕诏 亘丕 亘乇乇爻蹖 毓讴爻鈥屬囏й� 诏賵賳丕诏賵賳 賲乇亘賵胤 亘賴 噩賳诏鈥屬囏� 賵 丿賵乇賴鈥屬囏й� 賲禺鬲賱賮貙 亘賴 趩丕賱卮 讴卮蹖丿賴 賵 亘乇乇爻蹖 讴乇丿賴 丕爻鬲.
April 30, 2024
Narratives can make us understand. Photographs do something else: they haunt us.
The main focus of this long essay is war photography.
At the beginning of the book Sontag cites the question Virginia Woolf posed in her Three Guineas:
"How in your opinion are we to prevent war?"
Sontag then proceeds to argue the importance of photography, analyzing the different ways photographs have been used in wartime as instruments to elicit sympathy and commiseration or means of propagating pro or anti war sentiments.
Nonstop imagery (televisions, streaming video, movies) is our surround, but when it comes to remembering, the photograph has the deeper bite. Memory freeze-frames; its basic unit is the single image. In an era of information overload, the photograph provides a quick way of apprehending something and a compact way for memorizing it. No object is more equated with memory than the camera image. The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.
The main focus of this long essay is war photography.
At the beginning of the book Sontag cites the question Virginia Woolf posed in her Three Guineas:
"How in your opinion are we to prevent war?"
Sontag then proceeds to argue the importance of photography, analyzing the different ways photographs have been used in wartime as instruments to elicit sympathy and commiseration or means of propagating pro or anti war sentiments.
Nonstop imagery (televisions, streaming video, movies) is our surround, but when it comes to remembering, the photograph has the deeper bite. Memory freeze-frames; its basic unit is the single image. In an era of information overload, the photograph provides a quick way of apprehending something and a compact way for memorizing it. No object is more equated with memory than the camera image. The photograph is like a quotation, or a maxim or proverb. Each of us mentally stocks hundreds of photographs, subject to instant recall.
October 22, 2016
Sometimes back I watched the movie 鈥淭he Bang-Bang Club鈥� based upon the lives of a group of photojournalists who went by that name in Johannesburg in the mid 80s. These photojournalists mostly clicked photographs of the victims of apartheid or of the violence perpetrated by clashes between different black ethnic groups in South Africa. The movie also focused on the distress which these journalists went through after or while clicking the photographs. One of the journalists of the club, Kevin Carter (played by Taylor Kitsch in the movie), had won a Pulitzer for his famous photograph depicting a starving child and a vulture in famine hit Sudan in 1993. The picture was clicked at such an angle that it seemed that the vulture was waiting for a chance to pounce upon the poor child. There was a huge controversy when this picture was first published and most readers condemned Kevin for a lack of empathy.
The St. Petersburg Times wrote:
鈥淭he man adjusting his lens to take just the right frame of her suffering might just as well be a predator, another vulture on the scene.鈥�
After three months of his winning the Pulitzer, Kevin committed suicide.
For a few days I was haunted by the movie but eventually I forgot about it. And it wasn鈥檛 until I read Regarding the Pain of Others by Sontag that I remembered the movie and my experience of watching and subsequently, forgetting it. As I read the work, I questioned my response to the movie and also to the deluge of images of pain sweeping the social media on the internet. What do I see when I see those images, what do I feel? Do these images, in any way, affect the way we respond to tragedies, to wars, to life?
In this work, Sontag presents a Critique on the images of suffering of others. She mulls over the motives of photographers engaged in capturing images (specifically) of war, calling them specialized tourists, citing various examples of such photographs where the sole purpose of photographer was to educe a certain response even if that meant careful selection and preparation of the scene prior to shot in war hit places. The response, mostly shock according to her, has been the stimulus that leads to the fixation of people for such photos.
She criticizes Roger Fenton鈥檚 very famous photograph from Crimean war 鈥淭he Valley of the Shadow of Death鈥�, calling it as a portrait of absence, of death without the dead, a road swamped with rocks and cannonballs which didn鈥檛 really need to be staged. But her criticism doesn鈥檛 even spare us, the spectators of such photographs who are more disappointed than surprised at discovering that many of the famous war photos appear to have been staged.
Her sarcastic voice is quite discernible while accepting the inevitable reach of twenty four hours news channel on TV who make use of images featuring violence just for the sake of increasing TRP鈥檚.
Wars are now also living room sights and sounds. Information about what is happening elsewhere, called "news," features conflict and violence鈥� "If it bleeds, it leads" runs the venerable guideline of tabloids and twenty-four-hour headline news shows鈥斺€攖o which the response is compassion, or indignation, or titillation, or approval, as each misery heaves into view.
She is concerned about the various responses that such photographs may generate:
鈥淚n fact, there are many uses of the innumerable opportunities a modern life supplies for regarding鈥攁t a distance, through the medium of photography鈥攐ther people's pain. Photographs of an atrocity may give rise to opposing responses. A call for peace. A cry for revenge. Or simply the bemused awareness, continually restocked by photographic information, that terrible things happen.鈥�
When we really think of it, it is true that this is the kind of response evoked in our minds when we see images of suffering. Most of the times it is this awareness that terrible things happen, sometimes it may be a sense of relief (in the subconscious) for being spared of the suffering, a guilt laden respite we may not wish to admit to our conscious mind even. Sometimes it may be just a curiosity to witness the limit to which humans can debase themselves. Sontag says:
Edmund Burke observed that people like to look at images of suffering. "I am convinced we have a degree of delight, and that no small one, in the real misfortunes and pains of others," he wrote in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757). "There is no spectacle we so eagerly pursue, as that of some uncommon and grievous calamity."
The reign of media like facebook and twitter has sadly made it more evident. The manner in which such images appear and are shared and viewed, confirms that other people鈥檚 pains and miseries fascinate us and though sometimes the response might be compassion or anger or a bemused awareness, it is bothering to think that a relentless exposure may lead to feelings of indifference, that with such proximity the images of suffering of others may eventually become normal for the likes of us, for 鈥榰s鈥� who have never actually experienced that pain which extreme tragedies and wars bring about, for 鈥榰s鈥� who can never really understand such suffering.
The St. Petersburg Times wrote:
鈥淭he man adjusting his lens to take just the right frame of her suffering might just as well be a predator, another vulture on the scene.鈥�
After three months of his winning the Pulitzer, Kevin committed suicide.
For a few days I was haunted by the movie but eventually I forgot about it. And it wasn鈥檛 until I read Regarding the Pain of Others by Sontag that I remembered the movie and my experience of watching and subsequently, forgetting it. As I read the work, I questioned my response to the movie and also to the deluge of images of pain sweeping the social media on the internet. What do I see when I see those images, what do I feel? Do these images, in any way, affect the way we respond to tragedies, to wars, to life?
In this work, Sontag presents a Critique on the images of suffering of others. She mulls over the motives of photographers engaged in capturing images (specifically) of war, calling them specialized tourists, citing various examples of such photographs where the sole purpose of photographer was to educe a certain response even if that meant careful selection and preparation of the scene prior to shot in war hit places. The response, mostly shock according to her, has been the stimulus that leads to the fixation of people for such photos.
She criticizes Roger Fenton鈥檚 very famous photograph from Crimean war 鈥淭he Valley of the Shadow of Death鈥�, calling it as a portrait of absence, of death without the dead, a road swamped with rocks and cannonballs which didn鈥檛 really need to be staged. But her criticism doesn鈥檛 even spare us, the spectators of such photographs who are more disappointed than surprised at discovering that many of the famous war photos appear to have been staged.
Her sarcastic voice is quite discernible while accepting the inevitable reach of twenty four hours news channel on TV who make use of images featuring violence just for the sake of increasing TRP鈥檚.
Wars are now also living room sights and sounds. Information about what is happening elsewhere, called "news," features conflict and violence鈥� "If it bleeds, it leads" runs the venerable guideline of tabloids and twenty-four-hour headline news shows鈥斺€攖o which the response is compassion, or indignation, or titillation, or approval, as each misery heaves into view.
She is concerned about the various responses that such photographs may generate:
鈥淚n fact, there are many uses of the innumerable opportunities a modern life supplies for regarding鈥攁t a distance, through the medium of photography鈥攐ther people's pain. Photographs of an atrocity may give rise to opposing responses. A call for peace. A cry for revenge. Or simply the bemused awareness, continually restocked by photographic information, that terrible things happen.鈥�
When we really think of it, it is true that this is the kind of response evoked in our minds when we see images of suffering. Most of the times it is this awareness that terrible things happen, sometimes it may be a sense of relief (in the subconscious) for being spared of the suffering, a guilt laden respite we may not wish to admit to our conscious mind even. Sometimes it may be just a curiosity to witness the limit to which humans can debase themselves. Sontag says:
Edmund Burke observed that people like to look at images of suffering. "I am convinced we have a degree of delight, and that no small one, in the real misfortunes and pains of others," he wrote in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757). "There is no spectacle we so eagerly pursue, as that of some uncommon and grievous calamity."
The reign of media like facebook and twitter has sadly made it more evident. The manner in which such images appear and are shared and viewed, confirms that other people鈥檚 pains and miseries fascinate us and though sometimes the response might be compassion or anger or a bemused awareness, it is bothering to think that a relentless exposure may lead to feelings of indifference, that with such proximity the images of suffering of others may eventually become normal for the likes of us, for 鈥榰s鈥� who have never actually experienced that pain which extreme tragedies and wars bring about, for 鈥榰s鈥� who can never really understand such suffering.
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February 17, 2024袧械 褏胁邪谢懈谢邪褋褟, 褖芯 锌械褉械泻谢邪谢邪 写谢褟 IST Publishing 芦小锌芯褋褌械褉械卸械薪薪褟 蟹邪 斜芯谢械屑 褨薪褕懈褏禄 小始褞蟹械薪 袟芯薪褌邪覒 (褨 褋褌褉邪褕械薪薪芯 褌褨褕懈谢邪褋褟 屑芯卸谢懈胁芯褋褌褨 锌芯锌褉邪褑褞胁邪褌懈 蟹 褑懈屑 褌械泻褋褌芯屑; 锌械褉械写蟹邪屑芯胁懈褌懈 屑芯卸薪邪 ). 笑械 写芯胁谐懈泄 械褋械泄 锌褉芯 褌械, 褖芯 卸 屑懈 褉芯斜懈屑芯, 泻芯谢懈 写懈胁懈屑芯褋褟 薪邪 褎芯褌芯谐褉邪褎褨褩 胁褔懈薪械薪芯谐芯 薪邪写 褨薪褕懈屑懈 薪邪褋懈谢褜褋褌胁邪, 褨 胁褋褨 械褌懈褔薪褨 泻芯谢褨蟹褨褩, 锌芯胁'褟蟹邪薪褨 蟹 褑褨褦褞 写褨褦褞.
袟邪褉邪蟹 屑懈 胁褋褨 褋褌懈泻邪褦屑芯褋褟 蟹 胁械谢懈褔械蟹薪芯褞 泻褨谢褜泻褨褋褌褞 褋褌褉邪褕薪懈褏 褎芯褌芯谐褉邪褎褨泄 屑械褉褌胁懈褏 褌褨谢, 褉芯蟹褔邪褏薪褍褌懈褏 斜褍写懈薪泻褨胁, 蟹褉褍泄薪芯胁邪薪懈褏 锌械泄蟹邪卸褨胁, 褍 褟泻懈褏 褍卸械 屑邪泄卸械 薪械 胁谐邪写褍褞褌褜褋褟 褋谢褨写懈 卸懈褌褌褟. 袨褔械胁懈写薪芯, 锌褉芯 褉械卸懈屑懈 褎褍薪泻褑褨芯薪褍胁邪薪薪褟 褑懈褏 蟹芯斜褉邪卸械薪褜 屑懈 胁褋褨 蟹邪褉邪蟹 斜邪谐邪褌芯 写褍屑邪褦屑芯 (褖芯 胁邪褉褌芯 锌芯泻邪蟹褍胁邪褌懈? 蟹邪 褟泻懈褏 芯斜褋褌邪胁懈薪? 褟泻懈泄 斜邪谢邪薪褋 屑褨卸 褌懈屑, 褖芯斜 写芯薪械褋褌懈 蟹薪邪薪薪褟, 褨 褌懈屑, 褖芯斜 薪械 褌褉邪胁屑褍胁邪褌懈 褨薪褕懈褏? 褔懈 薪械 锌芯褌褉邪锌谢褟褦屑芯 屑懈, 褨薪褎芯褉屑褍褞褔懈 蟹邪褏褨写薪褍 锌褍斜谢褨泻褍 锌褉芯 胁褔懈薪械薪褨 褉芯褋褨褟薪邪屑懈 蟹谢芯褔懈薪懈, 胁 锌邪褋褌泻褍 褌芯谐芯, 褖芯 泻芯薪泻褉械褌懈泻邪 蟹谢芯褔懈薪褨胁 蟹邪斜褍写械褌褜褋褟 泄 锌械褉械褌胁芯褉懈褌褜褋褟 薪邪 褉芯蟹屑懈褌械 "邪, 胁 校泻褉邪褩薪褨 蟹邪胁卸写懈 泻芯谐芯褋褜 褍斜懈胁邪褞褌褜, 械褉谐芯, 薪械 胁邪褉褌芯 锌械褉械泄屑邪褌懈褋褟"? 褨 褌邪泻 写邪谢褨, 褨 褌邪泻械 褨薪褕械). 袟邪褉邪蟹, 锌械褉械泻谢邪写邪褞褔懈 褑褞 泻薪懈卸泻褍, 褟 写懈胁褍胁邪谢邪褋褟, 薪邪褋泻褨谢褜泻懈 泻芯谢芯 屑芯褩褏 蟹邪锌懈褌邪薪褜 写芯 褋褌褉邪褕薪懈褏 褎芯褌芯 蟹褍屑芯胁谢械薪械 褑褨褦褞 泻薪懈卸泻芯褞 - 褔懈褌邪谢邪 褩褩 泻芯谢懈褋褜 写邪胁薪芯 泄 薪邪胁褨褌褜 薪械 褍褟胁谢褟谢邪, 薪邪褋泻褨谢褜泻懈 胁芯薪邪 屑械薪褨 褋褎芯褉屑褍胁邪谢邪 褑褞 屑械薪褌邪谢褜薪褍 邪褉褏褨褌械泻褌褍褉褍. 小锌芯写褨胁邪褞褋褟, 褟泻褖芯 胁懈 褩褩 褖械 薪械 褔懈褌邪谢懈, 褌芯 胁邪屑 胁芯薪邪 褌邪泻芯卸 斜褍写械 褑褨泻邪胁芯褞 褨 泻芯褉懈褋薪芯褞.
袩褉芯 褖芯 胁 薪褨泄 屑芯卸薪邪 锌褉芯褔懈褌邪褌懈?
* 袧邪锌褉懈泻谢邪写, 锌褉芯 褌械, 胁 褟泻懈褏 胁懈锌邪写泻邪褏 褎芯褌芯 卸械褉褌胁 蟹 屑褨褉泻褍胁邪薪褜 锌褉懈褋褌芯泄薪芯褋褌褨 薪械 锌芯泻邪蟹褍褞褌褜 泻褉褍锌薪懈屑 锌谢邪薪芯屑, 邪 胁 褟泻懈褏 锌芯泻邪蟹褍褞褌褜. 小锌芯泄谢械褉: 锌芯泻邪蟹褍褞褌褜 蟹写械斜褨谢褜褕芯谐芯 褍 胁懈锌邪写泻褍 锌芯褋褌泻芯谢芯薪褨邪谢褜薪懈褏 泻褉邪褩薪 (褨 屑械薪械 褌褉懈胁芯卸懈褌褜, 褖芯 屑懈 锌芯褌褉邪锌谢褟褦屑芯 胁 褑褞 泻邪褌械谐芯褉褨褞, 写械 卸械褉褌胁邪 - 芯斜'褦泻褌, 褟泻懈泄 屑芯卸薪邪 胁懈褋褌邪胁谢褟褌懈 薪邪 芯谐谢褟写, 薪械 锌械褉械泄屑邪褞褔懈褋褜 屑褨褉泻褍胁邪薪薪褟屑懈 锌褉懈褋褌芯泄薪芯褋褌褨 褨 屑芯褉邪谢褨). 笑懈褌邪褌邪:
* 袧邪锌褉懈泻谢邪写, 锌褉芯 褌械, 褖芯 屑械卸邪 屑褨卸 褋锌褨胁褔褍褌褌褟屑 褨 褋锌褨胁褍褔邪褋褌褞 胁 蟹谢芯褔懈薪邪褏 屑芯卸械 胁懈褟胁懈褌懈褋褟 褌芯薪泻芯褞. 笑懈褌邪褌邪:
* 袙蟹邪谐邪谢褨, 锌褉芯 褨褋褌芯褉褨褞 胁褨蟹褍邪谢褜薪芯谐芯 写芯泻褍屑械薪褌褍胁邪薪薪褟 褋褌褉邪卸写邪薪褜:
袉 褌邪泻 写邪谢褨, 褨 褌邪泻械 褨薪褕械. 袛褍卸械 谢褞斜谢褞 褨 褑褨薪褍褞 褑械泄 褌械泻褋褌.
袟邪褉邪蟹 屑懈 胁褋褨 褋褌懈泻邪褦屑芯褋褟 蟹 胁械谢懈褔械蟹薪芯褞 泻褨谢褜泻褨褋褌褞 褋褌褉邪褕薪懈褏 褎芯褌芯谐褉邪褎褨泄 屑械褉褌胁懈褏 褌褨谢, 褉芯蟹褔邪褏薪褍褌懈褏 斜褍写懈薪泻褨胁, 蟹褉褍泄薪芯胁邪薪懈褏 锌械泄蟹邪卸褨胁, 褍 褟泻懈褏 褍卸械 屑邪泄卸械 薪械 胁谐邪写褍褞褌褜褋褟 褋谢褨写懈 卸懈褌褌褟. 袨褔械胁懈写薪芯, 锌褉芯 褉械卸懈屑懈 褎褍薪泻褑褨芯薪褍胁邪薪薪褟 褑懈褏 蟹芯斜褉邪卸械薪褜 屑懈 胁褋褨 蟹邪褉邪蟹 斜邪谐邪褌芯 写褍屑邪褦屑芯 (褖芯 胁邪褉褌芯 锌芯泻邪蟹褍胁邪褌懈? 蟹邪 褟泻懈褏 芯斜褋褌邪胁懈薪? 褟泻懈泄 斜邪谢邪薪褋 屑褨卸 褌懈屑, 褖芯斜 写芯薪械褋褌懈 蟹薪邪薪薪褟, 褨 褌懈屑, 褖芯斜 薪械 褌褉邪胁屑褍胁邪褌懈 褨薪褕懈褏? 褔懈 薪械 锌芯褌褉邪锌谢褟褦屑芯 屑懈, 褨薪褎芯褉屑褍褞褔懈 蟹邪褏褨写薪褍 锌褍斜谢褨泻褍 锌褉芯 胁褔懈薪械薪褨 褉芯褋褨褟薪邪屑懈 蟹谢芯褔懈薪懈, 胁 锌邪褋褌泻褍 褌芯谐芯, 褖芯 泻芯薪泻褉械褌懈泻邪 蟹谢芯褔懈薪褨胁 蟹邪斜褍写械褌褜褋褟 泄 锌械褉械褌胁芯褉懈褌褜褋褟 薪邪 褉芯蟹屑懈褌械 "邪, 胁 校泻褉邪褩薪褨 蟹邪胁卸写懈 泻芯谐芯褋褜 褍斜懈胁邪褞褌褜, 械褉谐芯, 薪械 胁邪褉褌芯 锌械褉械泄屑邪褌懈褋褟"? 褨 褌邪泻 写邪谢褨, 褨 褌邪泻械 褨薪褕械). 袟邪褉邪蟹, 锌械褉械泻谢邪写邪褞褔懈 褑褞 泻薪懈卸泻褍, 褟 写懈胁褍胁邪谢邪褋褟, 薪邪褋泻褨谢褜泻懈 泻芯谢芯 屑芯褩褏 蟹邪锌懈褌邪薪褜 写芯 褋褌褉邪褕薪懈褏 褎芯褌芯 蟹褍屑芯胁谢械薪械 褑褨褦褞 泻薪懈卸泻芯褞 - 褔懈褌邪谢邪 褩褩 泻芯谢懈褋褜 写邪胁薪芯 泄 薪邪胁褨褌褜 薪械 褍褟胁谢褟谢邪, 薪邪褋泻褨谢褜泻懈 胁芯薪邪 屑械薪褨 褋褎芯褉屑褍胁邪谢邪 褑褞 屑械薪褌邪谢褜薪褍 邪褉褏褨褌械泻褌褍褉褍. 小锌芯写褨胁邪褞褋褟, 褟泻褖芯 胁懈 褩褩 褖械 薪械 褔懈褌邪谢懈, 褌芯 胁邪屑 胁芯薪邪 褌邪泻芯卸 斜褍写械 褑褨泻邪胁芯褞 褨 泻芯褉懈褋薪芯褞.
袩褉芯 褖芯 胁 薪褨泄 屑芯卸薪邪 锌褉芯褔懈褌邪褌懈?
* 袧邪锌褉懈泻谢邪写, 锌褉芯 褌械, 胁 褟泻懈褏 胁懈锌邪写泻邪褏 褎芯褌芯 卸械褉褌胁 蟹 屑褨褉泻褍胁邪薪褜 锌褉懈褋褌芯泄薪芯褋褌褨 薪械 锌芯泻邪蟹褍褞褌褜 泻褉褍锌薪懈屑 锌谢邪薪芯屑, 邪 胁 褟泻懈褏 锌芯泻邪蟹褍褞褌褜. 小锌芯泄谢械褉: 锌芯泻邪蟹褍褞褌褜 蟹写械斜褨谢褜褕芯谐芯 褍 胁懈锌邪写泻褍 锌芯褋褌泻芯谢芯薪褨邪谢褜薪懈褏 泻褉邪褩薪 (褨 屑械薪械 褌褉懈胁芯卸懈褌褜, 褖芯 屑懈 锌芯褌褉邪锌谢褟褦屑芯 胁 褑褞 泻邪褌械谐芯褉褨褞, 写械 卸械褉褌胁邪 - 芯斜'褦泻褌, 褟泻懈泄 屑芯卸薪邪 胁懈褋褌邪胁谢褟褌懈 薪邪 芯谐谢褟写, 薪械 锌械褉械泄屑邪褞褔懈褋褜 屑褨褉泻褍胁邪薪薪褟屑懈 锌褉懈褋褌芯泄薪芯褋褌褨 褨 屑芯褉邪谢褨). 笑懈褌邪褌邪:
"些芯 胁褨写写邪谢械薪褨褕械 泄 械泻蟹芯褌懈褔薪褨褕械 屑褨褋褑械, 褌芯 泄屑芯胁褨褉薪褨褕械 薪邪屑 锌芯泻邪蟹褍胁邪褌懈屑褍褌褜 蟹邪谐懈斜谢懈褏 褨 锌芯屑懈褉邪褞褔懈褏 泻褉褍锌薪懈屑 锌谢邪薪芯屑, 薪械锌褉懈泻褉懈褌芯. 孝邪泻懈屑 褔懈薪芯屑 锌芯褋褌泻芯谢芯薪褨邪谢褜薪邪 袗褎褉懈泻邪, 褟泻褖芯 胁懈薪械褋褌懈 蟹邪 写褍卸泻懈 褩褩 蟹胁邪斜谢懈胁褍 屑褍蟹懈泻褍, 褨褋薪褍褦 褍 褋胁褨写芯屑芯褋褌褨 褕懈褉芯泻芯谐芯 蟹邪谐邪谢褍 蟹邪屑芯卸薪芯谐芯 褋胁褨褌褍 锌械褉械写芯胁褋褨屑 褟泻 锌褉芯褑械褋褨褟 薪械蟹邪斜褍褌薪褨褏 褎芯褌芯 卸械褉褌胁 褨蟹 褕懈褉芯泻芯 褉芯蟹锌谢褞褖械薪懈屑懈 芯褔懈屑邪, 锌芯褔懈薪邪褞褔懈 蟹 谐芯谢芯写褍 胁 袘褨邪褎褉褨 锌褨写 泻褨薪械褑褜 1960-褏 写芯 胁褑褨谢褨谢懈褏 褍 谐械薪芯褑懈写褨 褉褍邪薪写褨泄褋褜泻懈褏 褌褍褌褋褨 1994 褉芯泻褍, 褖芯 蟹邪斜褉邪胁 屑邪泄卸械 屑褨谢褜泄芯薪 卸懈褌褌褨胁, 邪 蟹邪 泻褨谢褜泻邪 褉芯泻褨胁 锌芯 褌芯屑褍 锌芯褔邪谢懈 薪邪写褏芯写懈褌懈 褎芯褌芯 写褨褌械泄 褨 写芯褉芯褋谢懈褏 蟹 胁褨写褉褍斜邪薪懈屑懈 泻褨薪褑褨胁泻邪屑懈 锌褨写 褔邪褋 屑邪褋芯胁芯谐芯 褌械褉芯褉褍, 褟泻懈泄 锌褉芯胁邪写懈胁 袨斜鈥櫻斝葱叫靶叫感� 褉械胁芯谢褞褑褨泄薪懈泄 褎褉芯薪褌 鈥� 锌芯胁褋褌邪薪褑褨 褍 小褜褦褉褉邪-袥械芯薪械. (袧邪泄薪芯胁褨褕懈泄 写芯写邪褌芯泻 写芯 褑褨褦褩 褋械褉褨褩 鈥� 褎芯褌芯谐褉邪褎褨褩 蟹 锌芯褋械谢械薪褜 泻芯褉褨薪薪懈褏 薪邪褉芯写褨胁, 写械 褑褨谢褨 褉芯写懈薪懈 胁懈屑懈褉邪褞褌褜 胁褨写 小袧袉袛褍.) 袩芯胁褨写芯屑谢械薪薪褟 褍 褑懈褏 胁懈写芯胁懈褋褜泻 锌芯写胁褨泄薪械. 袙芯薪懈 写械屑芯薪褋褌褉褍褞褌褜 芯斜褍褉谢懈胁械 褨 薪械褋锌褉邪胁械写谢懈胁械 褋褌褉邪卸写邪薪薪褟, 褟泻械 锌芯褌褉褨斜薪芯 锌褉懈锌懈薪懈褌懈. 袉 胁芯写薪芯褔邪褋 锌褨写褌胁械褉写卸褍褞褌褜, 褖芯 褌邪泻械 褌邪屑 褌褉邪锌谢褟褦褌褜褋褟. 袩芯胁褋褞写薪褨褋褌褜 褌邪泻懈褏 褎芯褌芯谐褉邪褎褨泄 褨 卸邪褏褨胁 褏芯褔-薪械-褏芯褔 锌褨写卸懈胁谢褞褦 胁褨褉褍 胁 薪械屑懈薪褍褔褨褋褌褜 褌褉邪谐械写褨泄 褍 褌懈褏 褌械屑薪懈褏 褨 胁褨写褋褌邪谢懈褏, 褌芯斜褌芯 斜褨写薪懈褏 褔邪褋褌懈薪邪褏 褋胁褨褌褍. ... 袟邪谐邪谢芯屑, 卸邪褏谢懈胁芯 锌芯薪褨胁械褔械薪褨 褌褨谢邪 薪邪 芯锌褍斜谢褨泻芯胁邪薪懈褏 褎芯褌芯谐褉邪褎褨褟褏 蟹邪蟹胁懈褔邪泄 锌芯褏芯写褟褌褜 蟹 袗蟹褨褩 褔懈 袗褎褉懈泻懈. 笑械泄 卸褍褉薪邪谢褨褋褌褋褜泻懈泄 蟹胁懈褔邪泄 鈥� 褋锌邪写芯泻 斜邪谐邪褌芯褋芯褌谢褨褌薪褜芯褩 锌褉邪泻褌懈泻懈 胁懈褋褌邪胁谢褟褌懈 薪邪 芯谐谢褟写 械泻蟹芯褌懈褔薪懈褏, 褌芯斜褌芯 泻芯谢芯薪褨蟹芯胁邪薪懈褏 谢褞写械泄: 邪褎褉懈泻邪薪褑褨胁 褨 屑械褕泻邪薪褑褨胁 写邪谢械泻懈褏 邪蟹褨邪褌褋褜泻懈褏 泻褉邪褩薪 胁懈褋褌邪胁谢褟谢懈, 褟泻 褌胁邪褉懈薪 褍 蟹芯芯锌邪褉泻褍, 薪邪 械褌薪芯谢芯谐褨褔薪懈褏 胁懈褋褌邪胁泻邪褏 褍 袥芯薪写芯薪褨, 袩邪褉懈卸褨 泄 褨薪褕懈褏 褦胁褉芯锌械泄褋褜泻懈褏 褋褌芯谢懈褑褟褏 胁褨写 XVI 写芯 锌芯褔邪褌泻褍 啸啸 褋褌芯谢褨褌褌褟. ... 袙懈褋褌邪胁谢褟褞褔懈 薪邪 芯谐谢褟写 褎芯褌芯谐褉邪褎褨褩 薪邪褋懈谢褜褋褌胁邪, 蟹邪锌芯写褨褟薪芯谐芯 谢褞写褟屑 蟹 褌械屑薪褨褕芯褞 褕泻褨褉芯褞 胁 械泻蟹芯褌懈褔薪懈褏 泻褉邪褩薪邪褏, 褨 胁屑懈褌褜 蟹邪斜褍胁褕懈 锌褉芯 屑褨褉泻褍胁邪薪薪褟, 褟泻褨 薪械 写芯蟹胁芯谢褟褞褌褜 薪邪屑 褌邪泻 褋邪屑芯 胁懈褋褌邪胁谢褟褌懈 褎芯褌芯谐褉邪褎褨褩 卸械褉褌胁 薪邪褋懈谢褜褋褌胁邪 褋锌芯褋械褉械写 薪邪褕芯谐芯 薪邪褋械谢械薪薪褟, 屑懈 锌褉芯写芯胁卸褍褦屑芯 褑褞 褌褉邪写懈褑褨褞"
* 袧邪锌褉懈泻谢邪写, 锌褉芯 褌械, 褖芯 屑械卸邪 屑褨卸 褋锌褨胁褔褍褌褌褟屑 褨 褋锌褨胁褍褔邪褋褌褞 胁 蟹谢芯褔懈薪邪褏 屑芯卸械 胁懈褟胁懈褌懈褋褟 褌芯薪泻芯褞. 笑懈褌邪褌邪:
"袛芯泻懈 屑懈 褋锌褨胁褔褍胁邪褦屑芯, 薪邪屑 蟹写邪褦褌褜褋褟, 褖芯 屑懈 薪械 褋锌褨胁褍褔邪褋薪懈泻懈 褌芯谐芯, 褖芯 蟹邪锌芯写褨褞褦 褋褌褉邪卸写邪薪薪褟. 袧邪褕械 褋锌褨胁褔褍褌褌褟 写械泻谢邪褉褍褦, 褖芯 屑懈 薪械胁懈薪薪褨, 邪谢械 泄 斜械蟹褋懈谢褨 褖芯褋褜 蟹屑褨薪懈褌懈.
袙褨写泻谢邪褋褌懈 褋锌褨胁褔褍褌褌褟 写芯 褌懈褏, 褏褌芯 褋褌褉邪卸写邪褦 胁褨写 胁褨泄薪懈 褨 胁斜懈胁褔芯褩 锌芯谢褨褌懈泻懈, 薪邪 泻芯褉懈褋褌褜 褉芯蟹写褍屑褨胁 锌褉芯 屑褨褋褑械 薪邪褕懈褏 锌褉懈胁褨谢械褩胁 薪邪 褌褨泄 褋邪屑褨泄 屑邪锌褨, 褖芯 泄 褩褏薪褦 褋褌褉邪卸写邪薪薪褟, 褨 屑芯卸谢懈胁懈泄 蟹胁鈥櫻徯沸拘� 屑褨卸 薪邪褕懈屑懈 锌褉懈胁褨谢械褟屑懈 褨 褌懈屑懈 斜褨写邪屑懈 (褟泻芯谐芯 屑懈, 屑芯卸谢懈胁芯, 褍褟胁谢褟褌懈 薪械 褏芯褔械屑芯) 鈥� 褌邪泻, 褟泻 斜邪谐邪褌褋褌胁芯 芯写薪懈褏 屑芯卸械 锌械褉械写斜邪褔邪褌懈 蟹谢懈写薪褨 褨薪褕懈褏 鈥� 褑械 蟹邪胁写邪薪薪褟, 写芯 褟泻芯谐芯 斜芯谢褞褔褨 褨 蟹胁芯褉褍褕谢懈胁褨 蟹芯斜褉邪卸械薪薪褟 写邪褞褌褜 褌褨谢褜泻懈 锌械褉褕懈泄 锌芯褕褌芯胁褏".
* 袙蟹邪谐邪谢褨, 锌褉芯 褨褋褌芯褉褨褞 胁褨蟹褍邪谢褜薪芯谐芯 写芯泻褍屑械薪褌褍胁邪薪薪褟 褋褌褉邪卸写邪薪褜:
"袩褉邪泻褌懈泻邪 蟹芯斜褉邪卸邪褌懈 卸邪褏谢懈胁褨 褋褌褉邪卸写邪薪薪褟 褟泻 褌械, 褖芯 谐谢褟写邪褔 锌芯胁懈薪械薪 蟹邪褋褍写懈褌懈, 邪 锌芯 蟹屑芯蟹褨 泄 蟹褍锌懈薪懈褌懈, 胁褏芯写懈褌褜 胁 褨褋褌芯褉褨褞 蟹芯斜褉邪卸械薪褜 褍 蟹胁鈥櫻徯沸貉� 蟹 芯写薪褨褦褞 泻芯薪泻褉械褌薪芯褞 褌械屑芯褞: 褋褌褉邪卸写邪薪薪褟 褑懈胁褨谢褜薪芯谐芯 薪邪褋械谢械薪薪褟 胁褨写 褉褍泻 锌械褉械屑芯卸薪芯褩 邪褉屑褨褩, 褟泻邪 锌谢褞薪写褉褍褦 蟹邪胁芯泄芯胁邪薪褨 蟹械屑谢褨".
袉 褌邪泻 写邪谢褨, 褨 褌邪泻械 褨薪褕械. 袛褍卸械 谢褞斜谢褞 褨 褑褨薪褍褞 褑械泄 褌械泻褋褌.
March 23, 2019
Sontag's second book on photography, and like the first back in 1977 this contains zero photographs. Words are Sontag's antidote to strong images, she is only really concerned with photography's prurient intrusiveness, there dislocation of reality, actual photographs are of less interest to her, and are mentioned, in stern verbal paraphrase, only to be reproved for their untrustworthiness. Sontag retells the familiar stories about photographs that sanitise or falsify the conflict they are supposed to be documenting, and the media have trained our eyes only too well to instinctively transform an intolerable, unintelligible reality into fiction. In our culture of always being the spectator, have we simply lost the power to be shocked?
The pain of others, the victims of famine and massacre are always people we don't know, it titillates us, so long as it is kept at a reasonably safe distance. Sontag blames the eyes indiscriminate lust, claiming the appetite for pictures showing bodies in pain is as keen, almost, as the desire for ones that show bodies naked. She also argues that images of war should solely belong in newspapers surrounded by words, rather than in magazines, which juxtapose them with glossy advertising images, and be kept out of museums and galleries. I found this an interesting and thought-provoking book, especially the part on the famous war photographer Robert Capa, and his iconic photograph of the Spanish Civil War depicting a Republican soldier at the very instant he is killed by enemy fire. Some evidence suggests that this universally recognized photo was almost certainly staged and may have been recorded a training exercise.
I'm not convinced by everything Sontag has to say, she constantly fires devastating questions but her evidence is sometimes sketchy. Still, this is no doubt another powerful and important piece of writing.
The pain of others, the victims of famine and massacre are always people we don't know, it titillates us, so long as it is kept at a reasonably safe distance. Sontag blames the eyes indiscriminate lust, claiming the appetite for pictures showing bodies in pain is as keen, almost, as the desire for ones that show bodies naked. She also argues that images of war should solely belong in newspapers surrounded by words, rather than in magazines, which juxtapose them with glossy advertising images, and be kept out of museums and galleries. I found this an interesting and thought-provoking book, especially the part on the famous war photographer Robert Capa, and his iconic photograph of the Spanish Civil War depicting a Republican soldier at the very instant he is killed by enemy fire. Some evidence suggests that this universally recognized photo was almost certainly staged and may have been recorded a training exercise.
I'm not convinced by everything Sontag has to say, she constantly fires devastating questions but her evidence is sometimes sketchy. Still, this is no doubt another powerful and important piece of writing.
Read
May 23, 2018A bracingly intelligent look at the assumptions we make about images of suffering (paintings, war photography, TV reporting, etc.). This is one of those that I鈥檓 tempted to 鈥渞eview鈥� by just quoting the whole damn book:
鈥淲hat is odd is not that so many of the iconic news photos of the past鈥ppear to have been staged. It is that we are surprised to learn they were staged, and always disappointed.鈥�
鈥淲e want the photographer to be a spy in the house of love and death, and those being photographed to be unaware of the camera, 鈥榦ff guard.鈥欌€�
鈥淭he more remote or exotic the place, the more likely we are to have full frontal views of the dead and dying鈥�.for the other, even when not an enemy, is regarded only as someone to be seen, not someone (like us) who also sees.鈥�
鈥淐entral to modern expectations, and modern ethical feeling, is the conviction that war is an aberration, if an unstoppable one. That peace is the norm, if an unattainable one. This, of course, is not the way war has been regarded throughout history. War has been the norm and peace the exception.鈥�
鈥淐ompassion is an unstable emotion. It needs to be translated into action, or it withers.鈥�
鈥淧erhaps too much value is assigned to memory, not enough to thinking.鈥�
I could go on and on. I think this is the beginning of a beautiful relationship with Sontag鈥檚 work.
鈥淲hat is odd is not that so many of the iconic news photos of the past鈥ppear to have been staged. It is that we are surprised to learn they were staged, and always disappointed.鈥�
鈥淲e want the photographer to be a spy in the house of love and death, and those being photographed to be unaware of the camera, 鈥榦ff guard.鈥欌€�
鈥淭he more remote or exotic the place, the more likely we are to have full frontal views of the dead and dying鈥�.for the other, even when not an enemy, is regarded only as someone to be seen, not someone (like us) who also sees.鈥�
鈥淐entral to modern expectations, and modern ethical feeling, is the conviction that war is an aberration, if an unstoppable one. That peace is the norm, if an unattainable one. This, of course, is not the way war has been regarded throughout history. War has been the norm and peace the exception.鈥�
鈥淐ompassion is an unstable emotion. It needs to be translated into action, or it withers.鈥�
鈥淧erhaps too much value is assigned to memory, not enough to thinking.鈥�
I could go on and on. I think this is the beginning of a beautiful relationship with Sontag鈥檚 work.
February 16, 2020
An examination of images of war and how those that view these images react to them. Concise, Sontag writes of the history of war photography and earlier depictions of war through paintings, and the purpose of these images, for the victims of war, the perpetrators, as well as those that view them.
鈥淭he understanding of war among people who have not experienced war is now chiefly a product of the impact of these images鈥�
A fact that many can confirm. Although I did experience war myself at some point in my life, it was early enough that I have no surviving memories from the period and so I too know of war mainly from the images that I鈥檝e seen on the television about war. Sontag writes about how these pictures come to the viewers, the intent behind those that capture these images being less important than the response from the viewers. Also examining what repeated exposure of tragic events does to those that repeatedly view them, the tragic events are commemorated and those that are not.
鈥淲e don鈥檛 get it. We truly can鈥檛 imagine what it was like. We can鈥檛 imagine how dreadful, how terrifying war is; and how normal it becomes. Can鈥檛 understand, can鈥檛 imagine. That鈥檚 what every soldier, and every journalist and aid worker and independent observer who has put in time under fire, and had the luck to elude the death that struck down others nearby, stubbornly feels. And they are right.鈥�
This was a fantastic read, the kind that perfectly articulates snatches of thoughts that you couldn鈥檛 have shaped into the ideas presented to you while informing you and jolting you to think beyond what you would typically of war and its representation
鈥淭he understanding of war among people who have not experienced war is now chiefly a product of the impact of these images鈥�
A fact that many can confirm. Although I did experience war myself at some point in my life, it was early enough that I have no surviving memories from the period and so I too know of war mainly from the images that I鈥檝e seen on the television about war. Sontag writes about how these pictures come to the viewers, the intent behind those that capture these images being less important than the response from the viewers. Also examining what repeated exposure of tragic events does to those that repeatedly view them, the tragic events are commemorated and those that are not.
鈥淲e don鈥檛 get it. We truly can鈥檛 imagine what it was like. We can鈥檛 imagine how dreadful, how terrifying war is; and how normal it becomes. Can鈥檛 understand, can鈥檛 imagine. That鈥檚 what every soldier, and every journalist and aid worker and independent observer who has put in time under fire, and had the luck to elude the death that struck down others nearby, stubbornly feels. And they are right.鈥�
This was a fantastic read, the kind that perfectly articulates snatches of thoughts that you couldn鈥檛 have shaped into the ideas presented to you while informing you and jolting you to think beyond what you would typically of war and its representation
December 7, 2020
丕蹖丿賴鈥屬囏� 賵 賳讴丕鬲 噩丕賱亘蹖 丿丕卮鬲 丕賲丕 丕蹖賳 丕蹖丿賴鈥屬囏й� 噩丕賱亘 禺蹖賱蹖 夭蹖丕丿 賳亘賵丿賳. 诏丕賴蹖 亘爻蹖丕乇 禺爻鬲賴鈥屭┵嗁嗀� 賲蹖鈥屫簇� 賵 亘賴 賴乇 囟乇亘 賵 夭賵乇蹖 亘賵丿 鬲賲賵賲卮 讴乇丿賲. 禺賵賳丿賳卮 丕鬲賮丕賯 亘丿蹖 賳蹖爻鬲貙 趩賵賳 丨乇賮鈥屬囏й� 噩丕賱亘蹖 賴賲 丿丕乇賴貙 賵賱蹖 丨乇賮鈥屬囏й� 噩丕賱亘卮 亘賴 賳馗乇賲 讴賲 亘賵丿 賵 賴賲蹖賳 亘丕毓孬 賲蹖鈥屫簇� 賵賯鬲蹖 丿丕乇賴 丨乇賮鈥屬囏й� 賳丕噩丕賱亘 賲蹖鈥屫操嗁� 禺爻鬲賴 卮蹖. 亘賴 賴乇 丨丕賱 賴蹖趩 趩蹖夭 讴丕賲賱 賳蹖爻鬲.
February 3, 2022
3.5
讴鬲丕亘 亘丨孬 噩丕賱亘蹖 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁� 賲亘賳蹖 亘乇 丕蹖賳讴賴 丕賳爻丕賳 丕爻丕爻丕 毓賱丕賯賴鈥屬呝嗀� 亘賴 鬲賲丕卮丕蹖 丿乇丿 賵 乇賳噩賴. 丕賵賳賯丿乇 讴賴 丕丿毓丕 賲蹖鈥屭┵嗁� 毓胤卮蹖 讴賴 亘乇丕蹖 賳賲丕蹖卮 锟斤拷丿賳賴丕蹖 爻鬲賲鈥屫屫� 賵噩賵丿 丿丕乇賴 亘賴 丕賳丿丕夭賴 亘丿賳賴丕蹖 亘乇賴賳賴 賯賵蹖賴 賵 賲蹖丕丿 丕卮丕乇丕鬲蹖 賲蹖鈥屭┵嗁� 讴賴 趩胤賵乇 胤蹖 賯乇賵賳 賲鬲賲丕丿蹖 鬲氐賵乇 賵 鬲氐賵蹖乇爻丕夭蹖 噩賴賳賲 賴乇 丿賵 賲卮禺氐賴 丕夭 賱匕鬲賴丕蹖 丕氐賱蹖 乇賵 丕乇囟丕 賲蹖鈥屭┴必�. 蹖丕 趩胤賵乇 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 賴賳乇 亘賴 賲賮賴賵賲 乇賳噩 賵 丨鬲蹖 卮讴賳噩賴 讴乇丿賳 鬲禺氐蹖氐 倬蹖丿丕 讴乇丿賴. 丕賱亘鬲賴 賳賯卮 賲匕丕賴亘 乇賵 賳亘丕蹖丿 丿乇 丕蹖賳 賲蹖丕賳 賳丕丿蹖丿賴 诏乇賮鬲 讴賴 丕賱亘鬲賴 禺賵丿卮 賲蹖鈥屫堎嗁� 賵 丕丨鬲賲丕賱丕 鬲丕 丨丿 夭蹖丕丿蹖 賲鬲丕孬乇 丕夭 賴賲蹖賳 賲蹖賱 匕丕鬲蹖 丕賳爻丕賳 卮丿賴. 亘诏匕乇蹖賲.
丕蹖賳 賲蹖賱 乇賵 丕賲乇賵夭 賲蹖鈥屫促� 丿乇 氐賳毓鬲 賮蹖賱賲鈥� 賵 爻乇诏乇賲蹖鈥屬囏й� 跇丕賳乇 禺卮賵賳鬲 賵 蹖丕 賵丨卮鬲 丿賳亘丕賱 讴乇丿 讴賴 禺賵亘 毓丿賴鈥屫й� 亘賴 胤賵乇 毓蹖丕賳 丕蹖賳 鬲賲丕蹖賱 乇賵 丕夭 禺賵丿卮賵賳 亘乇賵夭 賲蹖鈥屫�. 丕賲丕 丿乇 賲賵乇丿 丕賮乇丕丿 賲鬲蹖賳鈥屫� (!)貙 讴丕賮蹖賴 乇丕賴鈥屫ㄙ嗀з� 賵 鬲乇丕賮蹖讴蹖 讴賴 賳丕卮蹖 丕夭 鬲賵賯賮 爻賲丕噩鬲鈥屫①呟屫� 禺賵丿乇賵鈥屬囏� 賵 毓丕亘乇丕賳 賲鬲毓丿丿貙 亘乇丕蹖 丿蹖丿賳 亘丿賳 賲鬲賱丕卮蹖 賵 氐賵乇鬲 禺賵賳蹖賳 賮乇丿 鬲氐丕丿賮 讴乇丿賴 賴爻鬲貙 乇賵 亘賴 蹖丕丿 亘蹖丕乇蹖賲. 賴賲賴 賲丕貙 亘賴 賳賵毓蹖 禺賵丕爻鬲賴 蹖丕 賳丕禺賵丕爻鬲賴 趩卮賲鈥屭嗀必з嗃屬�. 丕蹖賳 丨賯蹖賯鬲賴 讴賴 賳賵毓蹖 賱匕鬲 禺丕賲賵卮 丿乇 鬲賲丕卮丕蹖 乇賳噩 丿蹖诏乇丕賳 丿乇 丿乇賵賳 丕賳爻丕賳 賵噩賵丿 丿丕乇賴
賲鬲丕爻賮丕賳賴 亘丨孬 爻賵賳鬲丕诏 丿乇 丕蹖賳 讴鬲丕亘 禺蹖賱蹖 倬乇丕讴賳丿賴 丕爻鬲 賵 賴賲蹖賳 亘丕毓孬 賲蹖鈥屫促� 賱匕鬲 禺賵賳丿賳 讴鬲丕亘 亘爻蹖丕乇 賲賳賯胤毓 亘丕卮賴. 趩賵賳 丿丕卅賲丕 亘蹖賳 噩賳亘賴鈥屬囏й� 賲禺鬲賱賮 "賳賲丕蹖卮 賵 賲卮丕賴丿賴 鬲氐丕賵蹖乇 噩賳诏" 倬乇卮 賲蹖鈥屭┵嗁�. 讴鬲丕亘 毓賳賵丕賳 賲蹖鈥屭┵嗁� 讴賴 亘賴 胤賵乇 讴賱蹖 亘賴 賲賵囟賵毓 賳賲丕蹖卮 鬲氐丕賵蹖乇 噩賳诏蹖 賲蹖鈥屫促� 亘賴 丿賵 卮讴賱 賳诏丕賴 讴乇丿
鈥� 蹖讴蹖 丕蹖賳賴 賳賲丕蹖卮 毓讴爻鈥屬囏� 禺賵亘賴貙 趩賵賳 亘丕毓孬 賲蹖卮賳 噩賳诏賴丕 賮乇丕賲賵卮 賳卮賳 賵 賴賲賵丕乇賴 亘賴 蹖丕丿 丌賵乇丿賴 亘卮賳
鈥� 蹖讴蹖 丿蹖诏賴 丕蹖賳讴賴 賳賲丕蹖卮 毓讴爻鈥屬囏� 亘丿賴貙 趩賵賳 噩賴丕賳 乇賵 亘丕 毓讴爻 丕卮亘丕毓 賲蹖讴賳賴 賵 亘賴 鬲丿乇蹖噩 賲乇丿賲 亘蹖鈥屫佖з堌� 賵 倬賵爻鬲鈥屭┵勝佖� 賲蹖鈥屫促�
爻賵賳鬲丕诏 亘丨孬 賲蹖鈥屭┵嗁� 讴賴 賲卮讴賱 鬲賮讴乇 丿賵賲貙 丿乇 毓讴丕爻蹖 丕夭 噩賳诏鈥屬囏� 賵 賲氐丕卅亘 丕賳爻丕賳鈥屬囏� 賳蹖爻鬲. 亘賱讴賴 丿乇 賲丿蹖丕蹖蹖 賴爻鬲 讴賴 丕賵賳賴丕 乇賵 賳賲丕蹖卮 賲蹖丿賴. 丿乇 丕蹖賳 乇丕爻鬲丕 鬲賵囟蹖丨 賲蹖鈥屫� 讴賴 趩胤賵乇 鬲賱賵蹖夭蹖賵賳 毓匕丕亘 噩賳诏 乇賵 亘賴 丕亘鬲匕丕賱 賲蹖鈥屭┴促堎嗁�. 趩賵賳 賲賵噩賵丿蹖鬲 鬲賱賵蹖夭蹖賵賳 亘乇 鬲毓賵蹖囟 爻乇蹖毓 讴丕賳丕賱鈥屬囏� 丕爻鬲賵丕乇賴. 賴乇 趩蹖夭蹖 讴賴 卮賲丕 乇賵 賲賱賵賱 賵 讴爻賱 讴賳賴 丿乇 丌賳蹖 賲蹖鈥屫堎嗁� 亘丕 趩蹖夭蹖 賲賮乇丨 賵 丨鬲蹖 賲亘鬲匕賱 噩丕蹖诏夭蹖賳 亘卮賴. 賵 丕蹖賳 賲丿蹖丕蹖 賳賲丕蹖卮 鬲氐丕賵蹖乇 賴爻鬲 讴賴 亘丕蹖丿 賲丨讴賵賲 亘卮賴 賳賴 毓讴丕爻蹖 丕夭 賲氐丕卅亘 亘卮乇. 丕賲乇賵夭 毓蹖賳丕 賴賲蹖賳 丕爻鬲丿賱丕賱 乇賵 賲蹖鈥屫堎嗃屬� 丿乇 賲賵乇丿 卮亘讴賴鈥屬囏й� 賲噩丕夭蹖 賵 鬲丕 丨丿蹖 爻丕蹖鬲鈥屬囏й� 丕蹖賳鬲乇賳鬲蹖 賴賲 毓賳賵丕賳 讴賳蹖賲. 丨爻 鬲乇丨賲 丕賳爻丕賳 亘賴 賵丕爻胤賴 爻賵丕爻鬲賮丕丿賴 亘蹖鈥屫� 賵 丨氐乇 丕夭 鬲讴賳賵賱賵跇蹖 丿乇 丨丕賱 讴乇禺 卮丿賳賴
丕夭 胤乇賮 丿蹖诏賴貙 爻賵賳鬲丕诏 诏乇蹖夭蹖 賲蹖鈥屫操嗁� 亘賴 丕蹖賳 賲賵囟賵毓 噩丕賱亘 讴賴 亘賴 禺丕胤乇 丕卮鬲賴丕蹖 賴賲蹖卮诏蹖 丕賳爻丕賳 亘賴 鬲氐丕賵蹖乇 丿賱禺乇丕卮貙 禺賵丕賴鈥屬嗀ж堌з� 丨囟賵乇 爻丕蹖賴 倬賱蹖丿 鬲噩丕乇鬲 鬲孬亘蹖鬲 賲蹖鈥屫促�. 丕賲丕 賲鬲丕爻賮丕賳賴 丿乇 丕蹖賳 亘丕亘 禺蹖賱蹖 賵乇賵丿 賳賲蹖鈥屭┵嗁�. 蹖丕 賲孬賱丕 丿乇 噩丕蹖 丿蹖诏賴鈥屫й屫� 爻賵賳鬲丕诏 乇賵蹖 丨爻蹖 讴賴 丿乇 丕賳爻丕賳 丿乇 賲賵賯毓 丿蹖丿賳 毓讴爻 賲氐丕卅亘 賲乇丿賲丕賳 噩賳诏鈥屫藏� 亘賴 賵噩賵丿 賲蹖丕丿 鬲賲乇讴夭 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 毓賲丿鬲丕 丕蹖賳 丨爻貙 趩蹖夭蹖 卮亘蹖賴 丿賱爻賵夭蹖 爻丕丿賴鈥屬勝堌з嗁� 丕爻鬲 賲亘鬲賳蹖 亘乇 丕蹖賳讴賴 "讴丕乇蹖 丕夭 丿爻鬲 賲賳 亘乇賳賲蹖丕丿". 爻賵賳鬲丕诏 亘丨孬 賲蹖鈥屭┵嗁� 讴賴 丕蹖賳 丨爻蹖 賳丕丿乇爻鬲 賵 亘賴 賳賵毓蹖 賳丕亘賵丿 讴賳賳丿賴 丕賵賳 丨爻 鬲乇丨賲蹖 賴爻鬲 讴賴 亘丕蹖丿 丌诏丕賴丕賳賴 丿乇 丕賳爻丕賳 亘乇丕賳诏蹖禺鬲賴 亘卮賴. 亘丨孬 噩丕賱亘蹖賴 丕賲丕 賲鬲丕爻賮丕賳賴 亘丕夭 趩賳丿丕賳 丕蹖賳 鬲乇丨賲 丌诏丕賴丕賳賴 乇賵 鬲卮乇蹖丨 賳賲蹖鈥屭┵嗁� 賵 禺蹖賱蹖 爻乇蹖毓 丕夭 乇賵卮 毓亘賵乇 賲蹖鈥屭┵嗁�.
丿乇 毓賵囟 賲賯丿丕乇 賯丕亘賱 鬲賵噩賴蹖 亘丨孬鈥屬囏й� 倬乇丕讴賳丿賴 乇丕噩毓 亘賴 賳诏乇丕賳蹖鈥屬囏� 丕夭 鬲丨乇蹖賮 賵丕賯毓蹖鬲 丿乇 賲賵乇丿 毓讴丕爻蹖 賵 爻賵亍 丕爻鬲賮丕丿賴 讴乇丿賳 丕夭 爻賵跇賴 丨蹖賳 毓讴丕爻蹖 蹖丕 爻賵亍 丕爻鬲賮丕丿賴 賲賵賯毓 賳賲丕蹖卮 毓讴爻 氐丨亘鬲 讴乇丿賴 賵 亘賴 毓讴爻鈥屬囏й� 夭蹖丕丿蹖 賴賲 丕卮丕乇賴 賲蹖鈥屭┵嗁� 賵 乇丕噩毓 亘賴卮賵賳 丕胤賱丕毓丕鬲 噩丕賱亘蹖 賲蹖鈥屫�.
爻乇 噩賲毓 亘賴 賳馗乇賲 讴鬲丕亘 禺蹖賱蹖 賮賵賯鈥屫з勜关ж団€屫й� 賲蹖鈥屫堎嗀池� 亘丕卮賴 丕賵賱丕 丕诏乇 賳馗賲 賵 鬲乇鬲蹖亘 亘賴鬲乇蹖 賲蹖鈥屫ж簇� 丿賵賲丕 丕诏乇 賲賮氐賱鈥屫� 亘賵丿 賵 賲爻丕卅賱 乇賵 亘賴鬲乇 鬲卮乇蹖丨 賲蹖鈥屭┴必� 賵 爻賵賲丕 丕蹖賳讴賴 賴賲賴 毓讴爻鈥屬囏� 賵 賳賯丕卮蹖鈥屬囏й屰� 讴賴 丕卮丕乇賴 賲蹖鈥屭┵嗁� 乇賵 丿乇 丿丕禺賱 賲鬲賳 賲蹖鈥屭柏ж簇�.
倬.賳: 賳卮乇 趩卮賲賴貙 趩賳丿鬲丕 丿賵賳賴 丕夭 毓讴爻 賴丕 乇賵 丿乇 丌禺乇 讴鬲丕亘 丌賵乇丿賴. 賲賳 丕賱亘鬲賴 丕蹖賳 乇賵 賵賯鬲蹖 讴鬲丕亘 亘賴 氐賮丨丕鬲 丌禺乇卮 乇爻蹖丿 鬲丕夭賴 賮賴賲蹖丿賲 :/ 賵 丿乇 丨蹖賳 禺賵賳丿賳 亘丕 丕蹖賳讴賴 禺蹖賱蹖 爻乇趩 賲蹖鈥屭┴必� 亘賴 禺丕胤乇 賯丿蹖賲蹖 亘賵丿賳 毓讴爻賴丕 賵 毓讴丕爻鈥屬囏ж� 禺蹖賱蹖 爻禺鬲 賲蹖鈥屫簇� 毓讴爻賴丕 乇賵 倬蹖丿丕 讴乇丿. 丕蹖 讴丕卮 賴賲賴 乇賵 賲蹖丕賵乇丿. 賵賱蹖 亘丕夭賲 讴丕趩蹖 亘毓囟 賴蹖趩蹖!丕
丕" 丌賳 讴爻 讴賴 賴賳賵夭 丕夭 丿蹖丿賳 丌賳趩賴 丕賳爻丕賳 賯丕丿乇 丕爻鬲 馗丕賱賲丕賳賴 亘乇 爻乇 賴賲 賳賵毓 禺賵丿 丌賵乇丿貙 爻乇禺賵乇丿賴 賲蹖鈥屫促堌� ( 蹖丕 丨鬲蹖 丿乇 賲賵乇丿 丌賳 鬲乇丿蹖丿 丿丕乇丿) 賴賳賵夭 亘賴 亘賱賵睾 乇賮鬲丕乇蹖 賵 乇賵丕賳蹖 賳乇爻蹖丿賴 丕爻鬲 鈥� {亘丕 丕賳丿讴蹖 鬲氐乇賮} "丕
讴鬲丕亘 亘丨孬 噩丕賱亘蹖 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁� 賲亘賳蹖 亘乇 丕蹖賳讴賴 丕賳爻丕賳 丕爻丕爻丕 毓賱丕賯賴鈥屬呝嗀� 亘賴 鬲賲丕卮丕蹖 丿乇丿 賵 乇賳噩賴. 丕賵賳賯丿乇 讴賴 丕丿毓丕 賲蹖鈥屭┵嗁� 毓胤卮蹖 讴賴 亘乇丕蹖 賳賲丕蹖卮 锟斤拷丿賳賴丕蹖 爻鬲賲鈥屫屫� 賵噩賵丿 丿丕乇賴 亘賴 丕賳丿丕夭賴 亘丿賳賴丕蹖 亘乇賴賳賴 賯賵蹖賴 賵 賲蹖丕丿 丕卮丕乇丕鬲蹖 賲蹖鈥屭┵嗁� 讴賴 趩胤賵乇 胤蹖 賯乇賵賳 賲鬲賲丕丿蹖 鬲氐賵乇 賵 鬲氐賵蹖乇爻丕夭蹖 噩賴賳賲 賴乇 丿賵 賲卮禺氐賴 丕夭 賱匕鬲賴丕蹖 丕氐賱蹖 乇賵 丕乇囟丕 賲蹖鈥屭┴必�. 蹖丕 趩胤賵乇 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 賴賳乇 亘賴 賲賮賴賵賲 乇賳噩 賵 丨鬲蹖 卮讴賳噩賴 讴乇丿賳 鬲禺氐蹖氐 倬蹖丿丕 讴乇丿賴. 丕賱亘鬲賴 賳賯卮 賲匕丕賴亘 乇賵 賳亘丕蹖丿 丿乇 丕蹖賳 賲蹖丕賳 賳丕丿蹖丿賴 诏乇賮鬲 讴賴 丕賱亘鬲賴 禺賵丿卮 賲蹖鈥屫堎嗁� 賵 丕丨鬲賲丕賱丕 鬲丕 丨丿 夭蹖丕丿蹖 賲鬲丕孬乇 丕夭 賴賲蹖賳 賲蹖賱 匕丕鬲蹖 丕賳爻丕賳 卮丿賴. 亘诏匕乇蹖賲.
丕蹖賳 賲蹖賱 乇賵 丕賲乇賵夭 賲蹖鈥屫促� 丿乇 氐賳毓鬲 賮蹖賱賲鈥� 賵 爻乇诏乇賲蹖鈥屬囏й� 跇丕賳乇 禺卮賵賳鬲 賵 蹖丕 賵丨卮鬲 丿賳亘丕賱 讴乇丿 讴賴 禺賵亘 毓丿賴鈥屫й� 亘賴 胤賵乇 毓蹖丕賳 丕蹖賳 鬲賲丕蹖賱 乇賵 丕夭 禺賵丿卮賵賳 亘乇賵夭 賲蹖鈥屫�. 丕賲丕 丿乇 賲賵乇丿 丕賮乇丕丿 賲鬲蹖賳鈥屫� (!)貙 讴丕賮蹖賴 乇丕賴鈥屫ㄙ嗀з� 賵 鬲乇丕賮蹖讴蹖 讴賴 賳丕卮蹖 丕夭 鬲賵賯賮 爻賲丕噩鬲鈥屫①呟屫� 禺賵丿乇賵鈥屬囏� 賵 毓丕亘乇丕賳 賲鬲毓丿丿貙 亘乇丕蹖 丿蹖丿賳 亘丿賳 賲鬲賱丕卮蹖 賵 氐賵乇鬲 禺賵賳蹖賳 賮乇丿 鬲氐丕丿賮 讴乇丿賴 賴爻鬲貙 乇賵 亘賴 蹖丕丿 亘蹖丕乇蹖賲. 賴賲賴 賲丕貙 亘賴 賳賵毓蹖 禺賵丕爻鬲賴 蹖丕 賳丕禺賵丕爻鬲賴 趩卮賲鈥屭嗀必з嗃屬�. 丕蹖賳 丨賯蹖賯鬲賴 讴賴 賳賵毓蹖 賱匕鬲 禺丕賲賵卮 丿乇 鬲賲丕卮丕蹖 乇賳噩 丿蹖诏乇丕賳 丿乇 丿乇賵賳 丕賳爻丕賳 賵噩賵丿 丿丕乇賴
賲鬲丕爻賮丕賳賴 亘丨孬 爻賵賳鬲丕诏 丿乇 丕蹖賳 讴鬲丕亘 禺蹖賱蹖 倬乇丕讴賳丿賴 丕爻鬲 賵 賴賲蹖賳 亘丕毓孬 賲蹖鈥屫促� 賱匕鬲 禺賵賳丿賳 讴鬲丕亘 亘爻蹖丕乇 賲賳賯胤毓 亘丕卮賴. 趩賵賳 丿丕卅賲丕 亘蹖賳 噩賳亘賴鈥屬囏й� 賲禺鬲賱賮 "賳賲丕蹖卮 賵 賲卮丕賴丿賴 鬲氐丕賵蹖乇 噩賳诏" 倬乇卮 賲蹖鈥屭┵嗁�. 讴鬲丕亘 毓賳賵丕賳 賲蹖鈥屭┵嗁� 讴賴 亘賴 胤賵乇 讴賱蹖 亘賴 賲賵囟賵毓 賳賲丕蹖卮 鬲氐丕賵蹖乇 噩賳诏蹖 賲蹖鈥屫促� 亘賴 丿賵 卮讴賱 賳诏丕賴 讴乇丿
鈥� 蹖讴蹖 丕蹖賳賴 賳賲丕蹖卮 毓讴爻鈥屬囏� 禺賵亘賴貙 趩賵賳 亘丕毓孬 賲蹖卮賳 噩賳诏賴丕 賮乇丕賲賵卮 賳卮賳 賵 賴賲賵丕乇賴 亘賴 蹖丕丿 丌賵乇丿賴 亘卮賳
鈥� 蹖讴蹖 丿蹖诏賴 丕蹖賳讴賴 賳賲丕蹖卮 毓讴爻鈥屬囏� 亘丿賴貙 趩賵賳 噩賴丕賳 乇賵 亘丕 毓讴爻 丕卮亘丕毓 賲蹖讴賳賴 賵 亘賴 鬲丿乇蹖噩 賲乇丿賲 亘蹖鈥屫佖з堌� 賵 倬賵爻鬲鈥屭┵勝佖� 賲蹖鈥屫促�
爻賵賳鬲丕诏 亘丨孬 賲蹖鈥屭┵嗁� 讴賴 賲卮讴賱 鬲賮讴乇 丿賵賲貙 丿乇 毓讴丕爻蹖 丕夭 噩賳诏鈥屬囏� 賵 賲氐丕卅亘 丕賳爻丕賳鈥屬囏� 賳蹖爻鬲. 亘賱讴賴 丿乇 賲丿蹖丕蹖蹖 賴爻鬲 讴賴 丕賵賳賴丕 乇賵 賳賲丕蹖卮 賲蹖丿賴. 丿乇 丕蹖賳 乇丕爻鬲丕 鬲賵囟蹖丨 賲蹖鈥屫� 讴賴 趩胤賵乇 鬲賱賵蹖夭蹖賵賳 毓匕丕亘 噩賳诏 乇賵 亘賴 丕亘鬲匕丕賱 賲蹖鈥屭┴促堎嗁�. 趩賵賳 賲賵噩賵丿蹖鬲 鬲賱賵蹖夭蹖賵賳 亘乇 鬲毓賵蹖囟 爻乇蹖毓 讴丕賳丕賱鈥屬囏� 丕爻鬲賵丕乇賴. 賴乇 趩蹖夭蹖 讴賴 卮賲丕 乇賵 賲賱賵賱 賵 讴爻賱 讴賳賴 丿乇 丌賳蹖 賲蹖鈥屫堎嗁� 亘丕 趩蹖夭蹖 賲賮乇丨 賵 丨鬲蹖 賲亘鬲匕賱 噩丕蹖诏夭蹖賳 亘卮賴. 賵 丕蹖賳 賲丿蹖丕蹖 賳賲丕蹖卮 鬲氐丕賵蹖乇 賴爻鬲 讴賴 亘丕蹖丿 賲丨讴賵賲 亘卮賴 賳賴 毓讴丕爻蹖 丕夭 賲氐丕卅亘 亘卮乇. 丕賲乇賵夭 毓蹖賳丕 賴賲蹖賳 丕爻鬲丿賱丕賱 乇賵 賲蹖鈥屫堎嗃屬� 丿乇 賲賵乇丿 卮亘讴賴鈥屬囏й� 賲噩丕夭蹖 賵 鬲丕 丨丿蹖 爻丕蹖鬲鈥屬囏й� 丕蹖賳鬲乇賳鬲蹖 賴賲 毓賳賵丕賳 讴賳蹖賲. 丨爻 鬲乇丨賲 丕賳爻丕賳 亘賴 賵丕爻胤賴 爻賵丕爻鬲賮丕丿賴 亘蹖鈥屫� 賵 丨氐乇 丕夭 鬲讴賳賵賱賵跇蹖 丿乇 丨丕賱 讴乇禺 卮丿賳賴
丕夭 胤乇賮 丿蹖诏賴貙 爻賵賳鬲丕诏 诏乇蹖夭蹖 賲蹖鈥屫操嗁� 亘賴 丕蹖賳 賲賵囟賵毓 噩丕賱亘 讴賴 亘賴 禺丕胤乇 丕卮鬲賴丕蹖 賴賲蹖卮诏蹖 丕賳爻丕賳 亘賴 鬲氐丕賵蹖乇 丿賱禺乇丕卮貙 禺賵丕賴鈥屬嗀ж堌з� 丨囟賵乇 爻丕蹖賴 倬賱蹖丿 鬲噩丕乇鬲 鬲孬亘蹖鬲 賲蹖鈥屫促�. 丕賲丕 賲鬲丕爻賮丕賳賴 丿乇 丕蹖賳 亘丕亘 禺蹖賱蹖 賵乇賵丿 賳賲蹖鈥屭┵嗁�. 蹖丕 賲孬賱丕 丿乇 噩丕蹖 丿蹖诏賴鈥屫й屫� 爻賵賳鬲丕诏 乇賵蹖 丨爻蹖 讴賴 丿乇 丕賳爻丕賳 丿乇 賲賵賯毓 丿蹖丿賳 毓讴爻 賲氐丕卅亘 賲乇丿賲丕賳 噩賳诏鈥屫藏� 亘賴 賵噩賵丿 賲蹖丕丿 鬲賲乇讴夭 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 毓賲丿鬲丕 丕蹖賳 丨爻貙 趩蹖夭蹖 卮亘蹖賴 丿賱爻賵夭蹖 爻丕丿賴鈥屬勝堌з嗁� 丕爻鬲 賲亘鬲賳蹖 亘乇 丕蹖賳讴賴 "讴丕乇蹖 丕夭 丿爻鬲 賲賳 亘乇賳賲蹖丕丿". 爻賵賳鬲丕诏 亘丨孬 賲蹖鈥屭┵嗁� 讴賴 丕蹖賳 丨爻蹖 賳丕丿乇爻鬲 賵 亘賴 賳賵毓蹖 賳丕亘賵丿 讴賳賳丿賴 丕賵賳 丨爻 鬲乇丨賲蹖 賴爻鬲 讴賴 亘丕蹖丿 丌诏丕賴丕賳賴 丿乇 丕賳爻丕賳 亘乇丕賳诏蹖禺鬲賴 亘卮賴. 亘丨孬 噩丕賱亘蹖賴 丕賲丕 賲鬲丕爻賮丕賳賴 亘丕夭 趩賳丿丕賳 丕蹖賳 鬲乇丨賲 丌诏丕賴丕賳賴 乇賵 鬲卮乇蹖丨 賳賲蹖鈥屭┵嗁� 賵 禺蹖賱蹖 爻乇蹖毓 丕夭 乇賵卮 毓亘賵乇 賲蹖鈥屭┵嗁�.
丿乇 毓賵囟 賲賯丿丕乇 賯丕亘賱 鬲賵噩賴蹖 亘丨孬鈥屬囏й� 倬乇丕讴賳丿賴 乇丕噩毓 亘賴 賳诏乇丕賳蹖鈥屬囏� 丕夭 鬲丨乇蹖賮 賵丕賯毓蹖鬲 丿乇 賲賵乇丿 毓讴丕爻蹖 賵 爻賵亍 丕爻鬲賮丕丿賴 讴乇丿賳 丕夭 爻賵跇賴 丨蹖賳 毓讴丕爻蹖 蹖丕 爻賵亍 丕爻鬲賮丕丿賴 賲賵賯毓 賳賲丕蹖卮 毓讴爻 氐丨亘鬲 讴乇丿賴 賵 亘賴 毓讴爻鈥屬囏й� 夭蹖丕丿蹖 賴賲 丕卮丕乇賴 賲蹖鈥屭┵嗁� 賵 乇丕噩毓 亘賴卮賵賳 丕胤賱丕毓丕鬲 噩丕賱亘蹖 賲蹖鈥屫�.
爻乇 噩賲毓 亘賴 賳馗乇賲 讴鬲丕亘 禺蹖賱蹖 賮賵賯鈥屫з勜关ж団€屫й� 賲蹖鈥屫堎嗀池� 亘丕卮賴 丕賵賱丕 丕诏乇 賳馗賲 賵 鬲乇鬲蹖亘 亘賴鬲乇蹖 賲蹖鈥屫ж簇� 丿賵賲丕 丕诏乇 賲賮氐賱鈥屫� 亘賵丿 賵 賲爻丕卅賱 乇賵 亘賴鬲乇 鬲卮乇蹖丨 賲蹖鈥屭┴必� 賵 爻賵賲丕 丕蹖賳讴賴 賴賲賴 毓讴爻鈥屬囏� 賵 賳賯丕卮蹖鈥屬囏й屰� 讴賴 丕卮丕乇賴 賲蹖鈥屭┵嗁� 乇賵 丿乇 丿丕禺賱 賲鬲賳 賲蹖鈥屭柏ж簇�.
倬.賳: 賳卮乇 趩卮賲賴貙 趩賳丿鬲丕 丿賵賳賴 丕夭 毓讴爻 賴丕 乇賵 丿乇 丌禺乇 讴鬲丕亘 丌賵乇丿賴. 賲賳 丕賱亘鬲賴 丕蹖賳 乇賵 賵賯鬲蹖 讴鬲丕亘 亘賴 氐賮丨丕鬲 丌禺乇卮 乇爻蹖丿 鬲丕夭賴 賮賴賲蹖丿賲 :/ 賵 丿乇 丨蹖賳 禺賵賳丿賳 亘丕 丕蹖賳讴賴 禺蹖賱蹖 爻乇趩 賲蹖鈥屭┴必� 亘賴 禺丕胤乇 賯丿蹖賲蹖 亘賵丿賳 毓讴爻賴丕 賵 毓讴丕爻鈥屬囏ж� 禺蹖賱蹖 爻禺鬲 賲蹖鈥屫簇� 毓讴爻賴丕 乇賵 倬蹖丿丕 讴乇丿. 丕蹖 讴丕卮 賴賲賴 乇賵 賲蹖丕賵乇丿. 賵賱蹖 亘丕夭賲 讴丕趩蹖 亘毓囟 賴蹖趩蹖!丕
September 27, 2014
Reducing The Pain of The Other
Susan Sontag 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 the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001.
Sontag attacks the modern obsession with photography, with documenting everything. She looks at all the arguments on why photography might help us understand better the suffering and trauma of war - of 'the pain of others' - but concludes that it is an ineffective medium because it reduces the observer to a single frame instead of taking him/her beyond to the true excesses of suffering that is trapped within the same frame, just out of reach.
In fact, she equates photography and war, saying that one cannot exist without the other:
There is no war without photography, that notable aesthete of war Ernst Jiinger observed in 1930, thereby refining the irrepressible identification of the camera and the gun, "shooting" a subject and shooting a human being. War-making and picture-taking are congruent activities: "It is the same intelligence, whose weapons of annihilation can locate the enemy to the exact second and meter," wrote Jiinger, "that labors to preserve the great historical event in fine detail."
Instead of bringing home the reality of war and pain, photography transmutes horror into an aesthetic - into fiction - into the 'surreal'.
Instead she proposes that words should be the medium of conveying this pain, for photographs also enlist some baser 'spectatorship' appetite. Perhaps through works such as Dexter Filkins' writings? She even goes on to suggest that maybe a censuring os some sort should be involved so that we are not caught in an eternal ratchet - gory pictures make us more inured and we need gorier pictures, so the next war can ratchet up its violence till the new requirement/limit is satisfied? She admits that this sort of censure is not going to happen, so it is up to the reading public (perhaps?) to deliberately avoid such representations of 'the pain of others'.
We have to accept that:
These dead are supremely uninterested in the living: in those who took their lives; in witnesses鈥攁nd in us. Why should they seek our gaze? What would they have to say to us? "We"鈥攖his "we" is everyone who has never experienced anything like what they went through鈥攄on't understand. We don't get it. We truly can't imagine what it was like. We can't imagine how dreadful, how terrifying war is; and how normal it becomes.
Can't understand, can't imagine.
That's what every soldier, and every journalist and aid worker and independent observer who has put in time under fire, and had the luck to elude the death that struck down others nearby, stubbornly feels.
And they are right.
February 10, 2024
An absolute must-read for anybody who's ever pondered the sufferings of others.
賲鬲兀爻賮丕賳賴 丿乇 丕亘鬲丿丕蹖 賮氐賱 鄣 賮賴賲蹖丿賲 讴賴 鬲乇噩賲賴鈥屰� "夭賴乇丕 丿乇賵蹖卮蹖丕賳 賵 賳卮乇 趩卮賲賴" 丕蹖乇丕丿丕鬲 丕爻丕爻蹖 丿丕乇賴 賵 賲噩亘賵乇 卮丿賲 亘賴 賲鬲賳 丕氐賱蹖 賲乇丕噩毓賴 讴賳賲. 讴賴 丕賱亘鬲賴 鬲賵賮蹖賯 丕噩亘丕乇蹖 賱匕鬲鈥屫ㄘ篡� 亘賵丿 丕诏乇 亘乇 賱匕鬲鈥屫ㄘ� 禺賵丕賳丿賳 賲鬲賳蹖 丿乇 亘丕亘 乇賳噩 丿蹖诏乇丕賳 禺乇丿賴 诏乇賮鬲賴 賳卮賵丿.
Book Excerpts
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"Transforming is what art does, but photography that bears witness to the calamitous and the reprehensible is much criticized if it seems 鈥渁esthetic鈥�; that is, too much like art. The dual powers of photography鈥攖o generate documents and to create works of visual art鈥攈ave produced some remarkable exaggerations about what photographers ought or ought not to do. Lately, the most common exaggeration is one that regards these powers as opposites. Photographs that depict suffering shouldn鈥檛 be beautiful, as captions shouldn鈥檛 moralize. In this view, a beautiful photograph drains attention from the sobering subject and turns it toward the medium itself, thereby compromising the picture鈥檚 status as a document. The photograph gives mixed signals. Stop this, it urges. But it also exclaims, What a spectacle!"
"When Leonardo da Vinci gives instructions for a battle painting, he insists that artists have the courage and the imagination to show war in all its ghastliness:
Make the conquered and beaten pale, with brows raised and knit, and the skin above their brows furrowed with pain 鈥� and the teeth apart as with crying out in lamentation 鈥� Make the dead partly or entirely covered with dust 鈥� and let the blood be seen by its color flowing in a sinuous stream from the corpse to the dust. Others in the death agony grinding their teeth, rolling their eyes, with their fists clenched against their bodies, and the legs distorted."
"...to find beauty in war photographs seems heartless. But the landscape of devastation is still a landscape. There is beauty in ruins. To acknowledge the beauty of photographs of the World Trade Center ruins in the months following the attack seemed frivolous, sacrilegious. The most people dared say was that the photographs were 鈥渟urreal,鈥� a hectic euphemism behind which the disgraced notion of beauty cowered."
"Transforming is what art does, but photography that bears witness to the calamitous and the reprehensible is much criticized if it seems 鈥渁esthetic鈥�; that is, too much like art."
"The German historian Barbara Duden has said that when she was teaching a course in the history of representations of the body at a large American state university some years ago, not one student in a class of twenty undergraduates could identify the subject of any of the canonical paintings of the Flagellation she showed as slides. (鈥淚 think it鈥檚 a religious picture,鈥� one ventured.) The only canonical image of Jesus she could count on most students being able to identify was the Crucifixion."
听听听 "Often something looks, or is felt to look, 鈥渂etter鈥� in a photograph. Indeed, it is one of the functions of photography to improve the normal appearance of things. (Hence, one is always disappointed by a photograph that is not flattering.) Beautifying is one classic operation of the camera, and it tends to bleach out a moral response to what is shown. Uglifying, showing something at its worst, is a more modern function: didactic, it invites an active response. For photographs to accuse, and possibly to alter conduct, they must shock."
"...Shock can become familiar. Shock can wear off. Even if it doesn鈥檛, one can not look. People have means to defend themselves against what is upsetting鈥攊n this instance, unpleasant information for those wishing to continue to smoke. This seems normal, that is, adaptive. As one can become habituated to horror in real life, one can become habituated to the horror of certain images."
"...Representations of the Crucifixion do not become banal to believers, if they really are believers. This is even more true of staged representations. Performances of Chushingura, probably the best-known narrative in all of Japanese culture, can be counted on to make a Japanese audience sob when Lord Asano admires the beauty of the cherry blossoms on his way to where he must commit seppuku鈥攕ob each time, no matter how often they have followed the story (as a Kabuki or Bunraku play, as a film); the ta鈥榸iyah drama of the betrayal and murder of Imam Hussayn does not cease to bring an Iranian audience to tears no matter how many times they have seen the martyrdom enacted. On the contrary. They weep, in part, because they have seen it many times. People want to weep. Pathos, in the form of a narrative, does not wear out."
"Photographs lay down routes of reference, and serve as totems of causes: sentiment is more likely to crystallize around a photograph than around a verbal slogan. And photographs help construct鈥攁nd revise鈥攐ur sense of a more distant past, with the posthumous shocks engineered by the circulation of hitherto unknown photographs. Photographs that everyone recognizes are now a constituent part of what a society chooses to think about, or declares that it has chosen to think about. It calls these ideas 鈥渕emories,鈥� and that is, over the long run, a fiction. Strictly speaking, there is no such thing as collective memory鈥攑art of the same family of spurious notions as collective guilt. But there is collective instruction."
"To have a museum chronicling the great crime that was African slavery in the United States of America would be to acknowledge that the evil was here. Americans prefer to picture the evil that was there, and from which the United States鈥攁 unique nation, one without any certifiably wicked leaders throughout its entire history鈥攊s exempt. That this country, like every other country, has its tragic past does not sit well with the founding, and still all-powerful, belief in American exceptionalism. The national consensus on American history as a history of progress is a new setting for distressing photographs鈥攐ne that focuses our attention on wrongs, both here and elsewhere, for which America sees itself as the solution or cure."
"Harrowing photographs do not inevitably lose their power to shock. But they are not much help if the task is to understand. Narratives can make us understand. Photographs do something else: they haunt us. Consider one of the unforgettable images of the war in Bosnia, a photograph of which the New York Times foreign correspondent John Kifner wrote: 鈥淭he image is stark, one of the most enduring of the Balkan wars: a Serb militiaman casually kicking a dying Muslim woman in the head. It tells you everything you need to know.鈥� But of course it doesn鈥檛 tell us everything we need to know."
"...The lynching pictures tell us about human wickedness. About inhumanity. They force us to think about the extent of the evil unleashed specifically by racism. Intrinsic to the perpetration of this evil is the shamelessness of photographing it. The pictures were taken as souvenirs and made, some of them, into postcards; more than a few show grinning spectators, good churchgoing citizens as most of them had to be, posing for a camera with the backdrop of a naked, charred, mutilated body hanging from a tree. The display of these pictures makes us spectators, too."
"What is the point of exhibiting these pictures? To awaken indignation? To make us feel 鈥渂ad鈥�; that is, to appall and sadden? To help us mourn? Is looking at such pictures really necessary, given that these horrors lie in a past remote enough to be beyond punishment? Are we the better for seeing these images? Do they actually teach us anything? Don鈥檛 they rather just confirm what we already know (or want to know)?"
"Some people, it was said, might dispute the need for this grisly photographic display, lest it cater to voyeuristic appetites and perpetuate images of black victimization鈥攐r simply numb the mind. Nevertheless, it was argued, there is an obligation to 鈥渆xamine鈥濃€攖he more clinical 鈥渆xamine鈥� is substituted for 鈥渓ook at鈥濃€攖he pictures. It was further argued that submitting to the ordeal should help us understand such atrocities not as the acts of 鈥渂arbarians鈥� but as the reflection of a belief system, racism, that by defining one people as less human than another legitimates torture and murder. But maybe they were barbarians. Maybe this is what most barbarians look like. (They look like everybody else.)"
"...one person鈥檚 鈥渂arbarian鈥� is another person鈥檚 鈥渏ust doing what everybody else is doing.鈥� (How many can be expected to do better than that?) The question is, Whom do we wish to blame? More precisely, Whom do we believe we have the right to blame? The children of Hiroshima and Nagasaki were no less innocent than the young African-American men (and a few women) who were butchered and hanged from trees in small-town America. More than one hundred thousand civilians, three-fourths of them women, were massacred in the RAF firebombing of Dresden on the night of February 13, 1945; seventy-two thousand civilians were incinerated in seconds by the American bomb dropped on Hiroshima. The roll call could be much longer. Again, Whom do we wish to blame? Which atrocities from the incurable past do we think we are obliged to revisit?"
"One can feel obliged to look at photographs that record great cruelties and crimes. One should feel obliged to think about what it means to look at them, about the capacity actually to assimilate what they show. Not all reactions to these pictures are under the supervision of reason and conscience. Most depictions of tormented, mutilated bodies do arouse a prurient interest. (The Disasters of War is notably an exception: Goya鈥檚 images cannot be looked at in a spirit of prurience. They don鈥檛 dwell on the beauty of the human body; bodies are heavy, and thickly clothed.) All images that display the violation of an attractive body are, to a certain degree, pornographic. But images of the repulsive can also allure. Everyone knows that what slows down highway traffic going past a horrendous car crash is not only curiosity. It is also, for many, the wish to see something gruesome. Calling such wishes 鈥渕orbid鈥� suggests a rare aberration, but the attraction to such sights is not rare, and is a perennial source of inner torment."
"People can turn off not just because a steady diet of images of violence has made them indifferent but because they are afraid. As everyone has observed, there is a mounting level of acceptable violence and sadism in mass culture: films, television, comics, computer games. Imagery that would have had an audience cringing and recoiling in disgust forty years ago is watched without so much as a blink by every teenager in the multiplex. Indeed, mayhem is entertaining rather than shocking to many people in most modern cultures. But not all violence is watched with equal detachment. Some disasters are more apt subjects of irony than others."
"Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing 鈥渨e鈥� can do鈥攂ut who is that 鈥渨e鈥�?鈥攁nd nothing 鈥渢hey鈥� can do either鈥攁nd who are 鈥渢hey鈥�?鈥攖hen one starts to get bored, cynical, apathetic."
"So far as we feel sympathy, we feel we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence. To that extent, it can be (for all our good intentions) an impertinent鈥攊f not an inappropriate鈥攔esponse. To set aside the sympathy we extend to others beset by war and murderous politics for a reflection on how our privileges are located on the same map as their suffering, and may鈥攊n ways we might prefer not to imagine鈥攂e linked to their suffering, as the wealth of some may imply the destitution of others, is a task for which the painful, stirring images supply only an initial spark."
"...The whole point of television is that one can switch channels, that it is normal to switch channels, to become restless, bored. Consumers droop. They need to be stimulated, jump-started, again and again. Content is no more than one of these stimulants. A more reflective engagement with content would require a certain intensity of awareness鈥攋ust what is weakened by the expectations brought to images disseminated by the media, whose leaching out of content contributes most to the deadening of feeling."
"THE ARGUMENT THAT modern life consists of a diet of horrors by which we are corrupted and to which we gradually become habituated is a founding idea of the critique of modernity鈥攖he critique being almost as old as modernity itself."
"Since On Photography, many critics have suggested that the excruciations of war鈥攖hanks to television鈥攈ave devolved into a nightly banality. Flooded with images of the sort that once used to shock and arouse indignation, we are losing our capacity to react. Compassion, stretched to its limits, is going numb. So runs the familiar diagnosis. But what is really being asked for here? That images of carnage be cut back to, say, once a week? More generally, that we work toward what I called for in On Photography: an 鈥渆cology of images鈥�? There isn鈥檛 going to be an ecology of images. No Committee of Guardians is going to ration horror, to keep fresh its ability to shock. And the horrors themselves are not going to abate."
"...the vast maw of modernity has chewed up reality and spat the whole mess out as images. According to a highly influential analysis, we live in a 鈥渟ociety of spectacle.鈥� Each situation has to be turned into a spectacle to be real鈥攖hat is, interesting鈥攖o us. People themselves aspire to become images: celebrities. Reality has abdicated. There are only representations: media."
听听听听听 "Citizens of modernity, consumers of violence as spectacle, adepts of proximity without risk, are schooled to be cynical about the possibility of sincerity. Some people will do anything to keep themselves from being moved. How much easier, from one鈥檚 chair, far from danger, to claim the position of superiority. In fact, deriding the efforts of those who have borne witness in war zones as 鈥渨ar tourism鈥� is such a recurrent judgment that it has spilled over into the discussion of war photography as a profession."
"...victims are interested in the representation of their own sufferings. But they want the suffering to be seen as unique. In early 1994, the English photojournalist Paul Lowe, who had been living for more than a year in the besieged city, mounted an exhibit at a partly wrecked art gallery of the photographs he had been taking, along with photographs he鈥檇 taken a few years earlier in Somalia; the Sarajevans, though eager to see new pictures of the ongoing destruction of their city, were offended by the inclusion of the Somalia pictures. Lowe had thought the matter was a simple one. He was a professional photographer, and these were two bodies of work of which he was proud. For the Sarajevans, it was also simple. To set their sufferings alongside the sufferings of another people was to compare them (which hell was worse?), demoting Sarajevo鈥檚 martyrdom to a mere instance. The atrocities taking place in Sarajevo have nothing to do with what happens in Africa, they exclaimed. Undoubtedly there was a racist tinge to their indignation鈥擝osnians are Europeans, people in Sarajevo never tired of pointing out to their foreign friends鈥攂ut they would have objected too if, instead, pictures of atrocities committed against civilians in Chechnya or in Kosovo, indeed in any other country, had been included in the show. It is intolerable to have one鈥檚 own sufferings twinned with anybody else鈥檚.'"
"To designate a hell is not, of course, to tell us anything about how to extract people from that hell, how to moderate hell鈥檚 flames. Still, it seems a good in itself to acknowledge, to have enlarged, one鈥檚 sense of how much suffering caused by human wickedness there is in the world we share with others. Someone who is perennially surprised that depravity exists, who continues to feel disillusioned (even incredulous) when confronted with evidence of what humans are capable of inflicting in the way of gruesome, hands-on cruelties upon other humans, has not reached moral or psychological adulthood."
"...Perhaps too much value is assigned to memory, not enough to thinking. Remembering is an ethical act, has ethical value in and of itself. Memory is, achingly, the only relation we can have with the dead. So the belief that remembering is an ethical act is deep in our natures as humans, who know we are going to die, and who mourn those who in the normal course of things die before us鈥攇randparents, parents, teachers, and older friends. Heartlessness and amnesia seem to go together. But history gives contradictory signals about the value of remembering in the much longer span of a collective history. There is simply too much injustice in the world. And too much remembering (of ancient grievances: Serbs, Irish) embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited."
听听听 "It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision鈥攖he standing back from the aggressiveness of the world which frees us for observation and for elective attention. But this is only to describe the function of the mind itself.
听听听 There鈥檚 nothing wrong with standing back and thinking. To paraphrase several sages: 鈥淣obody can think and hit someone at the same time.鈥�"
听听 "Much of the current skepticism about the work of certain photographers of conscience seems to amount to little more than displeasure at the fact that photographs are circulated so diversely; that there is no way to guarantee reverential conditions in which to look at these pictures and be fully responsive to them. Indeed, apart from the settings where patriotic deference to leaders is exercised, there seems no way to guarantee contemplative or inhibiting space for anything now."
"...A museum or gallery visit is a social situation, riddled with distractions, in the course of which art is seen and commented on. Up to a point, the weight and seriousness of such photographs survive better in a book, where one can look privately, linger over the pictures, without talking. Still, at some moment the book will be closed. The strong emotion will become a transient one. Eventually the specificity of the photographs鈥� accusations will fade; the denunciation of a particular conflict and attribution of specific crimes will become a denunciation of human cruelty, human savagery as such. The photographer鈥檚 intentions are irrelevant to this larger process."
賲鬲兀爻賮丕賳賴 丿乇 丕亘鬲丿丕蹖 賮氐賱 鄣 賮賴賲蹖丿賲 讴賴 鬲乇噩賲賴鈥屰� "夭賴乇丕 丿乇賵蹖卮蹖丕賳 賵 賳卮乇 趩卮賲賴" 丕蹖乇丕丿丕鬲 丕爻丕爻蹖 丿丕乇賴 賵 賲噩亘賵乇 卮丿賲 亘賴 賲鬲賳 丕氐賱蹖 賲乇丕噩毓賴 讴賳賲. 讴賴 丕賱亘鬲賴 鬲賵賮蹖賯 丕噩亘丕乇蹖 賱匕鬲鈥屫ㄘ篡� 亘賵丿 丕诏乇 亘乇 賱匕鬲鈥屫ㄘ� 禺賵丕賳丿賳 賲鬲賳蹖 丿乇 亘丕亘 乇賳噩 丿蹖诏乇丕賳 禺乇丿賴 诏乇賮鬲賴 賳卮賵丿.
Book Excerpts
__________________________________________________________
"Transforming is what art does, but photography that bears witness to the calamitous and the reprehensible is much criticized if it seems 鈥渁esthetic鈥�; that is, too much like art. The dual powers of photography鈥攖o generate documents and to create works of visual art鈥攈ave produced some remarkable exaggerations about what photographers ought or ought not to do. Lately, the most common exaggeration is one that regards these powers as opposites. Photographs that depict suffering shouldn鈥檛 be beautiful, as captions shouldn鈥檛 moralize. In this view, a beautiful photograph drains attention from the sobering subject and turns it toward the medium itself, thereby compromising the picture鈥檚 status as a document. The photograph gives mixed signals. Stop this, it urges. But it also exclaims, What a spectacle!"
"When Leonardo da Vinci gives instructions for a battle painting, he insists that artists have the courage and the imagination to show war in all its ghastliness:
Make the conquered and beaten pale, with brows raised and knit, and the skin above their brows furrowed with pain 鈥� and the teeth apart as with crying out in lamentation 鈥� Make the dead partly or entirely covered with dust 鈥� and let the blood be seen by its color flowing in a sinuous stream from the corpse to the dust. Others in the death agony grinding their teeth, rolling their eyes, with their fists clenched against their bodies, and the legs distorted."
"...to find beauty in war photographs seems heartless. But the landscape of devastation is still a landscape. There is beauty in ruins. To acknowledge the beauty of photographs of the World Trade Center ruins in the months following the attack seemed frivolous, sacrilegious. The most people dared say was that the photographs were 鈥渟urreal,鈥� a hectic euphemism behind which the disgraced notion of beauty cowered."
"Transforming is what art does, but photography that bears witness to the calamitous and the reprehensible is much criticized if it seems 鈥渁esthetic鈥�; that is, too much like art."
"The German historian Barbara Duden has said that when she was teaching a course in the history of representations of the body at a large American state university some years ago, not one student in a class of twenty undergraduates could identify the subject of any of the canonical paintings of the Flagellation she showed as slides. (鈥淚 think it鈥檚 a religious picture,鈥� one ventured.) The only canonical image of Jesus she could count on most students being able to identify was the Crucifixion."
听听听 "Often something looks, or is felt to look, 鈥渂etter鈥� in a photograph. Indeed, it is one of the functions of photography to improve the normal appearance of things. (Hence, one is always disappointed by a photograph that is not flattering.) Beautifying is one classic operation of the camera, and it tends to bleach out a moral response to what is shown. Uglifying, showing something at its worst, is a more modern function: didactic, it invites an active response. For photographs to accuse, and possibly to alter conduct, they must shock."
"...Shock can become familiar. Shock can wear off. Even if it doesn鈥檛, one can not look. People have means to defend themselves against what is upsetting鈥攊n this instance, unpleasant information for those wishing to continue to smoke. This seems normal, that is, adaptive. As one can become habituated to horror in real life, one can become habituated to the horror of certain images."
"...Representations of the Crucifixion do not become banal to believers, if they really are believers. This is even more true of staged representations. Performances of Chushingura, probably the best-known narrative in all of Japanese culture, can be counted on to make a Japanese audience sob when Lord Asano admires the beauty of the cherry blossoms on his way to where he must commit seppuku鈥攕ob each time, no matter how often they have followed the story (as a Kabuki or Bunraku play, as a film); the ta鈥榸iyah drama of the betrayal and murder of Imam Hussayn does not cease to bring an Iranian audience to tears no matter how many times they have seen the martyrdom enacted. On the contrary. They weep, in part, because they have seen it many times. People want to weep. Pathos, in the form of a narrative, does not wear out."
"Photographs lay down routes of reference, and serve as totems of causes: sentiment is more likely to crystallize around a photograph than around a verbal slogan. And photographs help construct鈥攁nd revise鈥攐ur sense of a more distant past, with the posthumous shocks engineered by the circulation of hitherto unknown photographs. Photographs that everyone recognizes are now a constituent part of what a society chooses to think about, or declares that it has chosen to think about. It calls these ideas 鈥渕emories,鈥� and that is, over the long run, a fiction. Strictly speaking, there is no such thing as collective memory鈥攑art of the same family of spurious notions as collective guilt. But there is collective instruction."
"To have a museum chronicling the great crime that was African slavery in the United States of America would be to acknowledge that the evil was here. Americans prefer to picture the evil that was there, and from which the United States鈥攁 unique nation, one without any certifiably wicked leaders throughout its entire history鈥攊s exempt. That this country, like every other country, has its tragic past does not sit well with the founding, and still all-powerful, belief in American exceptionalism. The national consensus on American history as a history of progress is a new setting for distressing photographs鈥攐ne that focuses our attention on wrongs, both here and elsewhere, for which America sees itself as the solution or cure."
"Harrowing photographs do not inevitably lose their power to shock. But they are not much help if the task is to understand. Narratives can make us understand. Photographs do something else: they haunt us. Consider one of the unforgettable images of the war in Bosnia, a photograph of which the New York Times foreign correspondent John Kifner wrote: 鈥淭he image is stark, one of the most enduring of the Balkan wars: a Serb militiaman casually kicking a dying Muslim woman in the head. It tells you everything you need to know.鈥� But of course it doesn鈥檛 tell us everything we need to know."
"...The lynching pictures tell us about human wickedness. About inhumanity. They force us to think about the extent of the evil unleashed specifically by racism. Intrinsic to the perpetration of this evil is the shamelessness of photographing it. The pictures were taken as souvenirs and made, some of them, into postcards; more than a few show grinning spectators, good churchgoing citizens as most of them had to be, posing for a camera with the backdrop of a naked, charred, mutilated body hanging from a tree. The display of these pictures makes us spectators, too."
"What is the point of exhibiting these pictures? To awaken indignation? To make us feel 鈥渂ad鈥�; that is, to appall and sadden? To help us mourn? Is looking at such pictures really necessary, given that these horrors lie in a past remote enough to be beyond punishment? Are we the better for seeing these images? Do they actually teach us anything? Don鈥檛 they rather just confirm what we already know (or want to know)?"
"Some people, it was said, might dispute the need for this grisly photographic display, lest it cater to voyeuristic appetites and perpetuate images of black victimization鈥攐r simply numb the mind. Nevertheless, it was argued, there is an obligation to 鈥渆xamine鈥濃€攖he more clinical 鈥渆xamine鈥� is substituted for 鈥渓ook at鈥濃€攖he pictures. It was further argued that submitting to the ordeal should help us understand such atrocities not as the acts of 鈥渂arbarians鈥� but as the reflection of a belief system, racism, that by defining one people as less human than another legitimates torture and murder. But maybe they were barbarians. Maybe this is what most barbarians look like. (They look like everybody else.)"
"...one person鈥檚 鈥渂arbarian鈥� is another person鈥檚 鈥渏ust doing what everybody else is doing.鈥� (How many can be expected to do better than that?) The question is, Whom do we wish to blame? More precisely, Whom do we believe we have the right to blame? The children of Hiroshima and Nagasaki were no less innocent than the young African-American men (and a few women) who were butchered and hanged from trees in small-town America. More than one hundred thousand civilians, three-fourths of them women, were massacred in the RAF firebombing of Dresden on the night of February 13, 1945; seventy-two thousand civilians were incinerated in seconds by the American bomb dropped on Hiroshima. The roll call could be much longer. Again, Whom do we wish to blame? Which atrocities from the incurable past do we think we are obliged to revisit?"
"One can feel obliged to look at photographs that record great cruelties and crimes. One should feel obliged to think about what it means to look at them, about the capacity actually to assimilate what they show. Not all reactions to these pictures are under the supervision of reason and conscience. Most depictions of tormented, mutilated bodies do arouse a prurient interest. (The Disasters of War is notably an exception: Goya鈥檚 images cannot be looked at in a spirit of prurience. They don鈥檛 dwell on the beauty of the human body; bodies are heavy, and thickly clothed.) All images that display the violation of an attractive body are, to a certain degree, pornographic. But images of the repulsive can also allure. Everyone knows that what slows down highway traffic going past a horrendous car crash is not only curiosity. It is also, for many, the wish to see something gruesome. Calling such wishes 鈥渕orbid鈥� suggests a rare aberration, but the attraction to such sights is not rare, and is a perennial source of inner torment."
"People can turn off not just because a steady diet of images of violence has made them indifferent but because they are afraid. As everyone has observed, there is a mounting level of acceptable violence and sadism in mass culture: films, television, comics, computer games. Imagery that would have had an audience cringing and recoiling in disgust forty years ago is watched without so much as a blink by every teenager in the multiplex. Indeed, mayhem is entertaining rather than shocking to many people in most modern cultures. But not all violence is watched with equal detachment. Some disasters are more apt subjects of irony than others."
"Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing 鈥渨e鈥� can do鈥攂ut who is that 鈥渨e鈥�?鈥攁nd nothing 鈥渢hey鈥� can do either鈥攁nd who are 鈥渢hey鈥�?鈥攖hen one starts to get bored, cynical, apathetic."
"So far as we feel sympathy, we feel we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence. To that extent, it can be (for all our good intentions) an impertinent鈥攊f not an inappropriate鈥攔esponse. To set aside the sympathy we extend to others beset by war and murderous politics for a reflection on how our privileges are located on the same map as their suffering, and may鈥攊n ways we might prefer not to imagine鈥攂e linked to their suffering, as the wealth of some may imply the destitution of others, is a task for which the painful, stirring images supply only an initial spark."
"...The whole point of television is that one can switch channels, that it is normal to switch channels, to become restless, bored. Consumers droop. They need to be stimulated, jump-started, again and again. Content is no more than one of these stimulants. A more reflective engagement with content would require a certain intensity of awareness鈥攋ust what is weakened by the expectations brought to images disseminated by the media, whose leaching out of content contributes most to the deadening of feeling."
"THE ARGUMENT THAT modern life consists of a diet of horrors by which we are corrupted and to which we gradually become habituated is a founding idea of the critique of modernity鈥攖he critique being almost as old as modernity itself."
"Since On Photography, many critics have suggested that the excruciations of war鈥攖hanks to television鈥攈ave devolved into a nightly banality. Flooded with images of the sort that once used to shock and arouse indignation, we are losing our capacity to react. Compassion, stretched to its limits, is going numb. So runs the familiar diagnosis. But what is really being asked for here? That images of carnage be cut back to, say, once a week? More generally, that we work toward what I called for in On Photography: an 鈥渆cology of images鈥�? There isn鈥檛 going to be an ecology of images. No Committee of Guardians is going to ration horror, to keep fresh its ability to shock. And the horrors themselves are not going to abate."
"...the vast maw of modernity has chewed up reality and spat the whole mess out as images. According to a highly influential analysis, we live in a 鈥渟ociety of spectacle.鈥� Each situation has to be turned into a spectacle to be real鈥攖hat is, interesting鈥攖o us. People themselves aspire to become images: celebrities. Reality has abdicated. There are only representations: media."
听听听听听 "Citizens of modernity, consumers of violence as spectacle, adepts of proximity without risk, are schooled to be cynical about the possibility of sincerity. Some people will do anything to keep themselves from being moved. How much easier, from one鈥檚 chair, far from danger, to claim the position of superiority. In fact, deriding the efforts of those who have borne witness in war zones as 鈥渨ar tourism鈥� is such a recurrent judgment that it has spilled over into the discussion of war photography as a profession."
"...victims are interested in the representation of their own sufferings. But they want the suffering to be seen as unique. In early 1994, the English photojournalist Paul Lowe, who had been living for more than a year in the besieged city, mounted an exhibit at a partly wrecked art gallery of the photographs he had been taking, along with photographs he鈥檇 taken a few years earlier in Somalia; the Sarajevans, though eager to see new pictures of the ongoing destruction of their city, were offended by the inclusion of the Somalia pictures. Lowe had thought the matter was a simple one. He was a professional photographer, and these were two bodies of work of which he was proud. For the Sarajevans, it was also simple. To set their sufferings alongside the sufferings of another people was to compare them (which hell was worse?), demoting Sarajevo鈥檚 martyrdom to a mere instance. The atrocities taking place in Sarajevo have nothing to do with what happens in Africa, they exclaimed. Undoubtedly there was a racist tinge to their indignation鈥擝osnians are Europeans, people in Sarajevo never tired of pointing out to their foreign friends鈥攂ut they would have objected too if, instead, pictures of atrocities committed against civilians in Chechnya or in Kosovo, indeed in any other country, had been included in the show. It is intolerable to have one鈥檚 own sufferings twinned with anybody else鈥檚.'"
"To designate a hell is not, of course, to tell us anything about how to extract people from that hell, how to moderate hell鈥檚 flames. Still, it seems a good in itself to acknowledge, to have enlarged, one鈥檚 sense of how much suffering caused by human wickedness there is in the world we share with others. Someone who is perennially surprised that depravity exists, who continues to feel disillusioned (even incredulous) when confronted with evidence of what humans are capable of inflicting in the way of gruesome, hands-on cruelties upon other humans, has not reached moral or psychological adulthood."
"...Perhaps too much value is assigned to memory, not enough to thinking. Remembering is an ethical act, has ethical value in and of itself. Memory is, achingly, the only relation we can have with the dead. So the belief that remembering is an ethical act is deep in our natures as humans, who know we are going to die, and who mourn those who in the normal course of things die before us鈥攇randparents, parents, teachers, and older friends. Heartlessness and amnesia seem to go together. But history gives contradictory signals about the value of remembering in the much longer span of a collective history. There is simply too much injustice in the world. And too much remembering (of ancient grievances: Serbs, Irish) embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited."
听听听 "It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision鈥攖he standing back from the aggressiveness of the world which frees us for observation and for elective attention. But this is only to describe the function of the mind itself.
听听听 There鈥檚 nothing wrong with standing back and thinking. To paraphrase several sages: 鈥淣obody can think and hit someone at the same time.鈥�"
听听 "Much of the current skepticism about the work of certain photographers of conscience seems to amount to little more than displeasure at the fact that photographs are circulated so diversely; that there is no way to guarantee reverential conditions in which to look at these pictures and be fully responsive to them. Indeed, apart from the settings where patriotic deference to leaders is exercised, there seems no way to guarantee contemplative or inhibiting space for anything now."
"...A museum or gallery visit is a social situation, riddled with distractions, in the course of which art is seen and commented on. Up to a point, the weight and seriousness of such photographs survive better in a book, where one can look privately, linger over the pictures, without talking. Still, at some moment the book will be closed. The strong emotion will become a transient one. Eventually the specificity of the photographs鈥� accusations will fade; the denunciation of a particular conflict and attribution of specific crimes will become a denunciation of human cruelty, human savagery as such. The photographer鈥檚 intentions are irrelevant to this larger process."
July 3, 2007
Sontag's essay is concerned with the moral implications of looking, through photographs, at people who are suffering or dead. Much of the book is a history of war photography, which is intimately bound with the history of public tolerance of violent photos. While Sontag does not provide any revolutionary ideas, the essay is a succinct and thorough examination of the issues surrounding photography. And, if there is no grand thesis to keep in mind, her exploration is full of smaller, thought-provoking observations. She notes, for example, that displaying photos of dead bodies is less taboo the more foreign and faraway those bodies are. Until she pointed it out, I had not even realised how North American coverage of 9-11 included practically no pictures of corpses, although picturing the dead in foreign conflicts is an expectable way of rallying support for the victims. Her remarks on the way a photo replaces the memory of the thing itself are, if not surprising, good to have restated.
Sontag also does not ignore the uncomfortable reality of the pleasure which most people have in regarding suffering, but in this as in many areas of her essay, I wished that she would go further, spend more time teasing out and elaborating her analysis -- I wished, in other words, that she had written a real book-length book, not a long essay. On the other hand, the incompleteness of her discussion means that it is particularly good at stimulating further thought, at opening questions rather than closing them off.
Sontag also does not ignore the uncomfortable reality of the pleasure which most people have in regarding suffering, but in this as in many areas of her essay, I wished that she would go further, spend more time teasing out and elaborating her analysis -- I wished, in other words, that she had written a real book-length book, not a long essay. On the other hand, the incompleteness of her discussion means that it is particularly good at stimulating further thought, at opening questions rather than closing them off.
March 17, 2017
丕蹖賳 丕賵賱蹖賳 賲鬲賳蹖 亘賵丿 讴賴 丕夭 爻丕賳鬲丕诏 禺賵賳丿賴鈥屬�. 趩賴 讴丕乇 禺賵亘蹖 讴乇丿賲!
亘賴 乇丕丨鬲蹖 賵 亘丕 诏爻鬲丕禺蹖 丿賱趩爻亘蹖 丨乇賮卮 乇賵 賲蹖鈥屫操嗁�.
蹖賴 賳诏丕賴 賴賲 亘賴 賴蹖趩讴丿賵賲 丕夭 鬲乇丿蹖丿鈥屬囏� 賵 鬲賴丿蹖丿賴丕蹖蹖 讴賴 賲賲讴賳賴 賳爻亘鬲 亘賴 丕蹖丿賴鈥屬囏ж� 亘卮賴 賳賲蹖鈥屬嗀ж操� 賵 賵賯鬲 丨乇賮 夭丿賳 爻毓蹖 賲蹖鈥屭┵嗁� 丿乇爻鬲鈥屫臂屬� 丨乇賮 乇賵 亘賴 亘賴鬲乇蹖賳 卮讴賱 亘夭賳賴.
丕胤賲蹖賳丕賳 禺丕氐蹖 丿乇 芦丨乇賮 夭丿賳禄 賵 賳賴 芦鬲丕賱蹖賮禄 爻丕賳鬲丕诏 賴爻鬲 讴賴 賲鬲賳 乇賵 丿锟斤拷賳卮蹖賳 賲蹖鈥屭┵嗁�.
爻丕賳鬲丕诏:
賲蹖鈥屭� 賵 賲蹖鈥屭� 賵 鬲乇爻蹖 賳丿丕乇賴. 芦賲賳 丕蹖賳 胤賵乇蹖 賮賱丕賳 趩蹖夭 乇賵 賲蹖鈥屬佡囐呝� 賵 亘賴 賮賱丕賳 趩蹖夭 賮讴乇 賲蹖鈥屭┵嗁�.禄芦賳馗乇 丿蹖诏賴鈥屫й� 賴賲 丕诏乇 賴爻鬲 賵 亘賴鬲乇 丕夭 賲賳賴 賲蹖鈥屫促嗁堎�. 賵賱蹖 禺亘貙 亘丕蹖丿 禺蹖賱蹖 禺丕乇賯鈥屫з勜关ж� 亘丕卮蹖賳 讴賴 丕夭 賲賳 亘賴鬲乇 亘丕卮蹖賳!禄
芦倬爻 丕诏乇 亘賴鬲乇 丕夭 賲賳蹖 讴賴 趩賴 亘賴鬲乇貙 丕诏乇 賴賲 賳蹖爻鬲蹖 讴賴 蹖毓賳蹖 丨乇賮 賲賳 乇賵 賲蹖鈥屫篡屬嗃� 賵 诏賵卮 賲蹖鈥屫� 賵 丕蹖賳 禺賵亘賴禄
讴鬲丕亘 丿乇 丨丿 賮賴賲 賲禺丕胤亘 毓丕賲 卮乇賵毓 賲蹖鈥屫促� 賵 賮乇丕鬲乇 丕夭 賮賴賲 賲禺丕胤亘 禺丕氐 亘賴 倬丕蹖丕賳 賲蹖鈥屫必迟�. 賵賯鬲 夭蹖丕丿蹖 賳賲蹖鈥屫ㄘ辟� 禺賵賳丿賳卮 賵 亘乇丕蹖 賴乇 讴爻蹖 趩蹖夭蹖 丿丕乇賴. 鬲乇噩賲賴 禺賵亘賴 賵 趩丕倬 毓丕賱蹖賴. 亘禺賵賳蹖丿卮.
亘賴 乇丕丨鬲蹖 賵 亘丕 诏爻鬲丕禺蹖 丿賱趩爻亘蹖 丨乇賮卮 乇賵 賲蹖鈥屫操嗁�.
蹖賴 賳诏丕賴 賴賲 亘賴 賴蹖趩讴丿賵賲 丕夭 鬲乇丿蹖丿鈥屬囏� 賵 鬲賴丿蹖丿賴丕蹖蹖 讴賴 賲賲讴賳賴 賳爻亘鬲 亘賴 丕蹖丿賴鈥屬囏ж� 亘卮賴 賳賲蹖鈥屬嗀ж操� 賵 賵賯鬲 丨乇賮 夭丿賳 爻毓蹖 賲蹖鈥屭┵嗁� 丿乇爻鬲鈥屫臂屬� 丨乇賮 乇賵 亘賴 亘賴鬲乇蹖賳 卮讴賱 亘夭賳賴.
丕胤賲蹖賳丕賳 禺丕氐蹖 丿乇 芦丨乇賮 夭丿賳禄 賵 賳賴 芦鬲丕賱蹖賮禄 爻丕賳鬲丕诏 賴爻鬲 讴賴 賲鬲賳 乇賵 丿锟斤拷賳卮蹖賳 賲蹖鈥屭┵嗁�.
爻丕賳鬲丕诏:
賲蹖鈥屭� 賵 賲蹖鈥屭� 賵 鬲乇爻蹖 賳丿丕乇賴. 芦賲賳 丕蹖賳 胤賵乇蹖 賮賱丕賳 趩蹖夭 乇賵 賲蹖鈥屬佡囐呝� 賵 亘賴 賮賱丕賳 趩蹖夭 賮讴乇 賲蹖鈥屭┵嗁�.禄芦賳馗乇 丿蹖诏賴鈥屫й� 賴賲 丕诏乇 賴爻鬲 賵 亘賴鬲乇 丕夭 賲賳賴 賲蹖鈥屫促嗁堎�. 賵賱蹖 禺亘貙 亘丕蹖丿 禺蹖賱蹖 禺丕乇賯鈥屫з勜关ж� 亘丕卮蹖賳 讴賴 丕夭 賲賳 亘賴鬲乇 亘丕卮蹖賳!禄
芦倬爻 丕诏乇 亘賴鬲乇 丕夭 賲賳蹖 讴賴 趩賴 亘賴鬲乇貙 丕诏乇 賴賲 賳蹖爻鬲蹖 讴賴 蹖毓賳蹖 丨乇賮 賲賳 乇賵 賲蹖鈥屫篡屬嗃� 賵 诏賵卮 賲蹖鈥屫� 賵 丕蹖賳 禺賵亘賴禄
讴鬲丕亘 丿乇 丨丿 賮賴賲 賲禺丕胤亘 毓丕賲 卮乇賵毓 賲蹖鈥屫促� 賵 賮乇丕鬲乇 丕夭 賮賴賲 賲禺丕胤亘 禺丕氐 亘賴 倬丕蹖丕賳 賲蹖鈥屫必迟�. 賵賯鬲 夭蹖丕丿蹖 賳賲蹖鈥屫ㄘ辟� 禺賵賳丿賳卮 賵 亘乇丕蹖 賴乇 讴爻蹖 趩蹖夭蹖 丿丕乇賴. 鬲乇噩賲賴 禺賵亘賴 賵 趩丕倬 毓丕賱蹖賴. 亘禺賵賳蹖丿卮.
September 4, 2016
蹖讴鈥屫й屰� 爻賵夭丕賳 爻丕賳鬲丕诏 賲蹖鈥屭堐屫� 讴賴 蹖讴 毓讴爻 禺蹖賱蹖 禺賵亘 賲蹖鈥屫堌з嗀� 亘乇 丕孬乇 芦鬲氐丕丿賮禄 孬亘鬲 卮賵丿. 賵 丕囟丕賮賴 賲蹖鈥屭┵嗀� 讴賴 丿乇 丕丿亘蹖丕鬲 丕賲丕 鬲氐丕丿賮 賳賲蹖鈥屫堌з嗀� 亘丕毓孬 禺賱賯 乇賵丕蹖鬲蹖 卮賵丿. (賳賯賱 亘賴 賲囟賲賵賳) 賴乇趩賳丿 丕蹖賳 噩賲賱賴 蹖讴 亘禺卮 賮乇毓蹖 丕夭 亘丨孬 丕氐賱蹖 讴鬲丕亘 丕爻鬲 丕賲丕 亘賴 賲賳 禺蹖賱蹖 趩爻亘蹖丿. 蹖讴鈥屫堌辟囏й屰� 賴賲丕賳 毓賯蹖丿賴鈥屫й� 丕爻鬲 讴賴 禺賵丿賲 亘賴卮 丕氐乇丕乇 丿丕乇賲. 丿乇亘丕乇賴 丕氐丕賱鬲 丕丿亘蹖丕鬲.
丿乇亘丕乇賴 亘丕賯蹖 讴鬲丕亘 亘丕蹖丿 亘诏賵蹖賲 讴賴 賳孬乇 爻丕賳鬲丕诏 鬲丕孬蹖乇诏匕丕乇貙 賲賵卮讴丕賮丕賳賴 賵 丿賯蹖賯 丕爻鬲. 亘賴 夭蹖亘丕蹖蹖 丕夭 丨賯蹖賯鬲蹖 倬乇丿賴 亘乇賲蹖鈥屫ж必� 讴賴 毓丿賴鈥屫й� 夭蹖丕丿蹖 賲鬲賵噩賴卮 賳蹖爻鬲蹖賲.
丿乇亘丕乇賴 亘丕賯蹖 讴鬲丕亘 亘丕蹖丿 亘诏賵蹖賲 讴賴 賳孬乇 爻丕賳鬲丕诏 鬲丕孬蹖乇诏匕丕乇貙 賲賵卮讴丕賮丕賳賴 賵 丿賯蹖賯 丕爻鬲. 亘賴 夭蹖亘丕蹖蹖 丕夭 丨賯蹖賯鬲蹖 倬乇丿賴 亘乇賲蹖鈥屫ж必� 讴賴 毓丿賴鈥屫й� 夭蹖丕丿蹖 賲鬲賵噩賴卮 賳蹖爻鬲蹖賲.
October 31, 2023
"Art谋k sava艧lar hepimizin oturma odalar谋nda s眉kunet i莽inde seyredilip dinlenen g枚r眉nt眉 ve seslere d枚n眉艧m眉艧 durumdad谋r."
Susan Sontag'谋n, 眉nl眉 Foto臒raf 脺zerine kitab谋ndan yakla艧谋k 20 sene sonra yazd谋臒谋 ve bir anlamda onun tamamlay谋c谋s谋 gibi g枚r眉lebilecek olan "Ba艧kalar谋n谋n Ac谋s谋na Bakmak" kitab谋na elim istemsizce gitti bu d枚nemde. Filistin'de ya艧anmakta olanlardan 枚t眉r眉 ba艧kalar谋n谋n ac谋s谋yla ku艧at谋lm谋艧 oldu臒umuz ve ne yapaca臒谋m谋z谋 bilemedi臒imiz bir zamandan ge莽erken belki biraz anlamland谋rmam谋 sa臒lar diye umdum.
Virginia Woolf'un benim de 莽ok sevdi臒im ve zaman谋n谋n 莽ok 枚tesinde bir kitap oldu臒unu d眉艧眉nd眉臒眉m 脺莽 Gine'si ile ba艧l谋yor Sontag anlat谋s谋na ve Baudrillard'谋n i莽inde ya艧ad谋臒谋m谋z d眉nyay谋 anlamam谋z i莽in elzem oldu臒unu d眉艧眉nd眉臒眉m Sim眉lakrlar ve Sim眉lasyon teorisine uzanan bir 莽er莽evede 艧iddete ve ac谋ya bakma, onunla ili艧kilenme bi莽imlerimizi 莽枚z眉ml眉yor ve nitekim mesele 艧uraya geliyor: ""Modernitenin kocaman midesi ger莽ekli臒i 莽i臒neyip yutmu艧 ve sonra da b眉t眉n yedi臒ini g枚r眉nt眉ler 艧eklinde geri t眉k眉rm眉艧t眉r. Olduk莽a etkili bulunan bir analize g枚re, hepimiz bir 'g枚steri toplumu'nda ya艧谋yoruz. Ger莽eklik, taht谋ndan feragat etmi艧tir. Ortada art谋k sadece 'temsiller' -yani medya- vard谋r."
Yukar谋daki paragraf yan谋lt谋c谋 olmas谋n, akademik bir kitap de臒il bu; her ne kadar baz谋 teorilerden destek alsa da derdini vicdan ve hatta 艧efkat ekseninde anlatan 莽ok g眉莽l眉 bir metin. 艦u c眉mleyi unutmamal谋 mesela: "Vurgulayarak hat谋rlatmak isterim ki, resimlerin uyand谋rd谋臒谋 ac谋ma ve i臒renme duygular谋, sizi hangi resimlerin, hangi zul眉mlerin, hangi 枚l眉mlerin, g枚sterilmedi臒i sorusunu sormaktan da al谋koymamal谋d谋r" - bir propaganda sava艧谋n谋n da i莽inden ge莽mekte oldu臒umuzu unutmamak ve ya艧anan 艧iddetin maruz kald谋臒谋m谋z k谋sm谋n谋n se莽ilmi艧 par莽alardan olu艧tu臒unu hat谋rlamak laz谋m.
艦iddete bakmak, onunla duyguda艧l谋k kurmak bir insani g枚rev midir, yoksa bizi duyars谋zla艧t谋ran bir etkisi mi vard谋r? 艦iddete ve ac谋ya bakman谋n ard谋ndaki itkinin ne kadar谋 bu duyguda艧l谋ktan / g枚rev bilincinden; ne kadar谋 bir t眉r dikizleme / te艧hir merak谋ndan kaynaklan谋r? Bu sorular谋 tam da 艧u s谋ra kendimize sormam谋z gerekti臒ine inan谋yorum. Sontag da bunlara yan谋t ar谋yor i艧te. Okuyunuz derim.
Susan Sontag'谋n, 眉nl眉 Foto臒raf 脺zerine kitab谋ndan yakla艧谋k 20 sene sonra yazd谋臒谋 ve bir anlamda onun tamamlay谋c谋s谋 gibi g枚r眉lebilecek olan "Ba艧kalar谋n谋n Ac谋s谋na Bakmak" kitab谋na elim istemsizce gitti bu d枚nemde. Filistin'de ya艧anmakta olanlardan 枚t眉r眉 ba艧kalar谋n谋n ac谋s谋yla ku艧at谋lm谋艧 oldu臒umuz ve ne yapaca臒谋m谋z谋 bilemedi臒imiz bir zamandan ge莽erken belki biraz anlamland谋rmam谋 sa臒lar diye umdum.
Virginia Woolf'un benim de 莽ok sevdi臒im ve zaman谋n谋n 莽ok 枚tesinde bir kitap oldu臒unu d眉艧眉nd眉臒眉m 脺莽 Gine'si ile ba艧l谋yor Sontag anlat谋s谋na ve Baudrillard'谋n i莽inde ya艧ad谋臒谋m谋z d眉nyay谋 anlamam谋z i莽in elzem oldu臒unu d眉艧眉nd眉臒眉m Sim眉lakrlar ve Sim眉lasyon teorisine uzanan bir 莽er莽evede 艧iddete ve ac谋ya bakma, onunla ili艧kilenme bi莽imlerimizi 莽枚z眉ml眉yor ve nitekim mesele 艧uraya geliyor: ""Modernitenin kocaman midesi ger莽ekli臒i 莽i臒neyip yutmu艧 ve sonra da b眉t眉n yedi臒ini g枚r眉nt眉ler 艧eklinde geri t眉k眉rm眉艧t眉r. Olduk莽a etkili bulunan bir analize g枚re, hepimiz bir 'g枚steri toplumu'nda ya艧谋yoruz. Ger莽eklik, taht谋ndan feragat etmi艧tir. Ortada art谋k sadece 'temsiller' -yani medya- vard谋r."
Yukar谋daki paragraf yan谋lt谋c谋 olmas谋n, akademik bir kitap de臒il bu; her ne kadar baz谋 teorilerden destek alsa da derdini vicdan ve hatta 艧efkat ekseninde anlatan 莽ok g眉莽l眉 bir metin. 艦u c眉mleyi unutmamal谋 mesela: "Vurgulayarak hat谋rlatmak isterim ki, resimlerin uyand谋rd谋臒谋 ac谋ma ve i臒renme duygular谋, sizi hangi resimlerin, hangi zul眉mlerin, hangi 枚l眉mlerin, g枚sterilmedi臒i sorusunu sormaktan da al谋koymamal谋d谋r" - bir propaganda sava艧谋n谋n da i莽inden ge莽mekte oldu臒umuzu unutmamak ve ya艧anan 艧iddetin maruz kald谋臒谋m谋z k谋sm谋n谋n se莽ilmi艧 par莽alardan olu艧tu臒unu hat谋rlamak laz谋m.
艦iddete bakmak, onunla duyguda艧l谋k kurmak bir insani g枚rev midir, yoksa bizi duyars谋zla艧t谋ran bir etkisi mi vard谋r? 艦iddete ve ac谋ya bakman谋n ard谋ndaki itkinin ne kadar谋 bu duyguda艧l谋ktan / g枚rev bilincinden; ne kadar谋 bir t眉r dikizleme / te艧hir merak谋ndan kaynaklan谋r? Bu sorular谋 tam da 艧u s谋ra kendimize sormam谋z gerekti臒ine inan谋yorum. Sontag da bunlara yan谋t ar谋yor i艧te. Okuyunuz derim.
March 27, 2024
笑褨泻邪胁懈泄, 芯斜始褦屑薪懈泄 褨 写褍卸械 胁褔邪褋薪懈泄 械褋械泄. 袙褔邪褋薪懈泄, 斜芯 泻芯谢懈 谐芯胁芯褉懈屑芯 锌褉芯 胁褨泄薪褍, 褌芯 谐芯胁芯褉懈屑芯 褨 锌褉芯 褎芯褌芯写芯泻褍屑械薪褌邪褑褨褞 胁褨泄薪懈. 校薪懈泻薪褍褌懈 褎芯褌芯谐褉邪褎褨泄 薪械屑芯卸谢懈胁芯. 袟芯斜褉邪卸械薪薪褟 锌褉芯薪懈泻邪褞褌褜 蟹 褍褋褨褏 械泻褉邪薪褨胁, 邪 褔邪褋芯屑 泄 褨薪褕懈褏 锌谢芯褖懈薪 褍 锌褍斜谢褨褔薪芯屑褍 锌褉芯褋褌芯褉褨. 孝芯屑褍 褏芯褔械褌褜褋褟 蟹褉芯蟹褍屑褨褌懈, 邪 褖芯 卸 胁褨写斜褍胁邪褦褌褜褋褟 褨蟹 薪邪屑懈 谐谢褟写邪褔邪屑懈 (邪 褔邪褋芯屑 褋锌芯褋褌械褉褨谐邪褔邪屑懈), 泻芯谢懈 屑懈 胁蟹邪褦屑芯写褨褦屑芯 蟹 褎芯褌芯谐褉邪褎褨褟屑懈, 锌褉芯 褖芯 胁芯薪懈, 褟泻 蟹屑褨薪褞胁邪谢懈褋褟 锌褨写褏芯写懈 写芯 蟹芯斜褉邪卸械薪薪褟 胁褨泄薪懈 蟹邪 170 褉芯泻褨胁 褎芯褌芯写芯泻褍屑械薪褌褍胁邪薪薪褟.
携泻 写懈胁懈褌褜褋褟 薪邪 褎芯褌芯谐褉邪褎褨褩 谢褞写懈薪邪, 写谢褟 褟泻芯褩 胁褨泄薪邪 褖芯褋褜 斜谢懈蟹褜泻械 泄 芯褋芯斜懈褋褌械, 邪 褟泻 写懈胁懈褌褜褋褟 褋褌芯褉芯薪薪褨泄 谐谢褟写邪褔, 写谢褟 褟泻芯谐芯 褑械 褖芯褋褜 写械谢械泻械; 褔懈 褦 褌芯褔泻邪, 褍 褟泻褨泄 蟹邪泻褨薪褔褍褦褌褜褋褟 械屑锌邪褌褨褟 褋锌芯褋褌械褉褨谐邪褔邪; 褟泻 褎芯褌芯谐褉邪褎褨褩 胁褨泄薪懈 胁蟹邪褦屑芯写褨褞褌褜 蟹 锌褍斜谢褔薪懈屑 锌褉芯褋褌芯褉芯屑 - 泻芯谢懈 胁芯薪懈 屑邪褞褌褜 械泻褋锌芯薪褍胁邪褌懈褋褟 褍 褌芯褉谐芯胁懈褏 褑械薪褌褉邪褏, 邪 泻芯谢懈 褍 谐邪谢械褉械褟褏; 泻芯谢懈 褎芯褌芯谐褉邪褎懈, 褟泻褨 锌褉邪褑褞褞褌褜 蟹 褌械屑芯褞 胁褨泄薪懈 锌械褉械褋褌邪谢懈 斜褍褌懈 屑懈褌褑褟屑懈 泄 褋褌邪谢懈 卸褍褉薪邪谢褨褋褌邪屑懈; 褔懈 屑芯卸械 褎芯褌芯 斜褍褌懈 写芯泻邪蟹芯屑 褔懈 胁芯薪芯 褦 褨褋褌芯褉懈褔薪懈屑 褎邪泻褌芯屑; 褟泻芯褞 褦 械褌懈泻邪 蟹邪 褋锌芯褋褌械褉械卸械薪薪褟屑 褋褌褉邪卸写邪薪褜 "褔褍卸懈褏" 褨 "褋胁芯褩褏"; 褔芯屑褍 屑懈 斜芯褩屑芯褋褟, 邪谢械 薪械 锌械褉械褋褌邪褦屑芯 写懈胁懈褌懈褋褟 薪邪 褋褌褉邪褕薪褨 褋胁褨褌谢懈薪懈, 褖芯 褑械 蟹邪 胁褍邪褦褉懈褋褌褋褜泻邪 卸邪谐邪?
袣薪懈卸泻邪 褋褌邪胁懈褌褜 锌懈褌邪薪薪褟 褨 锌芯褔邪褋褌懈 写邪褦 薪邪 薪懈褏 胁褨写锌芯胁褨写褨, 锌褉芯锌芯薪褍褞褔懈 褉械邪谢褜薪褨 褎芯褌芯谐褉邪褎褨褩 (褟泻褨 褌褉械斜邪 锌芯胁褋褟泻褔邪褋 覒褍覒谢懈褌懈), 褟泻褨 锌芯褟褋薪褞褞褌褜, 褟泻懈屑 褦 褕谢褟褏 褋锌芯褋褌械褉械卸械薪薪褟 蟹邪 斜芯谢械屑 褨薪褕懈褏.
袣薪懈卸泻邪 锌褉芯胁芯泻褍褦 写褍屑邪褌懈, 褋褌邪胁懈褌懈 蟹邪锌懈褌邪薪薪褟, 蟹薪芯胁褍 写褍屑邪褌懈.
携泻 写懈胁懈褌褜褋褟 薪邪 褎芯褌芯谐褉邪褎褨褩 谢褞写懈薪邪, 写谢褟 褟泻芯褩 胁褨泄薪邪 褖芯褋褜 斜谢懈蟹褜泻械 泄 芯褋芯斜懈褋褌械, 邪 褟泻 写懈胁懈褌褜褋褟 褋褌芯褉芯薪薪褨泄 谐谢褟写邪褔, 写谢褟 褟泻芯谐芯 褑械 褖芯褋褜 写械谢械泻械; 褔懈 褦 褌芯褔泻邪, 褍 褟泻褨泄 蟹邪泻褨薪褔褍褦褌褜褋褟 械屑锌邪褌褨褟 褋锌芯褋褌械褉褨谐邪褔邪; 褟泻 褎芯褌芯谐褉邪褎褨褩 胁褨泄薪懈 胁蟹邪褦屑芯写褨褞褌褜 蟹 锌褍斜谢褔薪懈屑 锌褉芯褋褌芯褉芯屑 - 泻芯谢懈 胁芯薪懈 屑邪褞褌褜 械泻褋锌芯薪褍胁邪褌懈褋褟 褍 褌芯褉谐芯胁懈褏 褑械薪褌褉邪褏, 邪 泻芯谢懈 褍 谐邪谢械褉械褟褏; 泻芯谢懈 褎芯褌芯谐褉邪褎懈, 褟泻褨 锌褉邪褑褞褞褌褜 蟹 褌械屑芯褞 胁褨泄薪懈 锌械褉械褋褌邪谢懈 斜褍褌懈 屑懈褌褑褟屑懈 泄 褋褌邪谢懈 卸褍褉薪邪谢褨褋褌邪屑懈; 褔懈 屑芯卸械 褎芯褌芯 斜褍褌懈 写芯泻邪蟹芯屑 褔懈 胁芯薪芯 褦 褨褋褌芯褉懈褔薪懈屑 褎邪泻褌芯屑; 褟泻芯褞 褦 械褌懈泻邪 蟹邪 褋锌芯褋褌械褉械卸械薪薪褟屑 褋褌褉邪卸写邪薪褜 "褔褍卸懈褏" 褨 "褋胁芯褩褏"; 褔芯屑褍 屑懈 斜芯褩屑芯褋褟, 邪谢械 薪械 锌械褉械褋褌邪褦屑芯 写懈胁懈褌懈褋褟 薪邪 褋褌褉邪褕薪褨 褋胁褨褌谢懈薪懈, 褖芯 褑械 蟹邪 胁褍邪褦褉懈褋褌褋褜泻邪 卸邪谐邪?
袣薪懈卸泻邪 褋褌邪胁懈褌褜 锌懈褌邪薪薪褟 褨 锌芯褔邪褋褌懈 写邪褦 薪邪 薪懈褏 胁褨写锌芯胁褨写褨, 锌褉芯锌芯薪褍褞褔懈 褉械邪谢褜薪褨 褎芯褌芯谐褉邪褎褨褩 (褟泻褨 褌褉械斜邪 锌芯胁褋褟泻褔邪褋 覒褍覒谢懈褌懈), 褟泻褨 锌芯褟褋薪褞褞褌褜, 褟泻懈屑 褦 褕谢褟褏 褋锌芯褋褌械褉械卸械薪薪褟 蟹邪 斜芯谢械屑 褨薪褕懈褏.
袣薪懈卸泻邪 锌褉芯胁芯泻褍褦 写褍屑邪褌懈, 褋褌邪胁懈褌懈 蟹邪锌懈褌邪薪薪褟, 蟹薪芯胁褍 写褍屑邪褌懈.
October 12, 2018
亘賴 賳馗乇賲 亘爻蹖丕乇 讴鬲丕亘 禺賵亘蹖賴 賵 禺賵賳丿賳卮 亘乇丕蹖 賴賲賴 賲丕 讴賴 賲丿丕賲 丿乇 賲毓乇囟 賴噩賵賲 丕胤賱丕毓丕鬲 賵 乇爻丕賳賴鈥屬囏� 賯乇丕乇 丿丕乇蹖賲 丕賵賳 賴賲 丿乇 蹖讴 丿賳蹖丕蹖 倬乇 丕夭 賮丕噩毓賴 賵 噩賳诏貙 賵丕噩亘賴.
賯爻賲鬲 丕賵賱 讴鬲丕亘 亘賴 鬲丕乇蹖禺趩賴 毓讴爻鈥屬囏й屰� 倬乇丿丕禺鬲賴 讴賴 亘賴 亘丕夭賳賲丕蹖蹖 噩賳诏 倬乇丿丕禺鬲賳 賵 鬲丕孬蹖乇 賵 讴丕乇讴乇丿 丕賵賳鈥屬囏� 乇賵 亘氐賵乇鬲 禺丕氐 丿乇 丿賵乇賴 禺賵丿卮賵賳 賲胤乇丨 讴乇丿賴. 丿乇 賯爻賲鬲 丿賵賲 亘氐賵乇鬲 毓丕賲鈥屫臂� 亘賴 亘乇乇爻蹖 讴丕乇讴乇丿 毓讴爻 賵 乇爻丕賳賴 丿乇 亘丕夭賳賲丕蹖蹖 乇賳噩 丿蹖诏乇丕賳 賲蹖鈥屬矩必ж操�. 丌蹖丕 賵丕賯毓丕 賲卮丕賴丿賴 賴乇 乇賵夭賴 毓讴爻鈥屬囏й屰� 丕夭 乇賳噩 丿蹖诏乇丕賳貙 賲丕 乇賵 賳爻亘鬲 亘賴 乇賳噩 賵 禺卮賵賳鬲 亘蹖鈥屫佖з堌� 賲蹖鈥屭┵嗁囏� 賵馗蹖賮賴 賲丕 丿乇 賯亘丕賱 丕蹖賳 毓讴爻鈥屬囏� 趩蹖賴責 賲賵賯毓 丿蹖丿賳卮賵賳 蹖讴 賴賲丿乇丿蹖 爻丕丿賴 賵 诏匕乇 讴乇丿賳貙 讴丕賮蹖賴 蹖丕 亘丕蹖丿 讴丕乇賴丕蹖 丿蹖诏乇蹖 丕賳噩丕賲 亘丿蹖賲責 亘乇丕蹖 賮賴賲蹖丿賳 噩賵丕亘 丕蹖賳 爻賵丕賱鈥屬囏� 亘丕蹖丿 禺賵丿 讴鬲丕亘 乇賵 禺賵賳丿.
賯爻賲鬲 丕賵賱 讴鬲丕亘 亘賴 鬲丕乇蹖禺趩賴 毓讴爻鈥屬囏й屰� 倬乇丿丕禺鬲賴 讴賴 亘賴 亘丕夭賳賲丕蹖蹖 噩賳诏 倬乇丿丕禺鬲賳 賵 鬲丕孬蹖乇 賵 讴丕乇讴乇丿 丕賵賳鈥屬囏� 乇賵 亘氐賵乇鬲 禺丕氐 丿乇 丿賵乇賴 禺賵丿卮賵賳 賲胤乇丨 讴乇丿賴. 丿乇 賯爻賲鬲 丿賵賲 亘氐賵乇鬲 毓丕賲鈥屫臂� 亘賴 亘乇乇爻蹖 讴丕乇讴乇丿 毓讴爻 賵 乇爻丕賳賴 丿乇 亘丕夭賳賲丕蹖蹖 乇賳噩 丿蹖诏乇丕賳 賲蹖鈥屬矩必ж操�. 丌蹖丕 賵丕賯毓丕 賲卮丕賴丿賴 賴乇 乇賵夭賴 毓讴爻鈥屬囏й屰� 丕夭 乇賳噩 丿蹖诏乇丕賳貙 賲丕 乇賵 賳爻亘鬲 亘賴 乇賳噩 賵 禺卮賵賳鬲 亘蹖鈥屫佖з堌� 賲蹖鈥屭┵嗁囏� 賵馗蹖賮賴 賲丕 丿乇 賯亘丕賱 丕蹖賳 毓讴爻鈥屬囏� 趩蹖賴責 賲賵賯毓 丿蹖丿賳卮賵賳 蹖讴 賴賲丿乇丿蹖 爻丕丿賴 賵 诏匕乇 讴乇丿賳貙 讴丕賮蹖賴 蹖丕 亘丕蹖丿 讴丕乇賴丕蹖 丿蹖诏乇蹖 丕賳噩丕賲 亘丿蹖賲責 亘乇丕蹖 賮賴賲蹖丿賳 噩賵丕亘 丕蹖賳 爻賵丕賱鈥屬囏� 亘丕蹖丿 禺賵丿 讴鬲丕亘 乇賵 禺賵賳丿.
January 23, 2025
"賲賳匕 丕禺鬲乇丕毓 丕賱賰丕賲賷乇丕 賮賷 毓丕賲 1839貙 馗賱 丕賱鬲氐賵賷乇 賲氐丕丨亘賸丕 賱賱賲賵鬲. 賱兀賳 丕賱氐賵乇丞 丕賱鬲賷 鬲賳鬲噩賴丕 鬲賱賰 丕賱丌賱丞 賴賷 丨乇賮賷賸丕 兀孬乇 賱卮卅 丕爻鬲丨囟乇 兀賲丕賲 丕賱毓丿爻丞. 賰丕賳鬲 丕賱氐賵乇 兀毓馗賲 賲賳 兀賷丞 賱賵丨丞 賰鬲匕賰丕乇 賱賱賲丕囟賷 丕賱匕賷 鬲賱丕卮賶 賵丕賱廿賳爻丕賳 丕賱毓夭賷夭 丕賱匕賷 乇丨賱. 賵丕賱廿賲爻丕賰 亘丕賱賲賵鬲 賱丨馗丞 丨丿賵孬賴 賰丕賳 賲爻兀賱丞 兀禺乇賶".
賮賷 賴匕丕 丕賱賰鬲賷亘 丕賱乇丕卅毓 鬲亘賷賳 "爻賵賳鬲丕噩" 兀賴賲賷丞 賮賳 丕賱鬲氐賵賷乇 丕賱賮賵鬲賵噩乇丕賮賷 賮賷 毓丕賱賲賳丕 丕賱廿賳爻丕賳賷貙 丨賷孬 賷噩毓賱賳丕 賳賱鬲賮鬲 賱兀賱賲 睾賷乇賳丕 賮賷 賰賱 亘賯丕毓 丕賱兀乇囟 賯丕胤亘丞貨 丨賷孬 鬲丐丿賷 鬲賱賰 丕賱氐賵乇 賲賳 賯鬲賱賶 賲丿賳賷賷賳 賵亘賷賵鬲 賲丿賲乇丞 毓賱賶 鬲爻乇賷毓 賰乇丕賴賷丞 丕賱馗賱賲 賵丕賱毓丿賵丕賳貙 賵匕賱賰 毓亘乇 鬲賰乇丕乇 亘孬 氐賵乇 丕賱賲賵鬲 賵丕賱丿賲丕乇貙 賰賲丕 兀賳賴丕 鬲毓賲賱 毓賱賶 鬲賵孬賷賯 賱賱兀毓賲丕賱 丕賱賵丨卮賷丞 丕賱鬲賷 賷乇鬲賰亘賴丕 匕賱賰 丕賱毓丿賵 丕賱賲鬲賵丨卮貙 賵丕賱氐賵乇 賱囟丨丕賷丕 丕賱丨乇亘 賳賵毓 賲賳 丕賱亘賱丕睾丞. 賮賴賷 鬲賰乇乇 賵鬲亘爻胤 賵鬲孬賷乇 賵鬲禺賱賯 丕賱賵賴賲 亘賵噩賵丿 丕賱廿噩賲丕毓 毓賱賷賴丕.
"廿毓鬲賯丿 亘毓囟 丕賱賳丕爻 賱賮鬲乇丞 胤賵賷賱丞 賲賳 丕賱賵賯鬲 兀賳 丕賱乇毓亘貙 廿匕丕 賳購賯賱 亘氐賵乇丞 丨賷丞 毓賱賶 賳丨賵 賰丕賮貙 賮廿賳 賲毓馗賲 丕賱賳丕爻 爻賵賮 賷爻鬲賵毓亘賵賳 賮賷 丕賱賳賴丕賷丞 賮馗丕毓丞 賵噩賳賵賳 丕賱丨乇亘".
鬲爻鬲毓乇囟 丕賱賰丕鬲亘丞 賮馗丕毓丞 賲卮丕賴丿 丕賱丨乇賵亘 賵鬲賵孬賷賯賴丕 丕賱匕賷 亘丿兀 賲毓 丕賱丨乇亘 丕賱兀賴賱賷丞 丕賱廿爻亘丕賳賷丞 (1936-1939) 丨賷孬 賰丕賳鬲 兀賵賱 丨乇亘 鬲購卮丕賴丿 賵鬲購睾胤賶 亘丕賱賲毓賳賶 丕賱丨丿賷孬 賱賳賯賱 氐賵乇 丕賱丨乇賵亘 賵賲卮丕賴丿賴丕貙 賲賳 禺賱丕賱 賲氐賵乇賷賳 賲丨鬲乇賮賷賳 毓賱賶 禺胤賵胤 丕賱丕卮鬲亘丕賰 賵賲賵丕賯毓 丕賱賯氐賮. 兀賲丕 丨乇亘 兀賲乇賷賰丕 賮賷 冥賷鬲賳丕賲 賮賴賷 兀賵賱 丨乇亘 鬲購卮丕賴丿 賷賵賲賷賸丕 毓亘乇 賰丕賲賷乇丕鬲 丕賱鬲賱賮丕夭貙 賵賲賳匕 匕賱賰 丕賱賵賯鬲 兀氐亘丨鬲 賲卮丕賴丿 丕賱丨乇賵亘 丕賱亘毓賷丿丞 賴賷 賲鬲毓丞 丕賱賲卮丕賴丿 賱賱卮丕卮丞 丕賱氐睾賷乇丞. 賰賲丕 鬲囟賲賳 丕賱丨丿賷孬 毓賳 丨乇亘 丕賱禺賱賷噩 賵丨乇亘 丕賱亘賵爻賳丞 賵噩賳賷賳 賮賷 丕賱兀乇丕囟賷 丕賱賲丨鬲賱丞.
"廿賳 丕賱廿賲爻丕賰 亘丕賱賲賵鬲 賵賴賵 賷丨丿孬 賮毓賱賸丕 賵鬲孬亘賷鬲賴 毓亘乇 丕賱夭賲丕賳 兀賲乇 鬲爻鬲胤賷毓 兀賳 鬲賮毓賱賴 丌賱丕鬲 丕賱鬲氐賵賷乇 賮賯胤. 賵丕賱氐賵乇 丕賱鬲賷 賷賱鬲賯胤賴丕 丕賱賲氐賵乇賵賳 賮賷 丕賱賲賷丿丕賳 賱賱丨馗丞 丕賱賲賵鬲 賴賷 兀賰孬乇 氐賵乇 賷購丨鬲賮賶 亘賴丕 賲賳 亘賷賳 氐賵乇 丕賱丨乇亘".
賵鬲賯賵賱 兀賷囟賸丕: 兀賳 毓亘乇 丕賱鬲丕乇賷禺 賰丕賳鬲 丕賱丨乇賵亘 賴賷 丕賱賯丕毓丿丞 賵丕賱爻賱丕賲 賴賵 丕賱丕爻鬲孬賳丕亍貙 賮丕賱丨乇亘 賷鬲毓匕乇 賵賯賮賴丕貙 賵丕賱爻賱丕賲 賷鬲毓匕乇 鬲丨賯賷賯賴. 賵鬲囟賷賮 兀賳 兀賴賲賷丞 丕賱氐賵乇 賮賷 賵爻丕卅賱 丕賱廿毓賱丕賲 賷丐丿賷 廿賱賶 丨鬲賲賷丞 賵賯賵毓 丕賱丨乇亘 賮毓賱賷賸丕貙 賵賴賵 賲丕 丨氐賱 賮賷 丕賱鬲毓亘卅丞 囟丿 丨乇亘 冥賷鬲賳丕賲 賲賳 氐賵乇 賱賱賰賵丕乇孬 賴賳丕賰 賵噩乇丕卅賲 丕賱丨乇亘.
賵兀禺賷乇賸丕 鬲賯賵賱: 兀賳 丕賱鬲賵賯賮 毓賳 丕賱丕賱鬲賮丕鬲 廿賱賶 兀賱賲 丕賱丌禺乇賷賳 賷毓夭賱賳丕 毓賳 丕賱毓丕賱賲. 丨賷孬 兀賳 賲卮丕賴丿丞 丕賱氐賵乇 丕賱賲鬲囟賲賳丞 鬲賱賰 丕賱丌賱丕賲 賯丿 鬲賰賵賳 鬲胤賴賷乇賸丕 賳賮爻賷賸丕貙 賵鬲卮毓乇賳丕 亘丕賱兀賲丕賳 賱兀賳賳丕 賱爻賳丕 丿丕禺賱賴丕貙 賵禺丕乇噩 丕賱賲賰丕賳 賵丕賱夭賲丕賳 賵毓賱賶 亘毓丿 賲爻丕賮丕鬲 賲賳賴丕貙 賵鬲鬲爻丕卅賱: 賴賱 賷賲賰賳 兀賳 賳鬲賵賯賮 毓賳 賲鬲丕亘毓丞 丌賱丕賲 丕賱毓丕賱賲責 賵賴賱 賷賲賰賳 兀賳 賳賳毓夭賱 毓賲丕 賷丨丿孬 丨賵賱賳丕 賲賳 毓賳賮 賵丨乇賵亘 賵噩賳賵賳責 賵賰賷賮 賷賲賰賳賳丕 兀賳 賳賮賴賲 丕賱毓丕賱賲 賵賳丨丿孬 賮賷賴 鬲睾賷賷乇賸丕 賱賵 丕賳毓夭賱賳丕 毓賳賴責
賰鬲丕亘 乇丕卅毓 賮賷 兀賴賲賷丞 賮賳 丕賱鬲氐賵賷乇 賮賷 毓丕賱賲 丕賱丨乇賵亘 賵丕賱賰賵丕乇孬貙 賵賱賰賳 賷毓丕亘 毓賱賷賴 毓丿賲 鬲囟賲賷賳賴 兀賷 氐賵乇 賲賳 丕賱賲匕賰賵乇丞 賮賷 丕賱賰鬲丕亘 毓乇賮鬲 亘毓囟賴丕 賲賳 丕賱匕丕賰乇丞貙 賵亘丨孬鬲 毓賳 丕賱睾賷乇 賲毓賱賵賲 毓賱賶 丕賱卮亘賰丞 丕賱毓賳賰亘賵鬲賷丞. 賰丕賳 丌禺乇 賰鬲丕亘 鬲賰鬲亘賴 爻賵賳鬲丕噩 賯亘賱 賵賮丕鬲賴丕.
"賱丕 賳爻鬲胤賷毓 兀賳 賳鬲禺賷賱 賰賲 賴賷 丕賱丨乇亘 賲禺賷賮丞貙 賲乇毓亘丞貙 賵賰賷賮 鬲氐亘丨 卮賷卅賸丕 毓丕丿賷賸丕. 賱丕 賳爻鬲胤賷毓 兀賳 賳賮賴賲貙 賱丕 賳爻鬲胤賷毓 兀賳 賳鬲禺賷賱. 匕賱賰 賲丕 賷丨爻賴 賰賱 噩賳丿賷貙 賵賰賱 氐丨賮賷 賵賲賳賯匕 賵賲乇丕賯亘 賲丨丕賷丿 兀賲囟賶 夭賲賳賸丕 鬲丨鬲 丕賱賳丕乇貙 賵丨丕賱賮賴 丕賱丨馗 賱賷鬲賮丕丿賶 丕賱賲賵鬲 丕賱匕賷 氐乇毓 丕賱丌禺乇賷賳 亘噩賵丕乇賴. 賵賴賲 毓賱賶 丨賯".
賮賷 賴匕丕 丕賱賰鬲賷亘 丕賱乇丕卅毓 鬲亘賷賳 "爻賵賳鬲丕噩" 兀賴賲賷丞 賮賳 丕賱鬲氐賵賷乇 丕賱賮賵鬲賵噩乇丕賮賷 賮賷 毓丕賱賲賳丕 丕賱廿賳爻丕賳賷貙 丨賷孬 賷噩毓賱賳丕 賳賱鬲賮鬲 賱兀賱賲 睾賷乇賳丕 賮賷 賰賱 亘賯丕毓 丕賱兀乇囟 賯丕胤亘丞貨 丨賷孬 鬲丐丿賷 鬲賱賰 丕賱氐賵乇 賲賳 賯鬲賱賶 賲丿賳賷賷賳 賵亘賷賵鬲 賲丿賲乇丞 毓賱賶 鬲爻乇賷毓 賰乇丕賴賷丞 丕賱馗賱賲 賵丕賱毓丿賵丕賳貙 賵匕賱賰 毓亘乇 鬲賰乇丕乇 亘孬 氐賵乇 丕賱賲賵鬲 賵丕賱丿賲丕乇貙 賰賲丕 兀賳賴丕 鬲毓賲賱 毓賱賶 鬲賵孬賷賯 賱賱兀毓賲丕賱 丕賱賵丨卮賷丞 丕賱鬲賷 賷乇鬲賰亘賴丕 匕賱賰 丕賱毓丿賵 丕賱賲鬲賵丨卮貙 賵丕賱氐賵乇 賱囟丨丕賷丕 丕賱丨乇亘 賳賵毓 賲賳 丕賱亘賱丕睾丞. 賮賴賷 鬲賰乇乇 賵鬲亘爻胤 賵鬲孬賷乇 賵鬲禺賱賯 丕賱賵賴賲 亘賵噩賵丿 丕賱廿噩賲丕毓 毓賱賷賴丕.
"廿毓鬲賯丿 亘毓囟 丕賱賳丕爻 賱賮鬲乇丞 胤賵賷賱丞 賲賳 丕賱賵賯鬲 兀賳 丕賱乇毓亘貙 廿匕丕 賳購賯賱 亘氐賵乇丞 丨賷丞 毓賱賶 賳丨賵 賰丕賮貙 賮廿賳 賲毓馗賲 丕賱賳丕爻 爻賵賮 賷爻鬲賵毓亘賵賳 賮賷 丕賱賳賴丕賷丞 賮馗丕毓丞 賵噩賳賵賳 丕賱丨乇亘".
鬲爻鬲毓乇囟 丕賱賰丕鬲亘丞 賮馗丕毓丞 賲卮丕賴丿 丕賱丨乇賵亘 賵鬲賵孬賷賯賴丕 丕賱匕賷 亘丿兀 賲毓 丕賱丨乇亘 丕賱兀賴賱賷丞 丕賱廿爻亘丕賳賷丞 (1936-1939) 丨賷孬 賰丕賳鬲 兀賵賱 丨乇亘 鬲購卮丕賴丿 賵鬲購睾胤賶 亘丕賱賲毓賳賶 丕賱丨丿賷孬 賱賳賯賱 氐賵乇 丕賱丨乇賵亘 賵賲卮丕賴丿賴丕貙 賲賳 禺賱丕賱 賲氐賵乇賷賳 賲丨鬲乇賮賷賳 毓賱賶 禺胤賵胤 丕賱丕卮鬲亘丕賰 賵賲賵丕賯毓 丕賱賯氐賮. 兀賲丕 丨乇亘 兀賲乇賷賰丕 賮賷 冥賷鬲賳丕賲 賮賴賷 兀賵賱 丨乇亘 鬲購卮丕賴丿 賷賵賲賷賸丕 毓亘乇 賰丕賲賷乇丕鬲 丕賱鬲賱賮丕夭貙 賵賲賳匕 匕賱賰 丕賱賵賯鬲 兀氐亘丨鬲 賲卮丕賴丿 丕賱丨乇賵亘 丕賱亘毓賷丿丞 賴賷 賲鬲毓丞 丕賱賲卮丕賴丿 賱賱卮丕卮丞 丕賱氐睾賷乇丞. 賰賲丕 鬲囟賲賳 丕賱丨丿賷孬 毓賳 丨乇亘 丕賱禺賱賷噩 賵丨乇亘 丕賱亘賵爻賳丞 賵噩賳賷賳 賮賷 丕賱兀乇丕囟賷 丕賱賲丨鬲賱丞.
"廿賳 丕賱廿賲爻丕賰 亘丕賱賲賵鬲 賵賴賵 賷丨丿孬 賮毓賱賸丕 賵鬲孬亘賷鬲賴 毓亘乇 丕賱夭賲丕賳 兀賲乇 鬲爻鬲胤賷毓 兀賳 鬲賮毓賱賴 丌賱丕鬲 丕賱鬲氐賵賷乇 賮賯胤. 賵丕賱氐賵乇 丕賱鬲賷 賷賱鬲賯胤賴丕 丕賱賲氐賵乇賵賳 賮賷 丕賱賲賷丿丕賳 賱賱丨馗丞 丕賱賲賵鬲 賴賷 兀賰孬乇 氐賵乇 賷購丨鬲賮賶 亘賴丕 賲賳 亘賷賳 氐賵乇 丕賱丨乇亘".
賵鬲賯賵賱 兀賷囟賸丕: 兀賳 毓亘乇 丕賱鬲丕乇賷禺 賰丕賳鬲 丕賱丨乇賵亘 賴賷 丕賱賯丕毓丿丞 賵丕賱爻賱丕賲 賴賵 丕賱丕爻鬲孬賳丕亍貙 賮丕賱丨乇亘 賷鬲毓匕乇 賵賯賮賴丕貙 賵丕賱爻賱丕賲 賷鬲毓匕乇 鬲丨賯賷賯賴. 賵鬲囟賷賮 兀賳 兀賴賲賷丞 丕賱氐賵乇 賮賷 賵爻丕卅賱 丕賱廿毓賱丕賲 賷丐丿賷 廿賱賶 丨鬲賲賷丞 賵賯賵毓 丕賱丨乇亘 賮毓賱賷賸丕貙 賵賴賵 賲丕 丨氐賱 賮賷 丕賱鬲毓亘卅丞 囟丿 丨乇亘 冥賷鬲賳丕賲 賲賳 氐賵乇 賱賱賰賵丕乇孬 賴賳丕賰 賵噩乇丕卅賲 丕賱丨乇亘.
賵兀禺賷乇賸丕 鬲賯賵賱: 兀賳 丕賱鬲賵賯賮 毓賳 丕賱丕賱鬲賮丕鬲 廿賱賶 兀賱賲 丕賱丌禺乇賷賳 賷毓夭賱賳丕 毓賳 丕賱毓丕賱賲. 丨賷孬 兀賳 賲卮丕賴丿丞 丕賱氐賵乇 丕賱賲鬲囟賲賳丞 鬲賱賰 丕賱丌賱丕賲 賯丿 鬲賰賵賳 鬲胤賴賷乇賸丕 賳賮爻賷賸丕貙 賵鬲卮毓乇賳丕 亘丕賱兀賲丕賳 賱兀賳賳丕 賱爻賳丕 丿丕禺賱賴丕貙 賵禺丕乇噩 丕賱賲賰丕賳 賵丕賱夭賲丕賳 賵毓賱賶 亘毓丿 賲爻丕賮丕鬲 賲賳賴丕貙 賵鬲鬲爻丕卅賱: 賴賱 賷賲賰賳 兀賳 賳鬲賵賯賮 毓賳 賲鬲丕亘毓丞 丌賱丕賲 丕賱毓丕賱賲責 賵賴賱 賷賲賰賳 兀賳 賳賳毓夭賱 毓賲丕 賷丨丿孬 丨賵賱賳丕 賲賳 毓賳賮 賵丨乇賵亘 賵噩賳賵賳責 賵賰賷賮 賷賲賰賳賳丕 兀賳 賳賮賴賲 丕賱毓丕賱賲 賵賳丨丿孬 賮賷賴 鬲睾賷賷乇賸丕 賱賵 丕賳毓夭賱賳丕 毓賳賴責
賰鬲丕亘 乇丕卅毓 賮賷 兀賴賲賷丞 賮賳 丕賱鬲氐賵賷乇 賮賷 毓丕賱賲 丕賱丨乇賵亘 賵丕賱賰賵丕乇孬貙 賵賱賰賳 賷毓丕亘 毓賱賷賴 毓丿賲 鬲囟賲賷賳賴 兀賷 氐賵乇 賲賳 丕賱賲匕賰賵乇丞 賮賷 丕賱賰鬲丕亘 毓乇賮鬲 亘毓囟賴丕 賲賳 丕賱匕丕賰乇丞貙 賵亘丨孬鬲 毓賳 丕賱睾賷乇 賲毓賱賵賲 毓賱賶 丕賱卮亘賰丞 丕賱毓賳賰亘賵鬲賷丞. 賰丕賳 丌禺乇 賰鬲丕亘 鬲賰鬲亘賴 爻賵賳鬲丕噩 賯亘賱 賵賮丕鬲賴丕.
"賱丕 賳爻鬲胤賷毓 兀賳 賳鬲禺賷賱 賰賲 賴賷 丕賱丨乇亘 賲禺賷賮丞貙 賲乇毓亘丞貙 賵賰賷賮 鬲氐亘丨 卮賷卅賸丕 毓丕丿賷賸丕. 賱丕 賳爻鬲胤賷毓 兀賳 賳賮賴賲貙 賱丕 賳爻鬲胤賷毓 兀賳 賳鬲禺賷賱. 匕賱賰 賲丕 賷丨爻賴 賰賱 噩賳丿賷貙 賵賰賱 氐丨賮賷 賵賲賳賯匕 賵賲乇丕賯亘 賲丨丕賷丿 兀賲囟賶 夭賲賳賸丕 鬲丨鬲 丕賱賳丕乇貙 賵丨丕賱賮賴 丕賱丨馗 賱賷鬲賮丕丿賶 丕賱賲賵鬲 丕賱匕賷 氐乇毓 丕賱丌禺乇賷賳 亘噩賵丕乇賴. 賵賴賲 毓賱賶 丨賯".
November 20, 2023
I've just leave a few excepts from this essay here. There is not much one could add to her unflinching and perfectly expressed position. The pity is that it was written 20 years ago and, if anything, her words seem sadly much more relevant.
"Even in the era of cybermodels, what the mind feels like is still, as the ancients imagined it, an inner space 鈥� like a theatre 鈥� in which we picture, and it is these pictures that allow us to remember. The problem is not that people remember through photographs, but that they remember only the photographs. This remembering through photographs eclipses other forms of understanding, and remembering."
"Perhaps too much value is assigned to memory, not enough to thinking. Remembering is an ethical act, has ethical value in and of itself. Memory is, achingly, the only relation we can have with the dead. So the belief that remembering is an ethical act is deep in our natures as humans, who know we are going to die, and who mourn those who in the normal course of things die before us 鈥� grandparents, parents, teachers and older friends. Heartlessness and amnesia seem to go together. But history gives contradictory signals about the value of remembering in the much longer span of a collective history. There is simply too much injustice in the world. And too much remembering (of ancient grievances: Serbs, Irish) embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited. If the goal is having some space in which to live one鈥檚 own life, then it is desirable that the account of specific injustices dissolve into a more general understanding that human beings everywhere do terrible things to one another."
"A stepped-up recognition of the monstrousness of the slave system that once existed, unquestioned by most, in the United States is a national project of recent decades that many Euro-Americans feel some tug of obligation to join. This ongoing project is a great achievement, a benchmark of civic virtue. The acknowledgment of the American use of disproportionate firepower in war (in violation of one of the cardinal laws of war) is very much not a national project. A museum devoted to the history of America鈥檚 wars that included the vicious war the United States fought against guerrillas in the Philippines from 1899 to 1902 (expertly excoriated by Mark Twain), and that fairly presented the arguments for and against using the atomic bomb in 1945 on the Japanese cities, with photographic evidence that showed what those weapons did, would be regarded 鈥� now more than ever 鈥� as a most unpatriotic endeavor."
"Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing 鈥榳e鈥� can do 鈥� but who is that 鈥榳e鈥�? 鈥� and nothing 鈥榯hey鈥� can do either 鈥� and who are 鈥榯hey鈥�? 鈥� then one starts to get bored, cynical, apathetic. And it is not necessarily better to be moved. Sentimentality, notoriously, is entirely compatible with a taste for brutality and worse.
People don鈥檛 become inured to what they are shown 鈥� if that鈥檚 the right way to describe what happens 鈥� because of the quantity of images dumped on them. It is passivity that dulls feeling. The states described as apathy, moral or emotional anesthesia, are full of feelings; the feelings are rage and frustration. But if we consider what emotions would be desirable, it seems too simple to elect sympathy. The imaginary proximity to the suffering inflicted on others that is granted by images suggests a link between the faraway sufferers 鈥� seen close-up on the television screen 鈥� and the privileged viewer that is simply untrue, that is yet one more mystification of our real relations to power. So far as we feel sympathy, we feel we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence. To that extent, it can be (for all our good intentions) an impertinent 鈥� if not an inappropriate 鈥� response. To set aside the sympathy we extend to others beset by war and murderous politics for a reflection on how our privileges are located on the same map as their suffering, and may 鈥� in ways we might prefer not to imagine 鈥� be linked to their suffering, as the wealth of some may imply the destitution of others, is a task for which the painful, stirring images supply only an initial spark."
"To speak of reality becoming a spectacle is a breathtaking provincialism. It universalizes the viewing habits of a small, educated population living in the rich part of the world, where news has been converted into entertainment 鈥� that mature style of viewing which is a prime acquisition of 鈥榯he modern鈥�, and a prerequisite for dismantling traditional forms of party-based politics that offer real disagreement and debate. It assumes that everyone is a spectator. It suggests, perversely, unseriously, that there is no real suffering in the world. But it is absurd to identify the world with those zones in the well-off countries where people have the dubious privilege of being spectators, or of declining to be spectators, of other people鈥檚 pain, just as it is absurd to generalize about the ability to respond to the sufferings of others on the basis of the mind-set of those consumers of news who know nothing at first hand about war and massive injustice and terror. There are hundreds of millions of television watchers who are far from inured to what they see on television. They do not have the luxury of patronizing reality."
"Even in the era of cybermodels, what the mind feels like is still, as the ancients imagined it, an inner space 鈥� like a theatre 鈥� in which we picture, and it is these pictures that allow us to remember. The problem is not that people remember through photographs, but that they remember only the photographs. This remembering through photographs eclipses other forms of understanding, and remembering."
"Perhaps too much value is assigned to memory, not enough to thinking. Remembering is an ethical act, has ethical value in and of itself. Memory is, achingly, the only relation we can have with the dead. So the belief that remembering is an ethical act is deep in our natures as humans, who know we are going to die, and who mourn those who in the normal course of things die before us 鈥� grandparents, parents, teachers and older friends. Heartlessness and amnesia seem to go together. But history gives contradictory signals about the value of remembering in the much longer span of a collective history. There is simply too much injustice in the world. And too much remembering (of ancient grievances: Serbs, Irish) embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited. If the goal is having some space in which to live one鈥檚 own life, then it is desirable that the account of specific injustices dissolve into a more general understanding that human beings everywhere do terrible things to one another."
"A stepped-up recognition of the monstrousness of the slave system that once existed, unquestioned by most, in the United States is a national project of recent decades that many Euro-Americans feel some tug of obligation to join. This ongoing project is a great achievement, a benchmark of civic virtue. The acknowledgment of the American use of disproportionate firepower in war (in violation of one of the cardinal laws of war) is very much not a national project. A museum devoted to the history of America鈥檚 wars that included the vicious war the United States fought against guerrillas in the Philippines from 1899 to 1902 (expertly excoriated by Mark Twain), and that fairly presented the arguments for and against using the atomic bomb in 1945 on the Japanese cities, with photographic evidence that showed what those weapons did, would be regarded 鈥� now more than ever 鈥� as a most unpatriotic endeavor."
"Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing 鈥榳e鈥� can do 鈥� but who is that 鈥榳e鈥�? 鈥� and nothing 鈥榯hey鈥� can do either 鈥� and who are 鈥榯hey鈥�? 鈥� then one starts to get bored, cynical, apathetic. And it is not necessarily better to be moved. Sentimentality, notoriously, is entirely compatible with a taste for brutality and worse.
People don鈥檛 become inured to what they are shown 鈥� if that鈥檚 the right way to describe what happens 鈥� because of the quantity of images dumped on them. It is passivity that dulls feeling. The states described as apathy, moral or emotional anesthesia, are full of feelings; the feelings are rage and frustration. But if we consider what emotions would be desirable, it seems too simple to elect sympathy. The imaginary proximity to the suffering inflicted on others that is granted by images suggests a link between the faraway sufferers 鈥� seen close-up on the television screen 鈥� and the privileged viewer that is simply untrue, that is yet one more mystification of our real relations to power. So far as we feel sympathy, we feel we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence. To that extent, it can be (for all our good intentions) an impertinent 鈥� if not an inappropriate 鈥� response. To set aside the sympathy we extend to others beset by war and murderous politics for a reflection on how our privileges are located on the same map as their suffering, and may 鈥� in ways we might prefer not to imagine 鈥� be linked to their suffering, as the wealth of some may imply the destitution of others, is a task for which the painful, stirring images supply only an initial spark."
"To speak of reality becoming a spectacle is a breathtaking provincialism. It universalizes the viewing habits of a small, educated population living in the rich part of the world, where news has been converted into entertainment 鈥� that mature style of viewing which is a prime acquisition of 鈥榯he modern鈥�, and a prerequisite for dismantling traditional forms of party-based politics that offer real disagreement and debate. It assumes that everyone is a spectator. It suggests, perversely, unseriously, that there is no real suffering in the world. But it is absurd to identify the world with those zones in the well-off countries where people have the dubious privilege of being spectators, or of declining to be spectators, of other people鈥檚 pain, just as it is absurd to generalize about the ability to respond to the sufferings of others on the basis of the mind-set of those consumers of news who know nothing at first hand about war and massive injustice and terror. There are hundreds of millions of television watchers who are far from inured to what they see on television. They do not have the luxury of patronizing reality."
August 13, 2018
丨讴丕蹖鬲 乇賳噩 亘乇丕蹖 賴乇 讴爻蹖 鬲毓亘蹖乇蹖 丿丕乇賴 诏賵蹖丕. 賲孬賱 夭賳蹖 讴賴 乇賳噩賵乇 亘賵丿 丕夭 賳丕賴賲禺賵丕賳蹖 乇賳诏 趩卮賲 賴丕卮 亘丕 丌爻賲丕賳! 乇賳噩 賴賲 倬丿蹖丿賴 蹖 睾乇蹖亘蹖 爻鬲 亘賴 賵蹖跇賴 丕诏乇 丿爻鬲賲丕賱蹖 賴賲 亘卮賵丿 賵 亘卮賵丿 丕亘夭丕乇 賮禺乇賮乇賵卮蹖 蹖丕 丨鬲丕 诏丕賴蹖 賲睾夭 賮乇賵卮蹖
賳丕丿丕賳蹖 賴賲 卮蹖賵賴 蹖 乇丕蹖噩蹖 爻鬲 丕夭 乇賳噩 讴卮蹖丿賳 丕賲丕 賳賴 亘乇丕蹖 禺賵丿 卮禺氐 賳丕丿丕賳 讴賴 亘乇丕蹖 丿蹖诏乇丕賳蹖 讴賴 亘賴 丌賳 賳馗乇 賲蹖 丕賳丿丕夭賳丿! 倬蹖诏蹖乇 亘賵丿賳 賵 賲賳賮毓賱 亘賵丿賳賽 賴賲 爻賵 亘賴 诏賲丕賳賲 賴賲丕賳 丌賮鬲蹖 爻鬲 讴賴 噩丕 亘賴 噩丕 丿乇 讴鬲丕亘 賲蹖 亘蹖賳賲. 賲丿丕賲 倬蹖诏蹖乇 乇賳噩 亘賵丿賳 賵 丕夭 爻賵蹖蹖 讴賳卮 诏乇 賳亘賵丿賳貨 賳賲賵賳賴 蹖 亘乇噩爻鬲賴 丕卮 賴賲 卮亘讴賴 賴丕蹖 丕噩鬲賲丕毓蹖 賵 倬爻鬲 賴丕蹖 倬蹖丕倬蹖 丿乇 賴賲丿乇丿蹖! 诏賵蹖蹖 丕蹖賳 賴賲 鬲賳卮蹖 丿蹖诏乇 丿乇 毓氐乇 丨丕囟乇
亘丕乇蹖 鬲賵丨卮 賵 禺卮賵賳鬲 賴賲蹖卮賴 诏蹖乇丕蹖蹖 賴丕蹖蹖 賴賲 丿丕乇丿 賵 賲禺賱氐 讴賱丕賲 讴賴 丌丿賲蹖夭丕丿 丿乇賳丿賴 鬲乇蹖賳 賵 诏丕賴 亘蹖 丕丨爻丕爻 鬲乇蹖賳 趩蹖夭蹖 爻鬲 讴賴 丿乇 鬲賲丕賲 噩賴丕賳 蹖丕賮鬲 賲蹖 卮賵丿
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賳卮乇 诏賲丕賳 讴鬲丕亘 乇丕 禺賵亘 趩丕倬 夭丿賴 賵 鬲乇噩賲賴 丕卮 賴賲 倬匕蹖乇賮鬲賴 丕爻鬲 丕賲丕 毓讴爻賴丕蹖 賲鬲賳 乇丕 丕亘丿賳 禺賵亘 趩丕倬 賳讴乇丿賴 丕賳丿. 讴賵趩讴 賵 亘蹖 讴蹖賮蹖鬲! 賳賲蹖 丿丕賳賲 丿乇 讴鬲丕亘 丕氐賱蹖 趩诏賵賳賴 亘賵丿賴 丕爻鬲
1397/05/19
賳丕丿丕賳蹖 賴賲 卮蹖賵賴 蹖 乇丕蹖噩蹖 爻鬲 丕夭 乇賳噩 讴卮蹖丿賳 丕賲丕 賳賴 亘乇丕蹖 禺賵丿 卮禺氐 賳丕丿丕賳 讴賴 亘乇丕蹖 丿蹖诏乇丕賳蹖 讴賴 亘賴 丌賳 賳馗乇 賲蹖 丕賳丿丕夭賳丿! 倬蹖诏蹖乇 亘賵丿賳 賵 賲賳賮毓賱 亘賵丿賳賽 賴賲 爻賵 亘賴 诏賲丕賳賲 賴賲丕賳 丌賮鬲蹖 爻鬲 讴賴 噩丕 亘賴 噩丕 丿乇 讴鬲丕亘 賲蹖 亘蹖賳賲. 賲丿丕賲 倬蹖诏蹖乇 乇賳噩 亘賵丿賳 賵 丕夭 爻賵蹖蹖 讴賳卮 诏乇 賳亘賵丿賳貨 賳賲賵賳賴 蹖 亘乇噩爻鬲賴 丕卮 賴賲 卮亘讴賴 賴丕蹖 丕噩鬲賲丕毓蹖 賵 倬爻鬲 賴丕蹖 倬蹖丕倬蹖 丿乇 賴賲丿乇丿蹖! 诏賵蹖蹖 丕蹖賳 賴賲 鬲賳卮蹖 丿蹖诏乇 丿乇 毓氐乇 丨丕囟乇
亘丕乇蹖 鬲賵丨卮 賵 禺卮賵賳鬲 賴賲蹖卮賴 诏蹖乇丕蹖蹖 賴丕蹖蹖 賴賲 丿丕乇丿 賵 賲禺賱氐 讴賱丕賲 讴賴 丌丿賲蹖夭丕丿 丿乇賳丿賴 鬲乇蹖賳 賵 诏丕賴 亘蹖 丕丨爻丕爻 鬲乇蹖賳 趩蹖夭蹖 爻鬲 讴賴 丿乇 鬲賲丕賲 噩賴丕賳 蹖丕賮鬲 賲蹖 卮賵丿
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賳卮乇 诏賲丕賳 讴鬲丕亘 乇丕 禺賵亘 趩丕倬 夭丿賴 賵 鬲乇噩賲賴 丕卮 賴賲 倬匕蹖乇賮鬲賴 丕爻鬲 丕賲丕 毓讴爻賴丕蹖 賲鬲賳 乇丕 丕亘丿賳 禺賵亘 趩丕倬 賳讴乇丿賴 丕賳丿. 讴賵趩讴 賵 亘蹖 讴蹖賮蹖鬲! 賳賲蹖 丿丕賳賲 丿乇 讴鬲丕亘 丕氐賱蹖 趩诏賵賳賴 亘賵丿賴 丕爻鬲
1397/05/19
August 27, 2013
爻賵夭丕賳 爻賵賳鬲丕噩 賲賮賰乇丞 兀賲乇賷賰賷丞 賵乇賵丕卅賷丞 賵亘丕丨孬丞 賮賶 賲禺鬲賱賮 丕賱賮賳賵賳 賵賱賴丕 兀亘丨丕孬 賲鬲毓賱賯丞 亘丕賱鬲氐賵賷乇 丕賱賮賵鬲賵睾乇丕賮賶 賰賴匕丕 丕賱賰鬲丕亘 丕賱匕賶 賷鬲丨丿孬 毓賳 毓賱丕賯丞 丕賱鬲氐賵賷乇 丕賱賮賵鬲賵睾乇丕賮賶 亘丕賱丨乇賵亘 賵丕賱孬賵乇丕鬲 賵鬲鬲丨丿孬 毓賳 丕爻鬲睾賱丕賱 丕賱氐賵乇 兀賷丿賷賵賱賵噩賷丕 賱賱鬲兀孬賷乇 賮賶 丕賱賲卮丕賴丿 亘賳賵毓 賲賳 丕賱卮賮賯丞 丕賵 丕賱鬲毓丕胤賮..賴匕丕 丕賱鬲毓丕胤賮 丕賱匕賶 賲毓 鬲賰乇乇賴 賷鬲丨賵賱 廿賱賶 賮毓賱 賲賱賵賱 賷鬲鬲亘毓賴 賳賵毓 賲賳 丕賱賱丕賲亘丕賱丕賴 賱賱匕賶 賷丨丿孬 胤丕賱賲丕 賴賵 亘毓賷丿 毓賳 賲賳胤賯丞 賵噩賵丿賳丕 噩睾乇丕賮賷丕. 鬲鬲丨丿孬 兀賷囟丕 毓賳 丕爻鬲睾賱丕賱 丕賱鬲氐賵賷乇 毓賳氐乇賷丕 賵丕賱胤乇賯 丕賱鬲賶 鬲鬲亘毓賴丕 丕賱丿賵賱 賮賶 丕賱賯賲毓 毓賱賶 賵爻丕卅賱 丕賱丕毓賱丕賲 鬲丨丿賷丿丕 丕賱鬲氐賵賷乇 賮賶 鬲亘賳賷賴丕 賮賰乇丞 丕賱賲賳卮賵乇 賵丕賱賲鬲睾丕囟賶 毓賳賴 賵丕賱賲鬲賵丕乇賶...鬲鬲丨丿孬 賰匕賱賰 毓賳 賲氐賵乇賷賳 賮賵鬲賵睾乇丕賮賷賷賳 賲卮賴賵乇賷賳 賵鬲鬲丨丿孬 毓賳 丕賱氐賱丞 丕賱鬲丕乇賷禺賷丞 亘賷賳 丕賱鬲氐賵賷乇 賵丕賱丨乇亘 賵賮賱爻賮丞 丕賱氐賵乇丞 賮賶 丕馗賴丕乇 丕賱兀賱賲 丕賱丕賳爻丕賳賶
賴匕丕 丕賱賰鬲丕亘 賵孬賷賯丞 毓賳 丕賴賲 丕賱賮賳賵賳 丕賱賲毓丕氐乇丞 鬲兀孬賷乇丕 賲賳 亘丿丕賷丞 賳卮兀鬲賴 賵氐賱鬲賴 丕賱賱氐賷賯丞 亘丕賱丨乇賵亘 賰賮毓賱 丕賳爻丕賳賶 賱賲 賷鬲賵賯賮 賲賳 亘丿丕賷丞 丕賱亘卮乇賷丞 賵賰兀賳賴 賴賵 丕賱賮毓賱 丕賱賯丕毓丿丞 賵睾賷乇賴 丕賱丕爻鬲孬賳丕亍
丕賱賰鬲丕亘 賮賷賴 賲賳 丕賱亘卮丕毓丞 賱匕賵賶 丕賱賯賱賵亘 丕賱賲乇賴賮丞貙 丨賷孬 兀賳賴丕 鬲氐賵乇 賲噩丕夭乇 賵丨乇賵亘 賵兀卮賱丕亍 亘卮乇賷丞 賵賰兀賳賰 鬲乇丕賴丕 毓賷丕賳丕
賷賲賰賳賰賲 賲卮丕賴丿丞 賴匕丕 丕賱賮賷賱賲 丕賱賯氐賷乇
Night and Fog (1955) by Alain Resnais
賴匕丕 丕賱賰鬲丕亘 賵孬賷賯丞 毓賳 丕賴賲 丕賱賮賳賵賳 丕賱賲毓丕氐乇丞 鬲兀孬賷乇丕 賲賳 亘丿丕賷丞 賳卮兀鬲賴 賵氐賱鬲賴 丕賱賱氐賷賯丞 亘丕賱丨乇賵亘 賰賮毓賱 丕賳爻丕賳賶 賱賲 賷鬲賵賯賮 賲賳 亘丿丕賷丞 丕賱亘卮乇賷丞 賵賰兀賳賴 賴賵 丕賱賮毓賱 丕賱賯丕毓丿丞 賵睾賷乇賴 丕賱丕爻鬲孬賳丕亍
丕賱賰鬲丕亘 賮賷賴 賲賳 丕賱亘卮丕毓丞 賱匕賵賶 丕賱賯賱賵亘 丕賱賲乇賴賮丞貙 丨賷孬 兀賳賴丕 鬲氐賵乇 賲噩丕夭乇 賵丨乇賵亘 賵兀卮賱丕亍 亘卮乇賷丞 賵賰兀賳賰 鬲乇丕賴丕 毓賷丕賳丕
賷賲賰賳賰賲 賲卮丕賴丿丞 賴匕丕 丕賱賮賷賱賲 丕賱賯氐賷乇
Night and Fog (1955) by Alain Resnais
October 22, 2019
倬蹖卮鈥屬嗁堌簇�: 丕蹖賳 讴鬲丕亘 丕夭 噩賴丕鬲 夭蹖丕丿蹖 亘乇丕蹖 賲賳 禺賵卮丕蹖賳丿 亘賵丿 丕夭 賲賯丿賲賴 賵 鬲囟賲蹖賳鈥屬囏ж� 丕夭 讴鬲丕亘 爻賴鈥屭屬嗃� 賵賵賱賮 诏乇賮鬲賴 鬲丕 讴賱賲丕鬲 亘乇賳丿賴鈥屰� 爻丕賳鬲丕诏 禺胤丕亘 亘賴 毓賯賱 爻賱蹖賲 賵 毓乇賮. 讴鬲丕亘 賳賯丿蹖 亘賴 賳诏丕賴 賲毓賲賵賱 亘賴 噩賳诏賴 亘丕 讴賲讴 诏乇賮鬲賳 丕夭 毓讴丕爻蹖 噩賳诏. 丿乇 賵丕賯毓 賳诏丕賴 囟丿噩賳诏 爻丕賳鬲丕诏 丿乇 賯丕賱亘 亘乇乇爻蹖 毓讴丕爻蹖 噩賳诏 亘爻胤 倬亘丿丕 賲蹖鈥屭┵嗁� 賵 亘丨孬 乇賵 噩賱賵 賲蹖鈥屫ㄘ辟�
賲卮讴賱蹖 讴賴 亘丕 讴鬲丕亘 丿丕卮鬲賲 賲賯丿賲賴鈥屫й� 亘賵丿 讴賴 丕夭 噩丕賳亘 禺卮丕蹖丕乇 丿蹖賴蹖賲蹖 亘賴 毓賳賵丕賳 爻乇倬乇爻鬲 丕蹖賳 賲噩賲賵毓賴 賳賵卮鬲賴 卮丿賴 亘賵丿 亘賴 賳馗乇賲 丕蹖賳 亘禺卮 賮賵賯鈥屫з勜关ж� 爻胤丨蹖 賵 丿賲鈥屫池� 賵 毓丕賲賴鈥屬矩迟嗀� 賳賵卮鬲賴 卮丿賴 亘賵丿 賵 囟賲賳丕 賵蹖乇丕爻鬲丕乇蹖 賵 亘禺卮鈥屬囏й� 丕夭 鬲乇噩賲賴 賴賲 讴賲蹖 鬲賵蹖 匕賵賯賲 夭丿.
丕賲丕 丿乇 賲噩賲賵毓 亘丕 讴鬲丕亘 禺蹖賱蹖 丨丕賱 讴乇丿賲 賵 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 卮賲丕 賴賲 亘禺賵賳蹖丿卮
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毓讴爻鈥屬囏� 賲蹖鈥屭堐屬嗀� 亘亘蹖賳蹖丿貙 噩賳诏 丕蹖賳 卮讴賱蹖 丕爻鬲. 丕蹖賳 讴丕乇蹖 丕爻鬲 讴賴 噩賳诏 賲蹖鈥屭┵嗀� 賵 丌賳貙 丌賳 賴賲 丨丕氐賱 噩賳诏 丕爻鬲. 噩賳诏 賲蹖鈥屫必з嗀� 賲蹖鈥屭迟勜з嗀� 噩賳诏 爻賱丕禺蹖 賲蹖鈥屭┵嗀� 賵 丿賱 賵 乇賵丿賴鈥屬囏� 乇丕 亘蹖乇賵賳 賲蹖鈥屭┴簇�. 噩賳诏 賲蹖鈥屫迟堌藏з嗀�. 噩賳诏 鈥屫┵団€屫┵� 賲蹖鈥屭┵嗀�. 噩賳诏 賵蹖乇丕賳 賲蹖鈥屭┵嗀�
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丌賳丿乇賴 亘乇鬲賵賳 賲蹖鈥屭堐屫�: 夭蹖亘丕蹖蹖 蹖丕 鬲讴丕賳鈥屫囐嗀� 丕爻鬲 蹖丕 丕氐賱丕 賵噩賵丿 賳丿丕乇丿. 丕賵 丕蹖賳 丌乇賲丕賳 夭蹖亘丕卮賳丕禺鬲蹖 乇丕 爻賵乇乇卅丕賱蹖爻鬲責 (爻賵乇乇卅丕賱蹖爻賲!!) 賳丕賲蹖丿貙 丕賲丕 丿乇 賮乇賴賳诏蹖 讴賴 丕爻鬲蹖賱丕蹖 丕乇夭卮鈥屬囏й� 爻賵丿丕诏乇丕賳賴 丕夭 亘賳蹖丕賳 亘丕夭爻丕夭蹖鈥屫ж� 讴乇丿賴貙 氐丨亘鬲 丕夭 賱夭賵賲 鬲讴丕賳鈥屫囐嗀� 亘賵丿賳 賳賲丕蹖卮蹖 亘賵丿賳 賵 亘賴鬲鈥屫①堌� 亘賵丿賳賽 鬲氐丕賵蹖乇 亘賴 賳馗乇 蹖讴蹖 丕夭 丕氐賵賱賽 倬丕蹖賴鈥屫й� 賵丕賯毓鈥屬嗂臂� 賵 卮賲 禺賵亘蹖 丿乇 讴丕乇賴丕蹖 鬲噩丕乇蹖 丕爻鬲. 賲诏乇 噩夭 丕蹖賳 乇丕賴蹖 亘乇丕蹖 噩賱亘 鬲賵噩賴 亘賴 爻賲鬲賽 賲丨氐賵賱 蹖丕 賴賳乇賲丕賳 賵噩賵丿 丿丕乇丿責 賵賯鬲蹖 丕賮乇丕丿 亘蹖鈥屬堎傎佡� 丿乇 賲毓乇 鬲丕賵蹖乇賳丿 賵 亘乇禺蹖 丕夭 丌賳賴丕 乇丕 賴賲 亘蹖卮 丕夭 丕賳丿丕夭賴 賵賵 亘丕乇賴丕 丕夭 賳馗乇 賲蹖鈥屭必з嗁嗀� 賲诏乇 噩夭 丕蹖賳 乇丕賴蹖 亘乇丕蹖 亘賴 噩丕 诏匕丕卮鬲賳 丕孬乇 賵 鬲丕孬蹖乇蹖 丕夭 禺賵丿 賵噩賵丿 丿丕乇丿責 鬲氐賵蹖乇 亘賴 賲孬丕亘賴鈥屰� 鬲讴丕賳賴 賵 鬲氐賵蹖乇 亘賴 賲丕亘賴鈥屰� 讴賱蹖卮賴 丿賵 乇賵蹖賽 蹖讴 爻讴賴鈥屫з嗀�
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賴賳乇蹖 噩蹖賲夭貙 賴賲丕賳 丕爻鬲丕丿 禺亘乇賴鈥屫й� 讴賴 賵丕賯毓蹖鬲 乇丕 亘丕 馗乇丕賮鬲 丿乇 賱賮丕賮賴鈥屰� 讴賱賲丕鬲 賲蹖鈥屬举堌簇з嗀� 賵 亘丕 丕胤賳丕亘卮 丿乇 讴賱丕賲 噩丕丿賵 賲蹖鈥屭┴必� 亘賴 賳蹖賵蹖賵乇讴 鬲丕蹖賲夭 诏賮鬲: 丿乇 亘丨亘賵丨賴鈥屰� 鬲賲丕賲賽 丕蹖賳 噩乇蹖丕賳鈥屬囏� 亘賴 夭亘丕賳 丌賵乇丿賳賽 讴賱賲丕鬲 賴賲丕賳賯丿乇 丿卮賵丕乇 丕爻鬲 讴賴 鬲丕亘 丌賵乇丿賳賽 丕賳丿蹖卮賴鈥屬囏�. 噩賳诏 趩蹖夭蹖 丕夭 讴賱賲丕鬲 亘丕蹖 賳诏匕丕卮鬲賴貨 讴賱賲丕鬲 乇賳诏 賵 乇賵蹖卮丕賳 乇丕 丕夭 丿爻鬲 丿丕丿賴鈥屫з嗀� 鬲亘丕賴 卮丿賴鈥屫з嗀�
____________________________________________________________丌賳噩丕 讴賴 賵賵賱賮 賲蹖鈥屭堐屫� 蹖讴蹖 丕夭 毓讴爻鈥屬囏й屰� 讴賴 亘賴 丿爻鬲卮卮 乇爻蹖丿賴 噩爻丿賽 賲乇丿 蹖丕 夭賳蹖 乇丕 賳卮丕賳 賲蹖鈥屫囏� 讴賴 丌賳賯丿乇 鬲讴賴鈥屬矩ж辟� 卮丿賴 讴賴 亘蹖鈥屫簇ㄘз囏� 亘賴 賱丕卮賴鈥屰� 蹖讴 禺賵讴 賳蹖爻鬲貙 賲賳馗賵乇卮 丕蹖賳 丕爻鬲 讴賴 賲賯蹖丕爻賽 爻亘毓蹖鬲賽 噩賳诏 丌賳趩賴 乇丕 亘賴 賲乇丿賲 賮乇丿蹖鬲 丿丕丿賴 丕夭 亘蹖賳 賲蹖鈥屫ㄘ必屫� 丕賳爻丕賳蹖鬲 丌賳丕賳 乇丕 賴賲. 讴賴 丕賱亘鬲賴 丕蹖賳 賳賳賲丕蹖 噩賳诏 丕爻鬲 賵賯鬲蹖 讴賴 丕夭 丿賵乇貙 趩賵賳 蹖讴 鬲氐賵蹖乇貙 亘賴 丌賳 賳诏丕賴 賲蹖鈥屭┵嗃屬�
賯乇亘丕賳蹖丕賳貙 亘爻鬲诏丕賳賽 爻賵诏賵丕乇 賵 賲氐乇賮鈥屭┵嗁嗀з� 禺亘乇賴丕 賴賲賴 賳夭丿蹖讴蹖 賵 丿賵乇蹖賽 禺丕氐賽 禺賵丿卮丕賳 乇丕 丕夭 噩賳诏 丿丕乇賳丿. 乇蹖丨鈥屫臂屬� 亘丕夭賳賲丕蹖蹖鈥宂丕 丕夭 噩賳诏貙 賵 丕夭 倬蹖讴乇賴丕蹖蹖 讴賴 丿乇 賮噩丕蹖毓 丌爻蹖亘 丿蹖丿賴鈥屫з嗀� 丌賳賴丕蹖蹖 賴爻鬲賳丿 讴賴 亘蹖诏丕賳賴鈥屫� 亘賴 賳乇 賲蹖鈥屫必迟嗀� 賵 丿乇賳鬲蹖噩賴 丕丨鬲賲丕賱 卮賳丕禺鬲賴 卮丿賳鈥屫簇з� 亘爻蹖丕乇 讴賲鬲乇 丕爻鬲. 賵賯鬲蹖 爻賵跇賴鈥� 亘賴 禺賵丿蹖鈥屬囏� 鬲毓賱賯 丿丕卮鬲賴 亘丕卮丿貙 丕夭 毓讴丕爻 丕賳鬲馗丕乇 丿丕乇賳丿 賲丨鬲丕胤丕賳賴鈥屫� 毓賲賱 讴賳丿
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夭賳丿诏丕賳蹖 讴賴 丿乇 亘乇丕丿賵蹖 丕夭丿丨丕賲 賲蹖鈥屭┵嗁嗀� 卮丕蹖丿 讴賲鬲乇 亘賴 蹖丕丿 賲乇丿诏丕賳賽 丕賳鬲蹖鈥屫з� 亘丕卮賳丿貙 丕賲丕 鬲氐賵乇 賲蹖鈥屭┵嗃屬� 丕诏乇 趩賳丿 鬲賳 丕夭 丕蹖賳 丕噩爻丕丿 睾乇賯 丿乇 禺賵賳 乇丕 讴賴 鬲丕夭賴 丕夭 賲蹖丿丕賳 賳亘乇丿 丌賵乇丿賴鈥屫з嗀� 讴賳丕乇賽 倬蹖丕丿賴鈥屫辟� 乇賵蹖 夭賲蹖賳 亘禺賵丕亘丕賳賳丿貙 丕蹖賳 噩賲丕毓鬲 丿蹖诏乇 亘賴 丕蹖賳 亘蹖鈥屬呚ㄘз勜ж� 乇丕賴卮 乇丕 丿乇 趩賳蹖賳 诏匕乇诏丕賴賽 毓乇蹖囟蹖 丿乇 倬蹖卮 賳诏蹖乇丿 賵 亘丕 丕蹖賳 禺蹖丕賱 丌爻賵丿賴 丿乇 丌賳 诏乇丿卮 賳讴賳丿. 趩賴乇賴鈥屬囏� 乇丕 禺賵丕賴賳丿 倬賵卮丕賳丿 賵 亘丕丿賯鬲 賵 丕丨鬲蹖丕胤 亘蹖卮鬲乇 乇丕賴卮丕賳 乇丕 讴噩 禺賵丕賴賳丿 讴乇丿
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賱卅賵賳鬲蹖賵爻 丿乇 賲爻蹖乇卮 丕夭 倬蹖乇丕卅蹖賵爻 亘賴 丿蹖賵丕乇賽 卮賲丕賱蹖 賳乇爻蹖丿賴 亘賵丿 讴賴 丿蹖丿賴鈥屫⒇� 亘賴 丕噩爻丕丿 趩賳丿 賲噩乇賲 賲蹖鈥屫з佖� 讴賴 乇賵蹖 夭賲蹖賳 丕賮鬲丕丿賴鈥屫з嗀� 賵 賲蹖乇睾睾囟亘蹖 賴賲 丿乇 讴賳丕乇卮丕賳 丕蹖爻鬲丕丿. 丿賱卮 賲蹖鈥屫堌з囏� 亘乇賵丿 賵 賳馗丕乇賴鈥屫簇з� 讴賳丿 丕賲丕 丿乇 毓蹖賳鈥屫з� 賳蹖夭 丨爻賽 亘蹖夭丕乇蹖 丿乇 賵噩賵丿卮 賲賵噩 賲蹖鈥屫操嗀� 賵 爻毓蹖 賲蹖鈥屭┵嗀� 丕夭 丌賳噩丕 丿賵乇 卮賵丿. 賲鬲蹖 亘丕 禺賵丿卮 讴賱賳噩丕乇 賲蹖鈥屫辟堌� 賵 趩卮賲丕賳卮 乇丕 亘丕 丿爻鬲 賲蹖鈥屬举堌簇з嗀� 丕賲丕 爻乇丕賳噩丕賲 賲蹖賱 丿乇賵賳卮 亘乇 賵蹖 趩蹖乇賴 賲蹖鈥屭必� 亘丕 趩卮賲丕賳蹖 鬲賲丕賲鈥屫ㄘж� 賵 诏卮賵丿賴 亘賴 爻賵蹖 丕噩爻丕丿 賲蹖鈥屫堌� 賵 賮乇蹖丕丿 賲蹖鈥屫操嗀�: 丕蹖賳 賴賲 丕夭 丕蹖賳貙 賳賮乇蹖賳 亘乇卮賲丕貙 賲丨馗賵馗 卮賵蹖丿 丿乇 賲賳馗乇賴鈥屫й� 趩賳丕賳 丿賱丕賵蹖夭
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蹖讴蹖 丕夭 亘夭乇诏鬲乇蹖賳 賳馗乇蹖賴鈥屬矩必ж藏з� 丕賲乇 丕乇賵鬲蹖讴貙 跇乇跇 亘丕鬲丕蹖貙 毓讴爻蹖 乇丕 乇賵蹖 賲蹖夭卮 诏匕丕卮鬲賴 亘賵丿 丕夭 蹖讴 夭賳丿丕賳蹖 丿乇 1910 丿乇 趩蹖賳 讴賴 賲乇丕爻賲 芦賲乇诏 賴夭丕乇 夭禺賲禄 乇丕 亘乇 乇賵蹖卮 丕賳噩丕賲 賲蹖鈥屫ж団€屫з嗀�. 毓讴爻 乇丕 胤賵乇蹖 賯乇丕乇 丿丕丿賴 亘賵丿 讴賴 賴乇 乇賵夭 亘鬲賵丕賳丿 賳诏丕賴卮 讴賳丿 (丕蹖賳 毓讴爻 賲卮賴賵乇 丿乇 丌禺乇蹖賳 讴鬲丕亘蹖 讴賴 丿乇 爻丕賱鈥屬囏й� 夭賳丿诏蹖賽 亘丕鬲丕蹖 丕夭 賵蹖 亘賴 趩丕倬 乇爻蹖丿貙 丕卮讴鈥屬囏й� 丕乇賵爻 丿乇 1961貙 亘賴 趩卮賲 賲蹖鈥屫堌必�( 亘丕鬲丕蹖 賲蹖鈥屬嗁堐屫池�: 丕蹖賳 毓讴爻 賳賯卮 亘蹖鈥屭嗁堎� 賵 趩乇丕蹖蹖 丿乇 夭賳丿诏蹖賽 賲賳 丿丕卮鬲賴. 賲丿丕賲 賲丨賵 賵 丿賱賲卮睾賵賱賽 丕蹖賳 鬲氐賵蹖乇賽 丿乇丿 亘賵丿賴鈥屫з呚� 讴賴 賴賲夭賲丕賳 禺賱爻賴鈥屫й� 丕爻鬲 賵 睾蹖乇賯丕亘賱 鬲丨賲賱. 亘賴 诏賮鬲賴鈥屰� 亘丕鬲丕蹖貙 鬲毓賲賯 丿乇 丕蹖賳 鬲氐賵蹖乇 賴賲 讴卮鬲賳賽 丕丨爻丕爻丕鬲 丕爻鬲 賵 賴賲 乇賴丕蹖蹖 卮賳丕禺鬲 丕乇賵鬲蹖讴 賲賲賳賵毓賴 賭 賵丕讴賳卮 倬蹖趩蹖丿賴鈥屫й� 讴賴 亘乇丕蹖 禺蹖賱蹖鈥屬囏� 亘賴 丿卮賵丕乇蹖 倬匕蹖乇賮鬲賳蹖 丕爻鬲. 亘蹖卮鬲乇 丕賮乇丕丿 丕蹖賳 鬲氐賵蹖乇 乇丕 氐乇賮丕 睾蹖乇賯丕亘賱 鬲丨賲賱 賲蹖鈥屫з嗁嗀�: 卮禺氐 亘乇蹖丿賴鈥屫池� 讴賴 丿乇 賯乇亘丕賳诏丕賴賽 趩賳丿蹖賳 鬲蹖睾 賵 趩丕賯賵蹖 賲卮睾賵賱 亘賴 讴丕乇 賯乇丕乇 诏乇賮鬲賴 賵 丿乇 賲乇丕丨賱 賲乇诏亘丕乇賽 讴賳丿賴 卮丿賳 倬賵爻鬲卮 丕爻鬲 賭 丕蹖賳 毓讴爻 丕爻鬲貙 賳賴 賳賯丕卮蹖貨 蹖讴 賲丕乇爻蹖丕爻 夭賳丿賴 丕爻鬲 賳賴 蹖讴 丕賮爻丕賳賴 賭 賵 賴賳賵夭 丿乇 丕蹖賳 毓讴爻 噩丕賳 丿乇 亘丿賳 丿丕乇丿 賵 丿乇 氐賵乇鬲 乇賵 亘賴 丌卮賲丕賳卮 賴賲丕賳 禺賱爻賴鈥屫й� 倬蹖丿丕爻鬲 讴賴 丿乇 趩賴乇賴鈥屰� 鬲賲丕賲 爻亘丕爻鬲蹖賳鈥屬囏й� 賯丿蹖爻 丿乇 賳賯丕卮蹖 乇賳爻丕賳爻 丕蹖鬲丕賱蹖丕 丿蹖丿賴 賲蹖鈥屫簇�. 鬲氐賵蹖乇 賯爻丕賵鬲鈥屬囏� 賵賯鬲蹖 賲賵賵毓 鬲毓賲賯 賯乇丕乇 賲蹖鈥屭屫辟嗀� 賲蹖鈥屫堌з嗁嗀� 倬丕爻禺诏賵蹖 趩賳丿 賳蹖丕夭 賲鬲賮丕賵鬲 亘丕卮賳丿貙 賳蹖丕夭 亘賴 夭乇賴蹖 倬賵賱丕丿蹖賳 丿乇 亘乇丕亘乇賽 囟毓賮鈥屬囏ж� 賳蹖丕夭 亘賴 亘蹖鈥屫驰屬� 亘蹖卮鬲乇貙 賳蹖丕夭 亘賴 倬匕蹖乇卮 賵噩賵丿 丕賲賵 丕氐賱賱丕丨鈥屬嗀簇嗃�
丨乇賮 亘丕鬲丕蹖 丕蹖賳 賳蹖爻鬲 讴賴 亘丕 丿蹖丿賳 趩賳蹖賳 氐丨賳賴鈥屰� 胤丕賯鬲鈥屬佖必池й屰� 讴爻亘賽 賱匕鬲 賲蹖鈥屭┵嗀�.丕賵 賲蹖鈥屭堐屫� 賲蹖鈥屫堌з嗀� 丿乇丿 賵 乇賳噩蹖 毓馗蹖賲 乇丕 賳賴 賮賯胤 丿乇 丨丿賽 乇賳噩 讴賴 丿乇 丨丿 蹖讴 賳賵毓 丕爻鬲毓賱丕 鬲氐賵乇 讴賳丿. 丕蹖賳 丿蹖丿 賳爻亘鬲 亘賴 乇賳噩鈥屬囏ж� 賳爻亘鬲 亘賴 丿乇丿 丿蹖诏乇蹖貙 乇蹖卮賴 丿乇 鬲賮讴乇 丿蹖賳蹖 丿丕乇丿 讴賴 丿乇丿 乇丕 亘賴 噩丕賳賮卮丕賳蹖 賵 丌賳 乇丕 賴賲 亘賴 鬲毓丕賱蹖 倬蹖賵賳丿 賲蹖鈥屫操嗀� 賭 丿蹖丿蹖 讴丕賲賱丕 亘蹖诏丕賳賴 亘丕 丿乇讴賽 賲丿乇賳 讴賴 乇賳噩 乇丕 賳賵毓蹖 丕卮鬲亘丕賴 蹖丕 鬲氐丕丿賮 蹖丕 噩賳丕蹖鬲 賯賱賲丿丕丿 賲蹖鈥屭┵嗀�. 趩蹖夭蹖 讴賴 亘丕蹖丿 丿乇爻鬲卮 讴乇丿. 亘丕蹖丿 丕夭 丌賳 丿賵乇蹖 讴乇丿. 趩蹖夭蹖 讴賴 亘賴 丌丿賲 丨爻 賳丕鬲賵丕賳蹖 賲蹖鈥屫囏�
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禺賵 诏乇賮鬲賳賽 賲乇丿賲 亘賴 趩蹖夭賴丕蹖蹖 讴賴 賳卮丕賳卮丕賳 丿丕丿賴 賲蹖鈥屫促堌� 賭 丕賱亘鬲賴 丕诏乇 丕蹖賳 賵丕跇賴 亘乇丕蹖 鬲賵氐蹖賮賽 丕鬲賮丕賯蹖 讴賴 乇禺 賲蹖鈥屫囏� 丿乇爻鬲 亘丕卮丿 賭 亘賴 禺丕胤乇 讴賲蹖鬲 鬲氐丕賵蹖乇蹖 賳蹖爻鬲 讴賴 亘乇 爻乇 賵 乇賵蹖卮丕賳 賲蹖鈥屫ㄘж必�. 丕賳賮毓丕賱 亘丕毓孬 讴賲乇賳诏 卮丿賳 丕丨爻丕爻丕鬲 賲蹖鈥屫促堌� 丨丕賱鬲鈥屬囏й� 乇賵丨蹖 讴賴 亘丕 毓賳賵丕賳 亘蹖鈥屫官勜з傏屫� 亘蹖鈥屫驰� 丕禺賱丕賯蹖 蹖丕 毓丕胤賮蹖 丕夭 丌賳賴丕 蹖丕丿 賲蹖鈥屫促堌� 賲賲賱賵 丕夭 丕丨爻丕爻丕鬲 賴爻鬲賳丿貙 丕丨爻丕爻丕鬲蹖 爻乇卮丕乇 丕夭 禺卮賲 賵 讴賱丕賮诏蹖
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丕蹖賳 亘禺卮蹖 丕夭 賳賵卮鬲賴鈥屬囏й� 亘賵丿賱乇 丕爻鬲 丿乇 蹖丕丿丿丕卮鬲鈥屬囏й� 乇賵夭丕賳賴鈥屫ж� 讴賴 亘賴 丿賴賴鈥屰� 1860 亘乇賲蹖鈥屭必�:
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賲卮讴賱蹖 讴賴 亘丕 讴鬲丕亘 丿丕卮鬲賲 賲賯丿賲賴鈥屫й� 亘賵丿 讴賴 丕夭 噩丕賳亘 禺卮丕蹖丕乇 丿蹖賴蹖賲蹖 亘賴 毓賳賵丕賳 爻乇倬乇爻鬲 丕蹖賳 賲噩賲賵毓賴 賳賵卮鬲賴 卮丿賴 亘賵丿 亘賴 賳馗乇賲 丕蹖賳 亘禺卮 賮賵賯鈥屫з勜关ж� 爻胤丨蹖 賵 丿賲鈥屫池� 賵 毓丕賲賴鈥屬矩迟嗀� 賳賵卮鬲賴 卮丿賴 亘賵丿 賵 囟賲賳丕 賵蹖乇丕爻鬲丕乇蹖 賵 亘禺卮鈥屬囏й� 丕夭 鬲乇噩賲賴 賴賲 讴賲蹖 鬲賵蹖 匕賵賯賲 夭丿.
丕賲丕 丿乇 賲噩賲賵毓 亘丕 讴鬲丕亘 禺蹖賱蹖 丨丕賱 讴乇丿賲 賵 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 卮賲丕 賴賲 亘禺賵賳蹖丿卮
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丌賳丿乇賴 亘乇鬲賵賳 賲蹖鈥屭堐屫�: 夭蹖亘丕蹖蹖 蹖丕 鬲讴丕賳鈥屫囐嗀� 丕爻鬲 蹖丕 丕氐賱丕 賵噩賵丿 賳丿丕乇丿. 丕賵 丕蹖賳 丌乇賲丕賳 夭蹖亘丕卮賳丕禺鬲蹖 乇丕 爻賵乇乇卅丕賱蹖爻鬲責 (爻賵乇乇卅丕賱蹖爻賲!!) 賳丕賲蹖丿貙 丕賲丕 丿乇 賮乇賴賳诏蹖 讴賴 丕爻鬲蹖賱丕蹖 丕乇夭卮鈥屬囏й� 爻賵丿丕诏乇丕賳賴 丕夭 亘賳蹖丕賳 亘丕夭爻丕夭蹖鈥屫ж� 讴乇丿賴貙 氐丨亘鬲 丕夭 賱夭賵賲 鬲讴丕賳鈥屫囐嗀� 亘賵丿賳 賳賲丕蹖卮蹖 亘賵丿賳 賵 亘賴鬲鈥屫①堌� 亘賵丿賳賽 鬲氐丕賵蹖乇 亘賴 賳馗乇 蹖讴蹖 丕夭 丕氐賵賱賽 倬丕蹖賴鈥屫й� 賵丕賯毓鈥屬嗂臂� 賵 卮賲 禺賵亘蹖 丿乇 讴丕乇賴丕蹖 鬲噩丕乇蹖 丕爻鬲. 賲诏乇 噩夭 丕蹖賳 乇丕賴蹖 亘乇丕蹖 噩賱亘 鬲賵噩賴 亘賴 爻賲鬲賽 賲丨氐賵賱 蹖丕 賴賳乇賲丕賳 賵噩賵丿 丿丕乇丿責 賵賯鬲蹖 丕賮乇丕丿 亘蹖鈥屬堎傎佡� 丿乇 賲毓乇 鬲丕賵蹖乇賳丿 賵 亘乇禺蹖 丕夭 丌賳賴丕 乇丕 賴賲 亘蹖卮 丕夭 丕賳丿丕夭賴 賵賵 亘丕乇賴丕 丕夭 賳馗乇 賲蹖鈥屭必з嗁嗀� 賲诏乇 噩夭 丕蹖賳 乇丕賴蹖 亘乇丕蹖 亘賴 噩丕 诏匕丕卮鬲賳 丕孬乇 賵 鬲丕孬蹖乇蹖 丕夭 禺賵丿 賵噩賵丿 丿丕乇丿責 鬲氐賵蹖乇 亘賴 賲孬丕亘賴鈥屰� 鬲讴丕賳賴 賵 鬲氐賵蹖乇 亘賴 賲丕亘賴鈥屰� 讴賱蹖卮賴 丿賵 乇賵蹖賽 蹖讴 爻讴賴鈥屫з嗀�
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賴賳乇蹖 噩蹖賲夭貙 賴賲丕賳 丕爻鬲丕丿 禺亘乇賴鈥屫й� 讴賴 賵丕賯毓蹖鬲 乇丕 亘丕 馗乇丕賮鬲 丿乇 賱賮丕賮賴鈥屰� 讴賱賲丕鬲 賲蹖鈥屬举堌簇з嗀� 賵 亘丕 丕胤賳丕亘卮 丿乇 讴賱丕賲 噩丕丿賵 賲蹖鈥屭┴必� 亘賴 賳蹖賵蹖賵乇讴 鬲丕蹖賲夭 诏賮鬲: 丿乇 亘丨亘賵丨賴鈥屰� 鬲賲丕賲賽 丕蹖賳 噩乇蹖丕賳鈥屬囏� 亘賴 夭亘丕賳 丌賵乇丿賳賽 讴賱賲丕鬲 賴賲丕賳賯丿乇 丿卮賵丕乇 丕爻鬲 讴賴 鬲丕亘 丌賵乇丿賳賽 丕賳丿蹖卮賴鈥屬囏�. 噩賳诏 趩蹖夭蹖 丕夭 讴賱賲丕鬲 亘丕蹖 賳诏匕丕卮鬲賴貨 讴賱賲丕鬲 乇賳诏 賵 乇賵蹖卮丕賳 乇丕 丕夭 丿爻鬲 丿丕丿賴鈥屫з嗀� 鬲亘丕賴 卮丿賴鈥屫з嗀�
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蹖讴蹖 丕夭 亘夭乇诏鬲乇蹖賳 賳馗乇蹖賴鈥屬矩必ж藏з� 丕賲乇 丕乇賵鬲蹖讴貙 跇乇跇 亘丕鬲丕蹖貙 毓讴爻蹖 乇丕 乇賵蹖 賲蹖夭卮 诏匕丕卮鬲賴 亘賵丿 丕夭 蹖讴 夭賳丿丕賳蹖 丿乇 1910 丿乇 趩蹖賳 讴賴 賲乇丕爻賲 芦賲乇诏 賴夭丕乇 夭禺賲禄 乇丕 亘乇 乇賵蹖卮 丕賳噩丕賲 賲蹖鈥屫ж団€屫з嗀�. 毓讴爻 乇丕 胤賵乇蹖 賯乇丕乇 丿丕丿賴 亘賵丿 讴賴 賴乇 乇賵夭 亘鬲賵丕賳丿 賳诏丕賴卮 讴賳丿 (丕蹖賳 毓讴爻 賲卮賴賵乇 丿乇 丌禺乇蹖賳 讴鬲丕亘蹖 讴賴 丿乇 爻丕賱鈥屬囏й� 夭賳丿诏蹖賽 亘丕鬲丕蹖 丕夭 賵蹖 亘賴 趩丕倬 乇爻蹖丿貙 丕卮讴鈥屬囏й� 丕乇賵爻 丿乇 1961貙 亘賴 趩卮賲 賲蹖鈥屫堌必�( 亘丕鬲丕蹖 賲蹖鈥屬嗁堐屫池�: 丕蹖賳 毓讴爻 賳賯卮 亘蹖鈥屭嗁堎� 賵 趩乇丕蹖蹖 丿乇 夭賳丿诏蹖賽 賲賳 丿丕卮鬲賴. 賲丿丕賲 賲丨賵 賵 丿賱賲卮睾賵賱賽 丕蹖賳 鬲氐賵蹖乇賽 丿乇丿 亘賵丿賴鈥屫з呚� 讴賴 賴賲夭賲丕賳 禺賱爻賴鈥屫й� 丕爻鬲 賵 睾蹖乇賯丕亘賱 鬲丨賲賱. 亘賴 诏賮鬲賴鈥屰� 亘丕鬲丕蹖貙 鬲毓賲賯 丿乇 丕蹖賳 鬲氐賵蹖乇 賴賲 讴卮鬲賳賽 丕丨爻丕爻丕鬲 丕爻鬲 賵 賴賲 乇賴丕蹖蹖 卮賳丕禺鬲 丕乇賵鬲蹖讴 賲賲賳賵毓賴 賭 賵丕讴賳卮 倬蹖趩蹖丿賴鈥屫й� 讴賴 亘乇丕蹖 禺蹖賱蹖鈥屬囏� 亘賴 丿卮賵丕乇蹖 倬匕蹖乇賮鬲賳蹖 丕爻鬲. 亘蹖卮鬲乇 丕賮乇丕丿 丕蹖賳 鬲氐賵蹖乇 乇丕 氐乇賮丕 睾蹖乇賯丕亘賱 鬲丨賲賱 賲蹖鈥屫з嗁嗀�: 卮禺氐 亘乇蹖丿賴鈥屫池� 讴賴 丿乇 賯乇亘丕賳诏丕賴賽 趩賳丿蹖賳 鬲蹖睾 賵 趩丕賯賵蹖 賲卮睾賵賱 亘賴 讴丕乇 賯乇丕乇 诏乇賮鬲賴 賵 丿乇 賲乇丕丨賱 賲乇诏亘丕乇賽 讴賳丿賴 卮丿賳 倬賵爻鬲卮 丕爻鬲 賭 丕蹖賳 毓讴爻 丕爻鬲貙 賳賴 賳賯丕卮蹖貨 蹖讴 賲丕乇爻蹖丕爻 夭賳丿賴 丕爻鬲 賳賴 蹖讴 丕賮爻丕賳賴 賭 賵 賴賳賵夭 丿乇 丕蹖賳 毓讴爻 噩丕賳 丿乇 亘丿賳 丿丕乇丿 賵 丿乇 氐賵乇鬲 乇賵 亘賴 丌卮賲丕賳卮 賴賲丕賳 禺賱爻賴鈥屫й� 倬蹖丿丕爻鬲 讴賴 丿乇 趩賴乇賴鈥屰� 鬲賲丕賲 爻亘丕爻鬲蹖賳鈥屬囏й� 賯丿蹖爻 丿乇 賳賯丕卮蹖 乇賳爻丕賳爻 丕蹖鬲丕賱蹖丕 丿蹖丿賴 賲蹖鈥屫簇�. 鬲氐賵蹖乇 賯爻丕賵鬲鈥屬囏� 賵賯鬲蹖 賲賵賵毓 鬲毓賲賯 賯乇丕乇 賲蹖鈥屭屫辟嗀� 賲蹖鈥屫堌з嗁嗀� 倬丕爻禺诏賵蹖 趩賳丿 賳蹖丕夭 賲鬲賮丕賵鬲 亘丕卮賳丿貙 賳蹖丕夭 亘賴 夭乇賴蹖 倬賵賱丕丿蹖賳 丿乇 亘乇丕亘乇賽 囟毓賮鈥屬囏ж� 賳蹖丕夭 亘賴 亘蹖鈥屫驰屬� 亘蹖卮鬲乇貙 賳蹖丕夭 亘賴 倬匕蹖乇卮 賵噩賵丿 丕賲賵 丕氐賱賱丕丨鈥屬嗀簇嗃�
丨乇賮 亘丕鬲丕蹖 丕蹖賳 賳蹖爻鬲 讴賴 亘丕 丿蹖丿賳 趩賳蹖賳 氐丨賳賴鈥屰� 胤丕賯鬲鈥屬佖必池й屰� 讴爻亘賽 賱匕鬲 賲蹖鈥屭┵嗀�.丕賵 賲蹖鈥屭堐屫� 賲蹖鈥屫堌з嗀� 丿乇丿 賵 乇賳噩蹖 毓馗蹖賲 乇丕 賳賴 賮賯胤 丿乇 丨丿賽 乇賳噩 讴賴 丿乇 丨丿 蹖讴 賳賵毓 丕爻鬲毓賱丕 鬲氐賵乇 讴賳丿. 丕蹖賳 丿蹖丿 賳爻亘鬲 亘賴 乇賳噩鈥屬囏ж� 賳爻亘鬲 亘賴 丿乇丿 丿蹖诏乇蹖貙 乇蹖卮賴 丿乇 鬲賮讴乇 丿蹖賳蹖 丿丕乇丿 讴賴 丿乇丿 乇丕 亘賴 噩丕賳賮卮丕賳蹖 賵 丌賳 乇丕 賴賲 亘賴 鬲毓丕賱蹖 倬蹖賵賳丿 賲蹖鈥屫操嗀� 賭 丿蹖丿蹖 讴丕賲賱丕 亘蹖诏丕賳賴 亘丕 丿乇讴賽 賲丿乇賳 讴賴 乇賳噩 乇丕 賳賵毓蹖 丕卮鬲亘丕賴 蹖丕 鬲氐丕丿賮 蹖丕 噩賳丕蹖鬲 賯賱賲丿丕丿 賲蹖鈥屭┵嗀�. 趩蹖夭蹖 讴賴 亘丕蹖丿 丿乇爻鬲卮 讴乇丿. 亘丕蹖丿 丕夭 丌賳 丿賵乇蹖 讴乇丿. 趩蹖夭蹖 讴賴 亘賴 丌丿賲 丨爻 賳丕鬲賵丕賳蹖 賲蹖鈥屫囏�
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禺賵 诏乇賮鬲賳賽 賲乇丿賲 亘賴 趩蹖夭賴丕蹖蹖 讴賴 賳卮丕賳卮丕賳 丿丕丿賴 賲蹖鈥屫促堌� 賭 丕賱亘鬲賴 丕诏乇 丕蹖賳 賵丕跇賴 亘乇丕蹖 鬲賵氐蹖賮賽 丕鬲賮丕賯蹖 讴賴 乇禺 賲蹖鈥屫囏� 丿乇爻鬲 亘丕卮丿 賭 亘賴 禺丕胤乇 讴賲蹖鬲 鬲氐丕賵蹖乇蹖 賳蹖爻鬲 讴賴 亘乇 爻乇 賵 乇賵蹖卮丕賳 賲蹖鈥屫ㄘж必�. 丕賳賮毓丕賱 亘丕毓孬 讴賲乇賳诏 卮丿賳 丕丨爻丕爻丕鬲 賲蹖鈥屫促堌� 丨丕賱鬲鈥屬囏й� 乇賵丨蹖 讴賴 亘丕 毓賳賵丕賳 亘蹖鈥屫官勜з傏屫� 亘蹖鈥屫驰� 丕禺賱丕賯蹖 蹖丕 毓丕胤賮蹖 丕夭 丌賳賴丕 蹖丕丿 賲蹖鈥屫促堌� 賲賲賱賵 丕夭 丕丨爻丕爻丕鬲 賴爻鬲賳丿貙 丕丨爻丕爻丕鬲蹖 爻乇卮丕乇 丕夭 禺卮賲 賵 讴賱丕賮诏蹖
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丕蹖賳 亘禺卮蹖 丕夭 賳賵卮鬲賴鈥屬囏й� 亘賵丿賱乇 丕爻鬲 丿乇 蹖丕丿丿丕卮鬲鈥屬囏й� 乇賵夭丕賳賴鈥屫ж� 讴賴 亘賴 丿賴賴鈥屰� 1860 亘乇賲蹖鈥屭必�:
丕賲讴丕賳 賳丿丕乇丿 乇賵夭賳丕賲賴鈥屫й� 乇丕 亘賴 丿爻鬲 诏蹖乇蹖 賵 賮丕乇睾 丕夭 丌賳讴賴 賲乇亘賵胤 亘賴 趩賴 乇賵夭 賵 趩賴 賲丕賴 賵 趩賴 爻丕賱蹖 丕爻鬲 丿乇 禺胤 亘賴 禺胤 丌賳 賴賵賱賳丕讴鈥屫臂屬� 賳卮丕賳賴鈥屬囏й� 诏賲乇丕賴蹖 亘卮乇 乇丕 賳蹖丕亘蹖... 賴乇 乇賵夭賳丕賲賴鈥屫й� 丕夭 丌賳 爻乇 賳禺爻鬲 鬲丕 丌禺乇蹖賳卮 趩蹖夭蹖 賳蹖爻鬲 賲诏乇 讴丕睾匕蹖 丕賳亘丕卮鬲賴 丕夭 乇賵蹖丿丕丿賴丕蹖 賴賵賱賳丕讴. 噩賳诏鈥屬囏ж� 噩賳丕蹖鬲鈥屬囏ж� 爻乇賯鬲鈥屬囏ж� 卮賴賵鬲鈥屫必з嗃屸€屬囏ж� 卮讴賳噩賴鈥屬囏ж� 讴乇丿丕乇賴丕蹖 丕賴乇蹖賲賳蹖賽 卮丕賴丕賳 賵 賲賱鬲鈥屬囏� 賵 賮乇丿 賮乇丿賽 賲乇丿賲貨 囟蹖丕賮鬲蹖 丕爻鬲 讴賴 丕賳爻丕賳 賲鬲賲丿賳 賵毓丿賴鈥屰� 氐亘丨诏丕賴鈥屫ж� 乇丕 賮乇賵 賲蹖鈥屫ㄘ必�
October 20, 2021
I was going to give this borderline self-indulgent rant two stars until Sontag hissed at the Frenchies for how unbelievably provincialist society of spectacle is; how classist; how much a sign of dubious privilege; and how the third world doesn't have the luxury to patronise reality. I was going to give it two stars until Sontag cleared the fog around how if we could do something about what the atrocity images show, we might not care as much about the moralising issues that atrocity photography presents.
Anyway, overall I didn't care for this; it was mostly a waste of my fucking time. You might find it more worthwhile if you've read On Photography. But you might also be a privileged, pretentious parasite if you claim, as a millennial or a zoomer in the twenty-first century, that anything Sontag wrote on Images and Photography rewired your brain and made you hold your camera differently. Sontag agrees with me. So, there's that anyway.
(Man, this is the third book that I've picked up this month thinking it would be sexy enough to talk about empathy and care ethics, based on its title. But nope!)
Anyway, overall I didn't care for this; it was mostly a waste of my fucking time. You might find it more worthwhile if you've read On Photography. But you might also be a privileged, pretentious parasite if you claim, as a millennial or a zoomer in the twenty-first century, that anything Sontag wrote on Images and Photography rewired your brain and made you hold your camera differently. Sontag agrees with me. So, there's that anyway.
(Man, this is the third book that I've picked up this month thinking it would be sexy enough to talk about empathy and care ethics, based on its title. But nope!)
January 17, 2024
There are two ways you can read Susan Sontag鈥檚 essay 鈥楻egarding the Pain of Others鈥�.
You can either just straightforward read the essay, which is extremely well thought out and presented, so that would certainly be enough.
Or, you can read it sitting next to Google, and actually look up the images/artwork/photographs that Sontag refers to. I chose this option.
If you pick this second option then you鈥檒l very soon understand perhaps why these images are not included with the essay.
In fact, there is one particular image which she refers to, reproduced in George Bataille鈥檚 鈥楾he Tears of Eros鈥�, which I personally found so disturbing that I genuinely, genuinely wish I had not looked it up. (You鈥檝e been warned.)
Great essay, but in hindsight I鈥檓 not sure I recommend the Googling! Some of it really is deeply disturbing.
You can either just straightforward read the essay, which is extremely well thought out and presented, so that would certainly be enough.
Or, you can read it sitting next to Google, and actually look up the images/artwork/photographs that Sontag refers to. I chose this option.
If you pick this second option then you鈥檒l very soon understand perhaps why these images are not included with the essay.
In fact, there is one particular image which she refers to, reproduced in George Bataille鈥檚 鈥楾he Tears of Eros鈥�, which I personally found so disturbing that I genuinely, genuinely wish I had not looked it up. (You鈥檝e been warned.)
Great essay, but in hindsight I鈥檓 not sure I recommend the Googling! Some of it really is deeply disturbing.
January 22, 2018
丿賵夭禺 賳丕賲蹖丿賳 賳賯胤賴鈥屫й� 丕夭 丕蹖賳 讴乇賴鈥屰� 禺丕讴蹖 賲爻賱賲丕 亘賴 賲丕 賳賲蹖鈥屭堐屫� 趩胤賵乇 賲蹖鈥屫促堌� 賲乇丿賲丕賳 诏乇賮鬲丕乇 乇丕 丕夭 丌賳 丿賵夭禺 乇賴丕賳蹖丿貙 蹖丕 趩胤賵乇 賲蹖鈥屫促堌� 丕夭 丌鬲卮 卮毓賱賴鈥屬堌� 丌賳 丿賵夭禺 讴丕爻鬲. 丕蹖賳 亘賴 禺賵丿蹖 禺賵丿 禺賵亘 丕爻鬲 讴賴 丌賳賯丿乇 亘賴 丿乇讴賲丕賳 賵爻毓鬲 亘禺卮蹖丿賴鈥屫й屬� 讴賴 丨丕囟乇蹖賲 丕匕毓丕賳 讴賳蹖賲 趩賴 賲蹖夭丕賳 丕夭 丿乇丿 賵 乇賳噩 丿乇 噩賴丕賳蹖 讴賴 亘丕 丿蹖诏乇丕賳 丿乇 丌賳 爻賴蹖賲 賴爻鬲蹖賲 丨丕氐賱 卮乇丕乇鬲 丕賳爻丕賳蹖 丕爻鬲. 讴爻蹖 讴賴 賲丿丕賲 丕夭 賵噩賵丿 賮爻丕丿 賵 鬲亘丕賴蹖 蹖讴賴 賲蹖鈥屫堌必� 賵 賴賲趩賳丕賳 賴賲 爻乇禺賵乇丿賴 (賵 丨鬲蹖 賳丕亘丕賵乇) 丕爻鬲 丕夭 丕蹖賳 讴賴 賲蹖鈥屫ㄛ屬嗀� 賳賵毓 亘卮乇 丿乇 爻鬲賲鈥屬囏й� 卮賳蹖毓蹖 讴賴 爻禺鬲鈥屭┵堌簇з嗁� 亘乇 丿蹖诏乇 丕賳爻丕賳鈥屬囏� 乇賵丕 賲蹖鈥屫ж必� 賵 丕夭 趩賴 讴丕乇賴丕 讴賴 乇賵蹖诏乇丿丕賳 賳蹖爻鬲貙 賴賳賵夭 亘賴 亘賱賵睾 丕禺賱丕賯蹖 蹖丕 乇賵丕賳蹖 賳乇爻蹖丿賴. 賴蹖趩 鈥屭┴� 丨賯 賳丿丕乇丿 亘毓丿 丕夭 爻賳 賵 爻丕賱蹖 禺丕氐 賴賲趩賳丕賳 丿乇 丕蹖賳 賲毓氐賵賲蹖鬲 賵 丕蹖賳 馗丕賴乇亘蹖賳蹖 亘賲丕賳丿 賵 鬲丕 丕蹖賳 丨丿 睾乇賯 丿乇 亘蹖鈥屫ㄘ臂� 賵 蹖丕 賮乇丕賲賵卮蹖 亘丕卮丿.
丕夭 賲鬲賳 讴鬲丕亘
丕夭 賲鬲賳 讴鬲丕亘
October 22, 2017
Quiero leer TODO lo que ha escrito esta mujer. FAN.
January 10, 2024
賲賵囟賵毓 丕亘鬲丿丕蹖蹖 讴鬲丕亘 賳卮丕賳 丿丕丿賳 丿乇丿 賵 乇賳噩 賳丕卮蹖 丕夭 噩賳诏 丕爻鬲 讴賴 禺賵丕賳賳丿賴 亘丕 賳诏丕賴 讴乇丿賳 亘賴 毓讴爻鈥屬囏й� 趩丕倬 卮丿賴 丿乇 丕賳鬲賴丕蹖 讴鬲丕亘 丌賳 乇丕 丕丨爻丕爻 賲蹖鈥屭┵嗀� 賵 賲賵囟賵毓 賳賴丕蹖蹖 讴鬲丕亘 丕蹖賳 丕爻鬲 讴賴 趩乇丕 丕讴賳賵賳 丌丿賲鈥屬囏� 讴賲鬲乇 鬲丨鬲 鬲丕孬蹖乇 賯乇丕乇 賲蹖鈥屭屫辟嗀� 賵 丿蹖诏乇 亘賴 丌賳 賲毓賳丕 丿乇丿 賵 乇賳噩 乇丕 丕丨爻丕爻 賳賲蹖鈥屭┵嗁嗀�. 丿乇 賵丕賯毓 賳賵蹖爻賳丿賴 亘丕 亘乇乇爻蹖 鬲丕乇蹖禺 孬亘鬲 賱丨馗丕鬲 噩賳诏蹖 亘賴 禺賵丕賳賳丿賴 賳卮丕賳 賲蹖鈥屫囏� 讴賴 禺卮賵賳鬲 噩賳诏 賴蹖趩鈥屭з� 鬲睾蹖蹖乇 賳讴乇丿賴 丕賲丕 賵丕讴賳卮 丌丿賲鈥屬囏� 賳爻亘鬲 亘賴 噩賳诏 賵 賮噩丕蹖毓 丌賳 亘賴 讴賱 鬲睾蹖蹖乇 讴乇丿賴 丕爻鬲.
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爻丕賳鬲丕诏 賲蹖鈥屬嗁堐屫池� 芦毓讴爻鈥屬囏� 亘賴 丌丿賲 賲蹖鈥屭堐屬嗀� 亘亘蹖賳蹖丿貙 噩賳诏 丕蹖賳 卮讴賱蹖 丕爻鬲. 丕蹖賳 讴丕乇蹖 丕爻鬲 讴賴 噩賳诏 賲蹖鈥屭┵嗀� : 噩賳诏 賲蹖鈥屫必з嗀� 賲蹖鈥屭迟勜з嗀�. 噩賳诏 爻賱丕禺蹖 賲蹖鈥屭┵嗀� 賵 丿賱 賵 乇賵丿賴鈥屬囏� 乇丕 亘蹖乇賵賳 賲蹖鈥屭┴簇�. 噩賳诏 賲蹖鈥屫迟堌藏з嗀�. 噩賳诏 鬲讴賴鈥屫┵� 賲蹖鈥屭┵嗀�. 噩賳诏 賵蹖乇丕賳 賲蹖鈥屭┵嗀�.禄 丕賲丕 丿乇 丕丿丕賲賴 賴賲 賳卮丕賳 賲蹖鈥屫囏� 丕賳爻丕賳鈥屬囏� 賲賳賮毓賱 卮丿賴鈥屫з嗀� 賵 讴丕乇蹖 丕賳噩丕賲 賳賲蹖鈥屫囐嗀�. 丿乇 賴賲蹖賳 乇丕亘胤賴 爻丕賳鬲丕诏 賲蹖鈥屬嗁堐屫池� 芦丕夭 亘爻 丿乇 鬲氐丕賵蹖乇蹖 睾乇賯 卮丿賴鈥屫й屬� 讴賴 夭賲丕賳蹖 丕夭 丿蹖丿賳卮丕賳 噩丕 賲蹖鈥屫堌必屬� 賵 賲賳夭噩乇 賲蹖鈥屫簇屬� 丨丕賱丕 丿蹖诏乇 趩蹖夭蹖 丕夭 丨爻 賴賲丿賱蹖 亘丕賯蹖 賳賲丕賳丿賴 賵 亘賴 爻賵蹖 乇禺賵鬲 賵 亘蹖鈥屫驰� 倬蹖卮 賲蹖鈥屫辟堐屬�.禄
賵 亘丕 丕蹖賳 賵噩賵丿 芦賴蹖趩 卮賵乇丕蹖蹖 丕夭 賳诏賴亘丕賳丕賳 賳賲蹖 卮賵丿 鬲卮讴蹖賱 丿丕丿 鬲丕 賴賵賱賳丕讴蹖 賴丕 乇丕 噩蹖乇賴 亘賳丿蹖 讴賳丿 賵 賯丕亘賱蹖鬲卮 乇丕 丿乇 卮賵讴賴 讴乇丿賳 賲丕 貙 鬲丕夭賴 賳诏賴 丿丕乇丿 賵 賲爻賱賲丕 禺賵丿 丕蹖賳 賴賵賱賳丕讴蹖 賴丕 賴賲 賮乇賵讴卮 賳禺賵丕賴賳丿 讴乇丿....禄
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爻丕賳鬲丕诏 賲蹖鈥屬嗁堐屫池� 芦毓讴爻鈥屬囏� 亘賴 丌丿賲 賲蹖鈥屭堐屬嗀� 亘亘蹖賳蹖丿貙 噩賳诏 丕蹖賳 卮讴賱蹖 丕爻鬲. 丕蹖賳 讴丕乇蹖 丕爻鬲 讴賴 噩賳诏 賲蹖鈥屭┵嗀� : 噩賳诏 賲蹖鈥屫必з嗀� 賲蹖鈥屭迟勜з嗀�. 噩賳诏 爻賱丕禺蹖 賲蹖鈥屭┵嗀� 賵 丿賱 賵 乇賵丿賴鈥屬囏� 乇丕 亘蹖乇賵賳 賲蹖鈥屭┴簇�. 噩賳诏 賲蹖鈥屫迟堌藏з嗀�. 噩賳诏 鬲讴賴鈥屫┵� 賲蹖鈥屭┵嗀�. 噩賳诏 賵蹖乇丕賳 賲蹖鈥屭┵嗀�.禄 丕賲丕 丿乇 丕丿丕賲賴 賴賲 賳卮丕賳 賲蹖鈥屫囏� 丕賳爻丕賳鈥屬囏� 賲賳賮毓賱 卮丿賴鈥屫з嗀� 賵 讴丕乇蹖 丕賳噩丕賲 賳賲蹖鈥屫囐嗀�. 丿乇 賴賲蹖賳 乇丕亘胤賴 爻丕賳鬲丕诏 賲蹖鈥屬嗁堐屫池� 芦丕夭 亘爻 丿乇 鬲氐丕賵蹖乇蹖 睾乇賯 卮丿賴鈥屫й屬� 讴賴 夭賲丕賳蹖 丕夭 丿蹖丿賳卮丕賳 噩丕 賲蹖鈥屫堌必屬� 賵 賲賳夭噩乇 賲蹖鈥屫簇屬� 丨丕賱丕 丿蹖诏乇 趩蹖夭蹖 丕夭 丨爻 賴賲丿賱蹖 亘丕賯蹖 賳賲丕賳丿賴 賵 亘賴 爻賵蹖 乇禺賵鬲 賵 亘蹖鈥屫驰� 倬蹖卮 賲蹖鈥屫辟堐屬�.禄
賵 亘丕 丕蹖賳 賵噩賵丿 芦賴蹖趩 卮賵乇丕蹖蹖 丕夭 賳诏賴亘丕賳丕賳 賳賲蹖 卮賵丿 鬲卮讴蹖賱 丿丕丿 鬲丕 賴賵賱賳丕讴蹖 賴丕 乇丕 噩蹖乇賴 亘賳丿蹖 讴賳丿 賵 賯丕亘賱蹖鬲卮 乇丕 丿乇 卮賵讴賴 讴乇丿賳 賲丕 貙 鬲丕夭賴 賳诏賴 丿丕乇丿 賵 賲爻賱賲丕 禺賵丿 丕蹖賳 賴賵賱賳丕讴蹖 賴丕 賴賲 賮乇賵讴卮 賳禺賵丕賴賳丿 讴乇丿....禄
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