Praise for Susan Sontag

“决定性瞬间”的先决条件“充满戏剧性和命运攸关的时刻在个人的一生中和历史的进程中都十分难得，这种时刻往往只发生在某一天、某一小时甚至某一分钟，但它们的决定性影响却超越时间。

”―斯蒂芬?茨威格1952年，亨利？卡蒂埃-布列松（Henri CartierBresson）出版了一本摄影集，书名为《偷拍的照片》（Images àla Sauvette）（见下图）。

此书在美国出版时，编辑觉得法文原版的书名没有特点，就援引了17世纪法国大主教雷兹（Retz）的名言“在这个世界上一切都有一个决定性的瞬间”，将书名改为《决定性瞬间》（The Decisive Moment）。

从此以后，“卡蒂埃-布列松”这个名字便与“决定性瞬间”联系在一起，“决定性瞬间”这个经典的摄影美学旨趣，对此后的摄影创作和摄影理论都产生了深远影响。

无论苏珊？桑塔格（Susan Sontag）于1973年发表的摄影“时空切片”论，还是罗兰？巴特（Roland Barthes）在1979年提出的“摄影如奇遇”说，无不潜藏着“决定性瞬间”的美学价值。

那么，如何理解“决定性瞬间”呢？这其中的“决定性”和“瞬间”又是什么意思？阮义忠在《二十位人性见证者：当代摄影大师》（中国华侨出版社，2010年）中的解释为：“生活中发生的每一个事件里，都有一个决定性的时刻，在这个时刻来临时，环境中的元素会排列成最具意义的几何形态，而这种形态也最能显示这桩事件的完整面貌。

有时候，这种形态转瞬即逝。

因此，当进行的事件中所有元素都是平衡状态时，摄影家必须抓住这一刻。

”让？克莱尔在《Kairos：卡蒂埃-布列松作品中决定性瞬间的概念》（《收藏布列松》，中国摄影出版社，2010年）一文中的解释是：“对我来说，一张照片就是在不到一秒的时间里，同时认识到一个事实的意义，以及表现这个事实的肉眼可见的形式的严密安排。

”《西方摄影文论选》（顾铮编译，修订版，浙江摄影出版社，2007，第49―60页，《摄影的表达旨趣》，卡蒂埃-布列松）中的解释为：“一幅照片，要把题材尽量强烈地传达出来的话，非要严格地建立起形式之间的关系不可。

M C一直以来，女性都是感性的代名词，很多时候，女性比男性更容易感情用事，也更易受暗示。

但美国知名作家及评论家苏珊·桑塔格却是个例外，她关注时事，不愿接受既定舆论，毕生都在为揭露真相而斗争，竭力反对艺术和生活的简单化与冷漠，也因此被美国公众誉为“一个清楚冷静且具有良知的人，以及评估未来美国和世界重大事件的清晰尺度”。

苏珊·桑塔格的一生是行者的一生，她游走于战地、医院和敏感地区之间，不断抵达真相的最前沿，来到被侮辱被损害被遗忘的人身边，给予他们同情与善意，并发出自己的独立声音，而她这样做的原因是：“我有一种道德感，不是因为我是一个作家，而是因为我是一个人。

”S 我想将每种生活都过一遍，作家的生活似乎包含了最多桑塔格被认为是近代西方最引人注目、最具争议的女作家及评论家，是当代著名的知识分子之一。

但她童年时代的梦想却是当一名化学家，后来是物理学家。

随着时光推移，生活赋予了她越来越多炽热的渴望，她盼望着将每种生活都过一遍，用有限的生命来体验尽可能多的事物，因此她决定投身文学，当一名与笔为伴的女战士，如她所言“我想将每种生活都过一遍，一个作家的生活似乎包含了最多”。

桑塔格对世界的热情源自于童年。

她出生于1933年的曼哈顿，由祖父母抚养大。

彼时她的父母在遥远的中国做皮货生意，她与他们见面机会并不多。

但她的房间里堆满了从大洋彼岸捎来的茶叶香包、绸缎旗袍和大阿福泥娃娃。

“那时的交通并不方便，但源源不断从中国涌来的物品让我感觉到父母是苏珊·桑塔格：因为我是一个人詳謼沈青黎Susan Sontag38. All Rights Reserved.看世界M C爱我的，父亲承诺等我长大就带我去中国，我渴望那一刻，只是它没有成为现实。

”桑塔格5岁时，父亲因肺结核在天津离世，此后她开始用疯狂的阅读打发时光。

桑塔格的母亲性格慵懒，祖父母内向静默，家人之间缺乏交流，幼小的桑塔格似乎同周围的世界格格不入，但她在书中找到了另一个世界，在这个世界里，她的精神日益丰盈，满腔热情呼之欲出。

得文学博大，文字岂能任意。

但是，历史反复印证了医学和文学的亲缘性。

古往今来，不少医文同修的儒医、文医、诗医、画医身体力行，多方位展示了医学和文学融合的可能性。

现实的学科分界和经验的认知造成了一个特殊现象，即多数医者和文人都认可医学和文学的相关性，但也认为对方并不能真正为本方带来根本性的收益。

医学与文学的融合存在着理念和实践的脱节，个中原因很复杂。

其中之一便是存在认识误区，即文学的介入可能会造成医生工作重心的转移，使得医生“不务正业”，将精力用在文学虚构的思考上而荒废了科学理性的思维，从而失却了医学的根本。

本文试图引入翻译理念，从不同语言之间信息转换的角度出发，说明医学与文学的融合并不会造成医学学科特色的流失，反而会因为视角拓展而加深医生对医学的理解。

从翻译视角看医学与文学的关系黄蓉 郭莉萍文章编号：2096-5893（2020）06-0387-05作者单位：北京大学医学人文学院作者简介：黄蓉(1988-)，女，博士，助理研究员。

通信作者：郭莉萍【摘要】医学与文学虽然同根同源，但也存在着巨大的差异。

从翻译的角度来看，医学与文学分别代表着对身体、疾病和健康的不同解读。

本文首先介绍直译与意译两种译法，论证不同的翻译方式具有传递同样意义的潜力。

其次，以西西的作品《哀悼乳房》为例展示了医学语言和文学语言的差异，发掘翻译理念对于医学的参考意义。

最后，本文落脚于翻译理念的开放性、多样性和对话性，认为这是医学与文学融合的基础。

the Relationship between Medicine and Literature Huangorigin may be shared, medicine and literature differ tremendously. medicine and literature represent different interpretations of article first introduces literal translation and free translation, and of translation present the potential to convey the same meaning. over the Breast as an example to show the difference between1 直译与意译在日益全球化的当代，翻译并非新鲜事物，尤其在医学界。

苏珊·桑塔格One of America’s best-knownand most admired writers,Susan Sontag was born in NewYork City in 1933, grew up inTucson, Arizona, and attendedhigh school in Los Angeles. Shereceived her B.A. from theCollege of the University ofChicago and did graduate workin philosophy, literature, and theology atHarvard University and Saint Anne’s College,Oxford.Her books, all published by Farrar, Straus and Giroux, 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 eight works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, and Regarding the Pain of Others. In 1982, FSG published A Susan Sontag Reader.Her stories and essays have appeared in The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, Granta, and many other magazines here and abroad. Her much anthologized story "The Way We Live Now" (1987) was chosen for inclusion in The Best American Short Stories of the Eighties and, more recently, in The Best American Short Stories of the Century, edited by John Updike.Her books have been translated into thirty-two languages.Ms. Sontag has written and directed four feature-length films: Duet for Cannibals(1969) and Brother Carl (1971), both in Sweden (whose screenplays were published by FSG); 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 many productions in the United States, Mexico, Germany, and Holland. A more recent play, Lady from the Sea, has been produced in Italy, France, Switzerland, and Korea.Ms. Sontag has also directed plays in the United States and Europe; her most recent theatre work was 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’ organization dedicated to freedom of expression and the advancement of literature, from whose platform she led a number of campaigns on behalf of persecuted and imprisoned writers. 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./index.htmAuthor Susan Sontag DiesA self-described "besotted aesthete" and "obsessed moralist," she sought to challenge conventional thinking. She was 71.By Steve WassermanTimes Staff WriterDecember 28, 2004, 11:38 AM ESTSusan Sontag, one of America's most influential intellectuals, internationally renowned for the passionate engagement and breadth of her critical intelligence and her ardent activism in the cause of human rights, died today of leukemia. She was 71.The author of 17 books translated into 32 languages, she vaulted to public attention and critical acclaim with the 1964 publication of "Notes on Camp", written for Partisan Review and included in "Against Interpretation," her first collection of essays, published two years later.Sontag died at Memorial Sloan Kettering Cancer Center in New York City.Sontag wrote about subjects as diverse as pornography and photography, the aesthetics of silence and the aesthetics of fascism, Bunraku puppet theater and the choreography of Balanchine, as well as portraits of such writers and intellectuals as Antonin Artaud, Walter Benjamin, Roland Barthes and Elias Canetti.Sontag was a fervent believer in the capacity of art to delight, to inform, to transform."We live in a culture," she said, "in which intelligence is denied relevance altogether, in a search for radical innocence, or is defended as an instrument of authority and repression. In my view, the only intelligence worth defending is critical, dialectical, skeptical, desimplifying."In a Rolling Stone article in 1979, Jonathan Cott called Sontag a writer who was "continually examining and testing out her notion that supposed oppositions like thinking and feeling, consciousness andsensuousness, morality and aesthetics can in fact simply be looked at as aspects of each other — much like the pile on the velvet that, upon reversing one's touch, provides two textures and two ways of feeling, two shades and two ways of perceiving."A self-described "besotted aesthete" and "obsessed moralist," Sontag sought to challenge conventional thinking.She wrote four novels, "The Benefactor," "Death Kit," "The Volcano Lover," and "In America," which won the 2000 National Book Award for fiction.Sontag was born Jan. 16, 1933, in New York City and raised in Tucson and Los Angeles, the daughter of an alcoholic schoolteacher mother and a fur trader father who died in China of tuberculosis during the Japanese invasion when Sontag was 5. She was a graduate of North Hollywood High School and attended UC Berkeley and the University of Chicago — which she entered when she was 16 — and Harvard and Oxford.In 1950, while at the University of Chicago, she met and 10 days later married Philip Rieff, a 28-year-old instructor in social theory. Two years later, at age 19, she had a son David, now a prominent writer. She was divorced in 1959 and never remarried.Sontag was reading by 3. In her teens, her passions were Gerard Manley Hopkins and Djuna Barnes. The first book that thrilled her was "Madame Curie," which she read when she was 6. She was stirred by the travel books of Richard Halliburton and the Classic Comics rendition of Shakespeare's "Hamlet." The first novel that affected her was Victor Hugo's "Les Miserables.""I sobbed and wailed and thought [books] were the greatest things," she recalled. "I discovered a lot of writers in the Modern Library editions, which were sold in a Hallmark card store, and I used up my allowance and would buy them all."She remembered as a girl of 8 or 9 lying in bed looking at her bookcase against the wall. "It was like looking at my 50 friends. A book was like stepping through a mirror. I could go somewhere else. Each one was a door to a whole kingdom."Edgar Allan Poe's stories enthralled her with their "mixture of speculativeness, fantasy and gloominess." Upon reading Jack London's "Martin Eden," she determined she would become a writer. "I gotthrough my childhood," she told the Paris Review, "in a delirium of literary exaltations."At 14, Sontag read Thomas Mann's masterpiece, "The Magic Mountain." "I read it through almost at a run. After finishing the last page, I was so reluctant to be separated from the book that I started back at the beginning and, to hold myself to the pace the book merited, reread it aloud, a chapter each night."Sontag began to frequent the Pickwick bookstore on Hollywood Boulevard, where she went "every few days after school to read on my feet through some more of world literature — buying when I could, stealing when I dared."She also became a "militant browser" of the international periodical and newspaper stand near the "enchanted crossroads" of Hollywood Boulevard and Highland Avenue, where she discovered the world of literary magazines. She was fond of recounting how, at 15, she had bought a copy of Partisan Review and found it impenetrable. Nevertheless, "I had the sense that within its pages momentous issues were at stake. I wanted desperately to crack the code."At 26, she moved to New York City where, for a time, she taught the philosophy of religion at Columbia University. At a cocktail party, she encountered William Phillips, one of Partisan Review's legendary founding editors and asked him how one might write for the journal. He replied, "All you have to do is ask." "I'm asking," she said.Soon Sontag's provocative essays on Albert Camus, Simone Weil, Jean-Luc Godard, Kenneth Anger, Jasper Johns and the Supremes began to spice Partisan Review's pages. Sontag recoiled at what she regarded as the artificial boundaries separating one subject, or one art form, from another."I love to read the way people love to watch television," she told Rolling Stone. For her, culture was a vast smorgasbord, a movable feast. The point, she often said, quoting Goethe, was "to know everything." "So when I go to a Patti Smith concert, I enjoy, participate, appreciate and am tuned in better because I've read Nietzsche. The main reason I read is that I enjoy it. There's no incompatibility between observing the world and being tuned into an electronic, multimedia, multi-tracked, McLuhanite world and enjoying what can be enjoyed about rock 'n' roll."Sontag devoted herself to demolishing "the distinction betweenthought and feeling, which is really the basis of all anti-intellectual views: the heart and the head, thinking and feeling, fantasy and judgment. Thinking is a form of feeling; feeling is a form of thinking." Her quest was admired by such writers as Elizabeth Hardwick, a founder of the New York Review of Books, whose editors quickly embraced Sontag. In her introduction to "A Susan Sontag Reader," Hardwick called her "an extraordinarily beautiful, expansive, and unique talent."Each of Sontag's essays, Hardwick wrote, "has a profound authority, a rather anxious and tender authority — the reward of passion. The tone of her writing is speculative, studious and yet undogmatic; even in the end it is still inquiring."Others were less impressed. John Simon accused Sontag of "a tendency to sprinkle complication into her writing" and of tossing off "high-sounding paradoxes without thinking through what, if anything, they mean." Greil Marcus called her "a cold writer" whose style was "an uneasy combination of academic and hip pedantic, effete, unfriendly." Walter Kendrick found her fiction "dull and derivative."In 1976, at 43, Sontag discovered she had advanced cancer in her breast, lymphatic system and leg. She was told she had a one-in-four chance to live five years. After undergoing a radical mastectomy and chemotherapy, she was pronounced free of the disease. "My first reaction was terror and grief. But it's not altogether a bad experience to know you're going to die. The first thing is not to feel sorry for yourself."She learned as much as possible about the disease and later wrote "Illness as Metaphor," an influential essay condemning the abuse of tuberculosis and cancer as metaphors that transfer responsibility for sickness to the victims, who are made to believe they have brought suffering on themselves. Illness, she insisted, is fact, not fate. Years later, she would extend the argument in the book-length essay "AIDS and Its Metaphors."An early and passionate opponent of the Vietnam War, Sontag was both admired and reviled for her political convictions. In a 1967 Partisan Review symposium, she wrote that "America was founded on a genocide, on the unquestioned assumption of the right of white Europeans to exterminate a resident, technologically backward, colored population in order to take over the continent."In her rage and gloom and growing despair, she concluded that "thetruth is that Mozart, Pascal, Boolean algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Marx, Balanchine ballets, et al., don't redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history; it is the white race and it alone —its ideologies and inventions —which eradicates autonomous civilizations wherever it spreads, which has upset the ecological balance of the planet, which now threatens the very existence of life itself."Considering herself neither a journalist nor an activist, Sontag felt an obligation as "a citizen of the American empire" to accept an invitation to visit Hanoi at the height of the American bombing campaign in May 1968. A two-week visit resulted in a fervent essay seeking to understand Vietnamese resistance to American power.Critics excoriated her for what they regarded as a naive sentimentalization of Vietnamese communism. Author Paul Hollander, for one, called Sontag a "political pilgrim," bent on denigrating Western liberal pluralism in favor of venerating foreign revolutions.That same year, Sontag also visited Cuba, after which she wrote an essay for Ramparts magazine calling for a sympathetic understanding of the Cuban Revolution. Two years later, however, she joined Peruvian novelist Mario Vargas Llosa and other writers in publicly protesting the regime's harsh treatment of Heberto Padilla, one of the country's leading poets. She also denounced dictator Fidel Castro's punitive policies toward homosexuals.Ever the iconoclast, Sontag had a knack for annoying both the right and the left. In 1982, in a meeting in Town Hall in New York to protest the suppression of Solidarity in Poland, she declared that communism was fascism with a human face. She was unsparing in her criticism of much of the left's refusal to take seriously the exiles and dissidents and murdered victims of Stalin's terror and the tyranny communism imposed wherever it had triumphed.Ten years later, almost alone among American intellectuals, she would called for vigorous Western —and American —intervention in the Balkans to halt the siege of Sarajevo and to stop Serbian aggression in Bosnia and Kosovo. Her solidarity with the citizens of Sarajevo prompted her to make more than a dozen trips to the besieged city. Then in the aftermath of the Sept. 11, 2001, terrorist attacks, Sontag offered a bold and singular perspective in the New Yorker. "Where is the acknowledgment that this was not a 'cowardly' attack on'civilization' or 'liberty' or 'humanity' or 'the free world' but an attack on the world's self-proclaimed superpower, undertaken as a consequence of specific American alliances and actions?" She added, "In the matter of courage (a morally neutral virtue): Whatever may be said of the perpetrators of Tuesday's slaughter, they were not cowards."She was pilloried by bloggers and pundits, who accused her of anti-Americanism.Sontag had never been so public as she became over the next three years, publishing steadily, speaking constantly and receiving numerous international awards, including Israel's Jerusalem Prize, Spain's Prince of Asturias Award for the Arts, and Germany's Friedenspreis (Peace Prize). Upon accepting the prize from Jerusalem's mayor, Ehud Olmert, Sontag said of Israel's policies toward the Palestinians: "I believe the doctrine of collective responsibility as a rationale for collective punishments [is] never justified, militarily or ethically. And I mean of course the disproportionate use of firepower against civilians."Last March, she was found to have a condition that, if left untreated, would be fatal: a pre-acute leukemia that doctors concluded was a consequence of the chemotherapy she had undertaken to rid herself of a uterine sarcoma discovered five years before. A little more than four months after the diagnosis, she received a partial bone marrow transplant.In an interview for the Paris Review, in 1995, Sontag was asked what she thought was the purpose of literature."A novel worth reading," she replied, "is an education of the heart. It enlarges your sense of human possibility, of what human nature is, of what happens in the world. It's a creator of inwardness." She was the cartographer of her own literary explorations. Henry James once remarked, "Nothing is my last word on anything." For Sontag, as for James, there was always more to be said, more to be felt.She is survived by her son, David, and a sister, Judith Cohen.Her papers — manuscripts, diaries, journals and correspondence — as well as her 25,000-volume personal library were acquired by the UCLA Library in 2002 and will be housed in the Charles E. Young Research Library Department of Special Collections.Sontag's Life Is Testament To Democratic MeritocracyBy Tim RuttenTimes Staff WriterDecember 28, 2004, 7:36 PM ESTShortly after Susan Sontag died Tuesday in New York, an obituary on the BBC's World Service described her as "the high priestess of the American avant-garde."So she was, in part.But to take that topic sentence and its implications as the sum of her 71 years is to discount the example of an inspiring -- and uniquely American -- life.Much that will be written about her in the weeks ahead will focus on her aesthetic and political legacy and, as the British Broadcasting Corporation's description suggests, on her status as an icon of what some would describe as the international intellectual elite. It also is worth considering, however, that she willed and worked herself into all that she achieved. She was not born to the life of the mind but to a consumptive fur trader, who died when she was 5, and his alcoholic wife, who once told her that if she didn't stop reading, she'd never find a husband. She received her secondary education at North Hollywood High School, from which she graduated at 15 before going on to Berkeley, the University of Chicago and Oxford.The life Susan Sontag lived, in other words, was not one of an elitist icon, but of an ideal of democratic meritocracy.In the interest of full disclosure, Susan was for many years a friend and, on occasion, a houseguest of this writer and his wife. Her only child, writer and commentator David Rieff, is a close friend and one of our son's godfathers. During a conversation not long after we met, we discovered that we both had been inspired at an early age by reading Jack London's "Martin Eden," the story of a rough seaman who sets out to win the affection of a middle-class girl through relentless self-education and, in the process, finds and tragically rejects success as a writer. It is a great, if sentimental, American story.Susan's similarly ruthless pursuit of what she believed was truest and best inevitably conveyed a kind of elitism. Yet no matter how rarified the company, it was open to anybody willing to do the work to join. Her own drive for self-improvement -- and the conviction that knowledge and critical thinking were the tools to accomplish it -- never ceased.Susan did not drive, and on many visits to Los Angeles this writer happily served as her chauffeur. The destinations always included any notable local museum exhibition and the restaurant Matsuhisa, where the meal inevitably began with two orders of one of the restaurant'ssignature dishes, toro tartare topped with beluga caviar. But usan's preferred method of filling time was bookstores. The personal library, meticulously cataloged by subject and language, that filled her Manhattan loft was something of a legend in literary circles and, in fact, has been acquired by the University of California, Los Angeles. Still, every visit to local bookshops would end with the purchase of another substantial box or two of books to be shipped home.Wandering the stacks with her was a rare treat, because she paused not only over the new, but also the familiar and beloved."Do you know this?" she would ask, pulling a volume from the shelf.If the answer was yes, a discussion of the book's merits and shortcomings had to ensue.If you replied no, Susan's eyes would brighten and her voice climb half an octave: "Oh, but you must have this book. You must read it. It's fantassssstic. I'm going to buy it for you."And so she did. In the bookcase around the corner from this desk are Stevie Smith's collected poems and W.S. Merwin's luminous translations of Chamfort's aphorisms, mementos of two such excursions and testimony to the capaciousness of her taste and enthusiasm.Both qualities could make her a magnificently stimulating and utterly exhausting companion. No one this writer ever has known had taken so deeply to heart Albertus Magnus' famous admonition that "the greatest of all human pleasures is to seek the truth in conversation."On one occasion we talked until after 2 a.m., then reluctantly went off to bed. A habitually early riser, her host rose before dawn and was surprised to find the light on in his study. There was Susan, sitting at the library table desk in a pool of lamp light, surrounded by books taken from the nearby shelves and scribbling into a notebook. "Where did you find these translations from the Philokalia (a collection of religious texts in Greek)?" she demanded. "I don't have them, and they're very interesting."Over the years, Susan's single-minded confidence enabled her to revisit and reassess some of her own political and aesthetic positions, a process for which she received far too little credit. Sometimes, though, that single-mindedness made other lives and other choices somewhat opaque to her.Leaving Los Angeles, for example, was so critical to her own embrace of the wider world that she regarded others' conscious decision to remain here as somewhat suspicious.Once, after a long afternoon of work -- she over a set of galleys, and her host over a newspaper column -- there was conversation about life in Los Angeles and a walk around the yard and into the walled, gravel-pathed vegetable garden at the rear of the lot.As her host bent over, as gardeners will, and absent-mindedly began to weed a bed of baby lettuces, Susan said, "Oh, now I get it.You live like a poet."And that was that.To the generations of Martin Edens to come, to all those Americans who believe that you can be born in Bakersfield or Boise and still aspire to live fully the life of the mind, Susan Sontag left an example -- and this advice:"Be serious, be passionate, wake up!"/news/local/newyork/la-me-sontagside29dec29,0,41 32573.story?coll=ny-nynews-headlines苏珊．桑塔格（Susan Sontag）是美国最知名和最有影响力的批评家和作家，近二十年来，她也是积极的人权活动家。

摄影艺术概论结课论文题目：浅谈现代摄影开拓大师“安德烈·柯特兹”与“布列松”院系名称：设计艺术学院专业班级：广摄F1105学号：201125020328学生姓名：承小艳授课教师：宋黎浅谈现代摄影开拓大师“安德烈·柯特兹”与“布列松”摘要：相机是我的工具，经由它，我给予我周遭的所有事物一个理由。

——安德烈．柯特兹世界上没有任何事情没有其决定性的一瞬间。

在几分之一秒的时间里，在认识事件意义的同时，又给予事件本身以适当的完美的结构形式。

——亨利．卡蒂埃．布列松关键词：现代摄影安德烈.科特兹布列松人物简介：安德烈.科特兹生于匈牙利首都布达佩斯的柯特兹出身于一个中产阶级家庭。

使柯特兹对摄影产生兴趣的是他亲戚家阁楼上的那一大堆旧画报杂志。

1925年，柯特兹来到巴黎。

迷人的巴黎令柯特兹大为倾倒，于是埋头拍起巴黎的人和事。

1927年，柯特兹举行了第一次个展。

进入50年代，充满盎然诗意与人间温情的柯特兹的报道摄影作品受到欧洲各大杂志的青睐，成为国际知名的摄影家。

但在1936年到美国后，他的含蓄的摄影风格却许久不为喜好夸张与直截了当地表现的美国杂志界所接受。

1964年由纽约现代美术馆举行的柯特兹摄影展对柯特兹的艺术成就作出了充分的肯定。

20世纪20年代，柯特兹开始在巴黎从事摄影，30年代后移居美国，经历了漫长的职业摄影生涯。

他创作的题材非常广泛，从新闻摄影到为《时尚》杂志拍摄专业的室内照片。

他的风格既反映了欧洲新闻照片发展的轨迹，又体现了注重构思和空间的新视野运动的特点。

亨利．卡蒂埃．布列松1908年8月22日，亨利·卡蒂埃·布列松（HenriCartier-Bresson）出生在法国巴黎附近的香特鲁小镇（Chanteloup-en-Brie）。

他的父亲拥有一个纺织厂，母亲的家族则世代经营棉花，并在诺曼底地区拥有一个很大的农场。

亨利是他们的第一个孩子，所以他们希望亨利长大后能够接管家族的生意，但不幸的是，亨利对做生意丝毫没有兴趣。

推荐优秀的摄影摄像书籍作为一名摄影爱好者，书籍是我不可或缺的学习工具。

虽然现在网络上的摄影教程层出不穷，但我仍然认为纸质书籍拥有更大的魅力：图文并茂的布局、独具匠心的排版、纸张质感和气味等等，这些都是电子书无法替代的。

在摄影世界中，优秀的书籍不仅能帮助我们提升技能和素养，更可以激发我们对摄影的兴趣。

今天，我将向大家介绍一些我觉得比较好的摄影摄像书籍。

一、《摄影的本质》《摄影的本质》是由美国著名摄影师苏珊·索曼（Susan Sontag）所著，一位浸淫在摄影世界多年的女性知识分子。

这本书通过对摄影的历史和发展背景、摄影师的思想和艺术表现等多个维度深入解析了摄影的本质。

这本书主要讨论了摄影艺术的核心命题，“照片是什么？”，并提出了如何看待照片的问题。

索曼深入浅出地解释了照片所呈现出来的真实性、唯一性和表现性等。

此外，她也触及到了摄影师与被拍摄对象之间的关系，以及照片在传播方式和效力上的改变。

这本书不仅适用于摄影爱好者，还适合所有对艺术和文化感兴趣的读者。

二、《人像摄影的艺术》《人像摄影的艺术》是著名的摄影师Steven H. Begleiter所著，是一本针对人像摄影的专业指南。

这本书详细介绍了人像拍摄中如何掌握光线、构图、色彩和表达等方面的技巧，让读者更好地理解人像摄影的艺术。

书中涵盖了从人物构图的基础知识到高难度拍摄技术的内容，包括如何照亮人物、把焦点放在眼睛上，如何衍生出多样化和创新的风格，如何使用特殊的色彩等等。

此外，书中还有大量的范例和图片，这些对于初学者来说非常有帮助，可以更具体地理解各种技术。

三、《视频制作指南》现在的摄影领域不再局限于拍摄静态照片，越来越多的摄影师转向拍摄动态视频。

《视频制作指南》旨在为读者提供全面的视频拍摄技巧和后期处理知识，从而让读者在制作更加完美的视频内容时更加自信。

这本书分为四个部分：前置制作、制作过程、后期制作和输出制作。

前置制作部分介绍了拍摄前的各种准备工作，如剧本撰写、选地点、开机等等。

苏珊·桑塔格（Susan Sontag）是20世纪美国著名的作家、评论家和文学理论家，她的文论作品对于文学艺术的态度深受人们的关注和探讨。

通过对苏珊·桑塔格的文论作品进行分析和解读，可以更好地理解她对于文学艺术的态度，探寻她对于文学艺术的认知和评价。

本文将从多个角度对苏珊·桑塔格的文论进行全面的探讨，以阐述她的文学艺术态度。

一、对于文学艺术的理论观点苏珊·桑塔格在其文论作品中多次提及文学艺术的理论观点，她认为文学艺术是一种对于人类生活、文化和社会的表达和反映，是一种对于现实和想象的结合。

在她的理论观点中，文学艺术是一种精神追求和审美体验，是一种对于人类存在和情感表达的方式。

她强调文学艺术对于个体和社会的重要意义，倡导人们关注和尊重文学艺术的独特价值。

二、对于文学艺术的审美评价苏珊·桑塔格在其文论作品中展开了对于文学艺术的审美评价，她认为文学艺术应当具有独特的审美品质和艺术价值，应当突破常规和桎梏，呈现出新颖的思想和表现方式。

她对于文学艺术的审美评价注重作品的内在价值和表现形式，强调作品的思想深度和艺术表达，倡导人们积极欣赏和理解文学艺术的审美魅力。

三、对于文学艺术的创作探索苏珊·桑塔格在其文论作品中进行了对于文学艺术的创作探索，她关注作家和艺术家的创作过程和心路历程，探讨他们面对现实和想象的思考和表达。

她对于文学艺术的创作探索注重作品的真实性和情感表达，强调作家对于生活和人性的深刻洞察和表现，倡导人们尊重和理解创作者的独特创作精神和探索精神。

四、对于文学艺术的文化传承苏珊·桑塔格在其文论作品中探讨了文学艺术的文化传承和影响，她认为文学艺术是一种文化传统和精神遗产，是一种对于人类思想和情感的沉淀和传递。

她对于文学艺术的文化传承注重作品的历史渊源和价值传承，强调人们对于传统文学艺术的继承和弘扬，倡导人们珍视和维护文学艺术的文化传统和精神财富。

旅行的意义名言警句旅行的意义名言警句旅行是一种独特的体验，它不仅能够让我们探索新的地方、体验不同的文化，还能够帮助我们拓宽视野、丰富人生。

以下是一些关于旅行的意义的名言警句，它们能够激励我们去旅行，同时也能够给我们带来一些思考和启示。

1. "旅行即是探险，人生的冒险也在于此。

" —— Susan Sontag这句话强调了旅行的探险性质，旅行就是一场对未知世界的探索，这种探险的过程不仅让我们看到新的景色，还让我们发现自己的勇气和智慧。

2. "旅行是一种最好的教育方式。

" —— Mark Twain旅行不仅限于教室，它是一种实践的教育方式。

通过旅行，我们能够亲身体验并理解不同的文化、历史和地理等知识，这种体验远比书本上的知识更加深入和生动。

3. "旅行是一种治愈心灵的方式。

" ——Dalai Lama旅行有时是为了逃离日常的压力和忧虑，通过远离熟悉的环境，我们能够放松心灵，洗涤心灵的尘垢，重新找回内心的平静与宁静。

4. "旅行能够打开人的眼界，让人变得更加宽容。

" ——Unknown不同的地方有不同的文化和人们的生活方式，旅行让我们接触到了各种各样的观念、信仰和价值观。

通过了解和尊重这些不同，我们能够更加开放和包容地看待世界和他人。

5. "旅行翻开了我们内心最深处的一页书。

" —— Pascal Mercier在旅行的过程中，我们常常能够发现我们内心深处的一些感受和思考。

这些感受和思考可能是对生活的思考，也可能是对自己的思考。

通过旅行，我们能够更好地认识自己，找到人生的方向。

6. "旅行是活到老学到老的最好方法。

" —— Anonymous旅行不仅能够带给我们物质上的享受，更能够帮助我们学习和成长。

通过旅行，我们能够学习如何处理困难情况、建立人际关系、扩展自己的兴趣爱好。

旅行使我们不断接触新的事物，并且从中学习和成长。

摒弃理论，回归感悟摘要根据苏珊·桑塔格在《反对阐释》中的观点，反对阐释就是反对抽象的意义提升，反对把批评的重点放在文本所指涉的外部世界上，反对去挖掘文本背后所谓的深层意义，主张对文学艺术作品真切而直接的感性体验。

本文通过分析《反对阐释》一文中的理论思想探析文学批评后理论时代一种反理论的走向。

关键词：苏珊·桑塔格反对阐释理论感悟中图分类号：i106 文献标识码：a一引言苏珊·桑塔格（susan sontag，1933-2004）是美国已故女作家兼评论家，《反对阐释》是她的第一部批评文集，正是由于这部文集在文艺评论界的影响力使得她一举成名。

文集中的26篇文章大多于20世纪60年代发表在纽约一些重量级刊物上，最能体现作者思想的代表作是其中的《反对阐释》、《一种文化与新感受力》、《“坎普”札记》以及《论风格》四篇文章。

桑塔格在《反对阐释》（1964）一文中宣告阐释是智力对艺术的报复，提出了“反对阐释”、“新感受力”等极具颠覆色彩的口号，呼吁人们更多地关注文学艺术作品的形式以削弱内容的重要性。

在文中，她向长期以来占主导地位的二元对立的价值评判体系发起挑战，她反对运用智力分析作品，主张从直接的感性体验入手来了解作品。

本文拟通过分析《反对阐释》一文中的理论思想探析文学批评后理论时代的走向。

二摒弃理论桑塔格所谓的阐释是狭义的阐释，主要指“一种阐明某种阐释符码、某些‘规则’的有意的心理行为”，“谈到艺术，阐释指的是从作品整体中抽取一系列的因素（x，y，z，等等）。

阐释的工作实际成了转换的工作。

阐释者说，瞧，你没看见x其实是——或其实意味着——a？y其实是b？z其实是c？”其实这是特指当代的阐释活动——以拆解原义为主旨的当代批评实践。

桑塔格认为现代风格的阐释理论很多是侵犯性的、不虔敬的阐释理论。

因为现代很多阐释理论都是在想尽办法挖掘文本背后的东西，探寻文本背后的意义，挖掘一定意义上是对文本的一种破坏。