Fascism" http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/SontagFascinFascism75.htm"Fascinating (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 92, ISBN 0312420080

“I'm sickened by the way that the delivery of so-called humanitarian aid is once again being used as a justification — or cover — for war.”

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Susan Sontag

Salon interview (2001)

“So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.”

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Susan Sontag libro On Photography

"The Heroism of Vision", p. 85
On Photography (1977)

“Evans wanted his photographs to be "literate, authoritative, transcendent." The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent.”

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Susan Sontag libro On Photography

"America, Seen Through Photographs, Darkly", p. 31
On Photography (1977)

“The destiny of photography has taken it far beyond the role to which it was originally thought to be limited: to give more accurate reports on reality (including works of art). Photography is the reality; the real object is often experienced as a letdown.”

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Susan Sontag libro On Photography

"Photographic Evangels", p. 147
On Photography (1977)

“In contrast to the asexual chasteness of official communist art, Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community.”

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Susan Sontag

"Fascinating Fascism" (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 93

“Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.”

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Susan Sontag libro On Photography

"The Image-World", p. 154
On Photography (1977)

“We live in a culture 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.”

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Susan Sontag

"Women, the Arts, & the Politics of Culture: An Interview with Susan Sontag" in Salmagundi, No. 31-32 (Fall/Winter 1975), p. 29; later published in Conversations with Susan Sontag (1995) edited by Leland A. Poague, p. 77

“"Old" and "new" are the perennial poles of all feeling and sense of orientation in the world. We cannot do without the old, because in what is old is invested all our past, our wisdom, our memories, our sadness, our sense of realism. We cannot do without faith in the new, because in what is new is invested all our energy, our capacity for optimism, our blind biological yearning, our ability to forget — the healing ability that makes reconciliation possible.”

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Susan Sontag

Frankfurt Book Fair speech (2003)

“The United States is a generically religious society. That is, in the United States it's not important which religion you adhere to, as long as you have one.”

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Susan Sontag

Frankfurt Book Fair speech (2003)

“The Bush administration has committed the country to a new, pseudo-religious doctrine of war, endless war — for "the war on terror" is nothing less than that.”

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Susan Sontag

Regarding the Torture of Others (2004)

“To interpret is to impoverish, to deplete the world—in order to set up a shadow world of "meanings."”

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Susan Sontag

Fuente: Against Interpretation and Other Essays (1966), p. 7

“As Cioran correctly points out, a principal danger of being overcivilized is that one all to easily relapses, out of sheer exhaustion and the unsatisfied need to be “stimulated,” into a vulgar and passive barbarism. Thus, “the man who unmasks his fictions” through an indiscriminate pursuit of the lucidity that is promoted by modern liberal culture “renounces his own resources and, in a sense, himself. Consequently, he will accept other fictions which will deny him, since they will not have cropped up from his own depth.” There, he concludes, “no man concerned with his own equilibrium may exceed a certain degree of lucidity and analysis.””

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Susan Sontag libro Styles of Radical Will

“‘Thinking against oneself’: reflections on Cioran,” p. 85
Styles of Radical Will (1966)

“Photography has become almost as widely practiced an amusement as sex and dancing.”

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Susan Sontag libro On Photography

In Plato's Cave, p. 8 http://books.google.com/books?id=B8DktTyeRNkC&q=%22Photography+has+become+almost+as+widely+practiced+an+amusement+as+sex+and+dancing%22&pg=PA8#v=onepage <br class="br">Previously published as Photography http://www.nybooks.com/articles/archives/1973/oct/18/photography/ in The New York Review of Books, 18 October 1973 <br class="br">On Photography (1977)

“Yes, this is Europe. The Europe that did not respond to the Serb shelling of Dubrovnik. Or the three-year siege of Sarajevo. The Europe that let Bosnia die.
A new definition of Europe: the place where tragedies don't take place. Wars, genocides — that happened here once, but no longer. It's something that happens in Africa. (Or places in Europe that are not "really" Europe. That is, the Balkans.) Again, perhaps I exaggerate. But having spent a good part of three years, from 1993 to 1996, in Sarajevo, it does not seem to me like an exaggeration at all.”

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Susan Sontag

"Why Are We In Kosovo?" inThe New York Times Magazine http://query.nytimes.com/gst/fullpage.html?res=9C07E1DA163DF931A35756C0A96F958260&sec=&spon=&pagewanted=all (2 May 1999)

“And isn't it usually so, that lovers who share their daily lives with each other gradually find they need to put very little into words?”

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Susan Sontag

Fuente: Death Kit (1967), p.270