從一開始，攝影便指向了捕捉最大可數目的題材，可是繪畫從沒有這麼帝國主義式的視野，後來攝影科技產業化的實現，乃是因為攝影在一開始時便與生俱來的許諾──以「譯成影像」的方式，「平等」一切經驗。 攝影家被想成一位銳利但不帶干擾性質的觀察者──一位書記而非詩人。但是當人們很快發現，沒有兩個人能就同一件事拍出相同的照片，相機能夠提供非個人的客觀影像的臆想，便向「相片不僅證明那兒存在著怎樣的東西，而且是某個個人看見了什麼」以及「照片並非僅是記錄，而且是一種對於世界的評價」這樣的事實投降。 攝影影像的終極智慧是說：「那是表面。現在，想，或者更正確地說──感覺，或用你的直覺去體會、捕捉，在那之上的是什麼東？如果它看起來是這個樣子，那麼真正的現實會是怎麼樣？」照片是對懷疑、推論和幻想的無盡邀請，它本身無法解釋任何事情。

Sontag wrote "Illness as Metaphor" in 1978, while suffering from breast cancer herself. In her study, she reveals that the metaphors and myths surrounding certain illnesses, especially cancer, add greatly to the suffering of the patients and often inhibit them from seeking proper treatment. By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is - a disease; not a curse, not a punishment, certainly not an embarrassment, and highly curable, if good treatment is found early enough. Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote "Aids and Its Metaphors", extending the argument of the earlier book to the AIDS pandemic.

Ever since she took American culture by storm with the publication of her Notes on Camp in 1964, Susan Sontag has been a star. Her austere glamour has been a critical factor in her success, making her a role model for intellectual women, a sex symbol for brainy men. She has never ceased to fascinate the public: as brilliant wunderkind, bringing the latest in French thought to America; as sophisticated analyst of her own experience with cancer in Illness as Metaphor; as champion of free speech in the Rushdie Affair; as theater director in besieged Sarajevo; and, with the publication of The Volcano Lover, as best-selling historical novelist. Yet she has both courted that fascination and insisted on holding it at a distance, demanding control over her public image. This first -- and most definitely unauthorized -- biography delves beneath the surface to examine the forces that made Susan Sontag an international icon. Carl Rollyson and Lisa Paddock explore her public persona and private passions, including the strategies behind her meteoric rise to fame and her political moves and missteps. Above all, they show how the life of Susan Sontag reveals to us the way we live now.

'I intend to do everything . . . I shall anticipate pleasure everywhere and find it too, for it is everywhere! I shall involve myself wholly . . . everything matters!' So wrote Susan Sontag in May 1949 at the age of sixteen, in the early pages of this selection from her private diaries written in her youth and early adulthood. Reborn is a kaleidoscopic self-portrait of one of America's greatest writers and intellectuals, teeming with Sontag's voracious curiosity and appetite for life. We watch the young Sontag's complex self-awareness, share in her encounters with the writers who informed her thinking, and engage with the profound challenge of writing itself - all filtered through the inimitable detail of everyday life.

Illness as Metaphor is a nonfiction work written by Susan Sontag and published in 1978. She wrote it during her own fight against breast cancer and challenged the "blame the victim" mentality behind the language society often uses to describe diseases and those who suffer from them. Drawing out the similarities between public perspectives on cancer (the paradigmatic disease of the twentieth century), and tuberculosis (the symbolic illness of the nineteenth century), Sontag shows how both diseases have become associated with personal psychological traits. In particular she demonstrates how the metaphors and terms used to describe both syndromes lead to an association between repressed passion and the physical disease itself. She notes the peculiar reversal that "With the modern diseases (once TB, now cancer), the romantic idea that the disease expresses the character is invariably extended to assert that the character causes the disease – because it has not expressed itself. Passion moves inward, striking and blighting the deepest cellular recesses." This subject is expanded upon in Sontag's 1988 work, AIDS and Its Metaphors.

This, the second of three volumes of Susan Sontag's journals and notebooks, begins where the first volume left off, in the middle of the 1960s. It traces and documents Sontag's evolution from fledgling participant in the artistic and intellectual world of New York City to world-renowned critic and dominant force in the world of ideas with the publication of the groundbreaking Against Interpretationin 1966. As Consciousness is Harnessed to Flesh follows Sontag through the turbulent years of the 1960sfrom her trip to Hanoi at the peak of the Vietnam War to her time making films in Swedenup to 1981 and the beginning of the Reagan era. This is an invaluable record of the inner workings of one of the most inquisitive and analytical thinkers of the twentieth century at the height of her power. It is also a remarkable document of one individual's political and moral awakening.

"I intend to do everything...to have one way of evaluating experience—does it cause me pleasure or pain, and I shall be very cautious about rejecting the painful—I shall anticipate pleasure everywhere and find it too, for it is everywhere! I shall involve myself wholly...everything matters!" So wrote Susan Sontag in May 1949 at the age of sixteen. This, the first of three volumes of her journals and notebooks, presents a constantly and utterly surprising record of a great mind in incubation. It begins with journal entries and early attempts at fiction from her years as a university and graduate student, and ends in 1964, when she was becoming a participant in and observer of the artistic and intellectual life of New York City. Reborn is a kaleidoscopic self-portrait of one of America’s greatest writers and intellectuals, teeming with Sontag’s voracious curiosity and appetite for life. We watch the young Sontag’s complex self-awareness, share in her encounters with the writers who informed her thinking, and engage with the profound challenge of writing itself—all filtered through the inimitable detail of everyday circumstance. Editorial Reviews From Publishers Weekly Starred Review. The first of three planned volumes of Sontag's private journals, this book is extraordinary for all the reasons we would expect from Sontags writing—extreme seriousness, stunning authority, intolerance toward mediocrity; Sontags vulnerability throughout will also utterly surprise the late critic and novelists fans and detractors. At 15, when these journals began, Sontag (1933–2004) already displayed her ferocious intellect and hunger for experience and culture, though what is most remarkable here is watching Sontag grow into one of the century's leading minds. In these carefully selected excerpts (many passages are only a few lines), Sontag details her developing thoughts, her voluminous reading and daily movie-going, her life as a teenage college student at Berkeley discovering her sexuality (bisexuality as the expression of fullness of an individual), and meeting and marrying her professor Philip Rieff, with whom, at the age of 18, she had David, her only child. Most powerful are the entries corresponding to her years in England and Europe, when, apart from Philip and their son, the marriage broke down and Sontag entered intense lesbian relationships that would compel her to rethink her notions of sex, love (physical beauty is enormously, almost morbidly, important to me) and daughter- and motherhood, and all before the age of 30. Watching Sontag become herself is nothing short of cathartic. (Dec.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Booklist Rieff sensitively portrayed revered critic and novelist Sontag during her last days in Swimming in a Sea of Death (2008) and now continues to navigate the great sea of her legacy as editor of her journals. He didn’t want to open his mother’s private life to public eyes, but because her papers are available to scholars, he does so preemptively, granting readers access to the innermost thoughts of a genuine prodigy. In 1948, at age 15, Sontag asks, “And what is it to be young in years and suddenly awakened to the anguish, the urgency of life?” After starting college at 16, she fills her journals with passionate analysis of books, her intellectual ambitions, her struggle to accept her homosexuality, and the ecstasy and torment of her first lesbian relationship. Then, suddenly, this ardent seeker becomes a wife and mother. She loves her son, but marriage does not suit her, and her battle to reclaim her true self is one of several dramatic rebirths punctuating this electrifying record of Sontag striving to become Sontag. Two more volumes are planned. --Donna Seaman Review “What ultimately matters about Sontag . . . is what she has defended: the life of the mind, and the necessity for reading and writing as ‘a way of being fully human.’” —Hilary Mantel, Los Angeles Times Book Review

《疾病的隱喻》是蘇珊．桑塔格以無比的勇氣和銳利之筆，揭穿疾病的隱喻外衣，帶我們看重重迷思之下的疾病面貌。桑塔格的態度不僅是科學的、理性的，也富於人道和溫情。 當結核病、癌症、愛滋病成為令人聞之驚慌的疾病，桑塔格的透視猶如一扇窗，使我們取得了觀照這三種病的歷史／文化角度，我們才能擺脫岐見、理性面對疾病，並知道如何給病人適當的對待與治療。

One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. Images of atrocities have become, via the little screens of the television and the computer, something of a commonplace. But are viewers inured -- or incited -- to violence by the depiction of cruelty? Is the viewer's perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of people in faraway zones of conflict? Susan Sontag's now classic book On Photography defined the terms of this debate twenty-five years ago. Her new book is a profound rethinking of the intersection of "news" art, and understanding in the contemporary depiction of war and disaster. She makes a fresh appraisal of the arguments about how pictures can inspire dissent, foster violence, or create apathy, evoking a long history of the representation of the pain of others . . . http://www.susansontag.com/regardingpain.htm read an excerpt http://www.susansontag.com/regardingpainexcerpt.htm

這是蘇珊‧桑塔格2003年的最新論著，也是繼《論攝影》之後，另一部深入探討影像與當代文化關係的力作。桑塔格在書中追溯了現代戰爭與攝影的演進，近代反戰運動的發展，以及影像與新聞、藝術和文化之間的複雜與曖昧。那些源源充斥於現代生活中的戰災影像，究竟是「記錄了」戰爭的原貌，還是「建構了」災難的神話？究竟是激起了我們對暴力的厭惡痛絕，還是磨平了我的同情心？旁觀他人的苦痛究竟是為了謹記教訓，還是為了滿足我們的邪淫趣味？觀看這些凶劫的影像究竟是要令我們堅硬一點以面對內心的軟弱？還是令我們更麻木？或令我們接受生命中不可挽回的創傷？而面對這類由照片所帶來的遠方災痛的知識，我們又該做些什麼？桑塔格這本書不僅讓我們重新思考影像的用途與意義，更直指戰爭的本質、同情的局限，以及良心的責任等重大議題。

First published in 1966, this celebrated book--Sontag's first collection of essays--quickly became a modern classic, and has had an enormous influence in America and abroad on thinking about the arts and contemporary culture. As well as the title essay and the famous "Notes on Camp," "Against Interpretation" includes original and provocative discussions of Sartre, Simone Weil, Godard, Beckett, science-fiction movies, psychoanalysis, and contemporary religious thinking. This edition features a new afterword by Sontag.

Sontag's incisive intelligence, expressive brilliance, and deep curiosity about art, politics, and the writer's responsibility to bear witness have secured her place as one of the most important thinkers and writers of the twentieth century. At the Same Time gathers sixteen essays and speeches written in the last years of Sontag's life, when her work was being honored on the international stage. She writes of the freedom of literature, about courage and resistance, and fearlessly addresses the dilemmas of post-9/11 America, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib. David Rieff describes his mother's passion in his foreword: "She wanted to experience everything, taste everything, go everywhere, do everything. Indeed, if I had only one word with which to evoke her, it would be avidity. . . . I think that, for her, the joy of living and the joy of knowing really were one and the same."

In 1978 Susan Sontag wrote "Illness as Metaphor," a classic work described by "Newsweek" as "one of the most liberating books of its time." A cancer patient herself when she was writing the book, Sontag shows how the metaphors and myths surrounding certain illnesses, especially cancer, add greatly to the suffering of patients and often inhibit them from seeking proper treatment. By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is--just a disease. Cancer, she argues, is not a curse, not a punishment, certainly not an embarrassment and, it is highly curable, if good treatment is followed. Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote a sequel to "Illness" "as Metaphor," extending the argument of the earlier book to the AIDS pandemic. These two essays now published together, "Illness" "as Metaphor "and "AIDS and Its Metaphors," have been translated into many languages and continue to have an enormous influence on the thinking of medical professionals and, above all, on the lives of many thousands of patients and caregivers.

艺术的背后：桑塔格论艺术，ISBN：9787538625103，作者：桑塔格

"Against Interpretation" was Susan Sontag's first collection of essays and is a modern classic. Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes some of Sontag's best-known works, among them "On Style", "Notes on 'Camp", and the titular essay "Against Interpretation", where Sontag argues that modern cultural conditions have given way to a new critical approach to aesthetics.

桑塔格是近代美國少數最重要的作家及公眾知識分子之一。 . 過去四十年來，她的創作及言論掌握著時代的脈搏，言行觸動著國際事件的敏感神經，並不斷挑戰我們對世局的反應。 . 由桑塔格與陳耀成先生為華文讀者選編的這本文集，共收錄了桑塔格近十年來的三篇訪談、兩篇演講詞和一篇文論，除其中一篇外，其餘各篇只散見報刊，從未收錄於其他文集之中，而壓卷作（戰爭與攝影）的英文原稿，牛津大學甚至尚未出版。可以說這是桑塔格首先以中文出版的一本新著。 . 從書中收錄的訪談與文字，可以清楚了解桑塔格近十年對於文學創作、知識分子的定義與責任、後現代主義、中國、影像和戰爭（特別是波士尼亞戰爭）等問題的看法，並讓我們在閱讀之後無法迴避文字、影像與良心之間複雜的辯證關係與要求。

《重点所在》延续了苏珊·桑塔格一贯的敏锐和视角的多元，在她《重点所在》这本最新的论文集中，她的目光投向了现当代的重要诗人、作家、戏剧家、舞蹈家，以及各种类型的艺术、文学形式，由于其独特的敏锐性，使得她的文章的意义不局限在某个领域，透过文章本身，我们看到永恒的人性，永恒的正义感，永恒的批判精神、永恒的激情以及永恒的冷静。

《在美国》是一部历史传记，主人公的原型是波兰裔著名演员海伦娜•莫德耶斯卡。莫德耶斯卡一八六八年在华沙崭露头角，一八七七年在旧金山主演《勒库弗勒》英文译剧，“虽英文很差，但仍十分成功”。她偶尔也到伦敦演出。波兰的理想主义者们购置农田，研究农事，开辟葡萄园，希望建立自己的种植园。经过几个月艰难而又美好的田园生活，牧歌式的乌托邦终因经营不善和内部分歧而夭折。一些人返回波兰，一些人转到另一社区，还有一些人在美国定居。为了渡过经济上的难关，玛琳娜顽强地克服了语言障碍，重返舞台。在从南到北、从城市到乡镇的巡回演出中，玛琳娜风靡美国，成为美国舞台上璀璨夺目的新星。故事在玛琳娜与布斯对人生和艺术的探讨中结束。