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Diante da Dor dos Outros

4.05  ·  Rating details ·  11,261 ratings  ·  768 reviews
Graças à televisão e ao computador, imagens do sofrimento são apresentadas diariamente pelos meios de comunicação. Mas como a representação da crueldade influencia as pessoas? Discutindo os argumentos sobre como essas imagens podem inspirar discórdia, fomentar a violência ou criar apatia, a autora evoca a história da representação da dor dos outros - desde 'As desgraças da ...more
Paperback, 112 pages
Published 2003 by Companhia das Letras
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 ·  11,261 ratings  ·  768 reviews

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May 04, 2014 rated it really liked it  ·  review of another edition
I’ve always thought that one of the things it would be fairly reasonable to have written on my headstone would be, “He often missed the obvious”. I was saying to people at work the other day that there was a part of this book where I thought, “god, how did I get to be 50 and never think of this before?” It was the bit where she talks about the holocaust and holocaust museums and then questions why America doesn’t have a museum to the victims of slavery – you know, those victims are still walking ...more
May 07, 2019 rated it it was amazing  ·  review of another edition
Shelves: 2019, recs
A brilliant expansion and revision of On Photography, Regarding the Pain of Others argues for approaching images of suffering only as invitations to consider the origins and impact of social inequality. Drawing attention to how photography is always both art and testimony, Sontag convincingly deconstructs the idea that a photo of pain by itself can reveal anything universal or self evident about oppression, historical or ongoing. The author then claims that, even if photos of suffering can’t act ...more
Jennifer (Insert Lit Pun)
A 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’m tempted to “review” by just quoting the whole damn book:

“What is odd is not that so many of the iconic news photos of the past…appear to have been staged. It is that we are surprised to learn they were staged, and always disappointed.”

“We want the photographer to be a spy in the house of love and death, and those being photographed to b
Rakhi Dalal
Oct 02, 2016 rated it really liked it  ·  review of another edition
Sometimes back I watched the movie “The Bang-Bang Club” 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 Cart ...more
Raul Bimenyimana
Feb 16, 2020 rated it really liked it  ·  review of another edition
Shelves: women-writers
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.

“The understanding of war among people who have not experienced war is now chiefly a product of the impact of these images”

A fact that many can confirm. Although I did experience war myself at some point
Steven Godin
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 suppos ...more
Riku Sayuj

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 he
Irina Dumitrescu
Jul 03, 2007 rated it really liked it  ·  review of another edition
Shelves: dissertation
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-provo ...more
Jan 11, 2015 rated it really liked it  ·  review of another edition
Sontag opens here with a critique of Virginia Woolf's comments on photographs from war in Three Guineas. While Woolf begins by making a feminist distinction between her perspective from that of a real or imagined male lawyer, she enters a 'we' with him in the face of the photographs; photographs of the victims of war, Sontag writes 'create the illusion of consensus'. Sontag's aim here is to (re)problematise the 'we' Woolf accepts, as well as to restore what is lost in the limited reading she mak ...more
A common criticism of Sontag’s writings (as noted in other reviews) is that they’re not discerning enough and frequently pose “What?” or “How?” instead of being decisive and affirming. I actually believe this is a strength utilized in her essays. Many of the ideas aren’t fully developed or entirely convincing, but that can be useful for reflection and stimulate discussion. I always find myself thinking about her points more than I do with other writers.

Sontag mainly speaks about photography and
Pablo Hernandez
"To photograph is to frame, and to frame is to exclude".

A splendid analysis of suffering and pain as depicted by photography within our 'society of spectacle', written with Sontag's usual lucidity, and just as eye-opening as On Photography, published thirty years prior.
Mohammed Yusuf
Jul 25, 2016 rated it really liked it  ·  review of another edition
تحكي سونتاغ عن الصورة والتي تعطي المعنى الموضوعي وبالحين نفسه تعبر الى العاطفة التي تطرح المعنى وتفسره وهذا ما لا يقدر عليه سواها
الصورة هنا متعلقة بالحرب وممارستها للتجديدية في هذا المعنى فصورة المجازر في كل مرة هي كأول مرة متجددة ومتجزرة في معنى الصراع ، وضع الصورة ومعناها لتقريب البعيد عن الحرب اليها والمساهمة برفضها وبالحين نفسه توليد شفقة غير فاعلة تقود الى لا مبالاة في قمة السخرية ، وطبيعة المشاركة التي تقوم بها الصورة واخلاقيتها ، و هي اذ تذكر ذلك وغيره تقف موقف توضيح وتبيين لا غير ، ولا
I've been thinking along these lines for some time now. Probably we all have. A lot of these ideas are not new. But it's nice to see them explored, thought over despite having been thought over already. Sontag does not give us easy answers, because the act of looking at other people's pain is uncomfortable, and probably should always be uncomfortable. No amount of essaying about it should take that uncomfortableness away. However, while words will often cause us to think, photos of war and viole ...more
Tatsuhiro Sato
Apr 07, 2020 rated it really liked it  ·  review of another edition
4 🌟

This is my first read from Susan Sontag works and would surely read other of her works.

This book is about war, violence, deaths, history, peace & our civilization and connecting all these dots are the photographs of different point of times in our history, whether it is World wars or rapes in Nanking or Crimean war or of dying soldiers or crying orphans etc. showing how cruel we are as a species, a philosophical, emotional and logical analysis of these photographs.

Also this book also realise
Feb 11, 2009 rated it liked it  ·  review of another edition
The book is disappointingly diffuse and lacking in incisiveness. This probably reflects Sontag's ambivalence about how she is supposed to react to images of death and destruction. But such ambivalence doesn't make for compelling reading, especially since the themes which she explores (e.g., the suspicious claim to objectivity of photography, voyeurism/complicity masquerading as disinterestedness in the viewer) will be familiar to anybody who has reflected on the subject.

So perhaps its value lie
Mar 18, 2020 rated it really liked it  ·  review of another edition
Shelves: american, essays, women, 2020
this is such a fantastic, powerful essay that it truly is a pity how it suffers from (a) a very diffused telling, so much so that the chapter categorizations seem rushed through, and (b) the lack of visual?? for a book that deals with how 'war-making and picture-taking are congruent activities,' and brings into study so many historical photographic representations, it's not very understandable to me how leaving out the photographs themselves contributes to 'both objective record and personal tes ...more
Emma Angeline
Dec 23, 2019 rated it really liked it  ·  review of another edition
An engaging essay on the photography of suffering: what can we photograph, what should we, do we have a duty, when does it become voyeurism or exploitative, when is it reference, do we become numb to seeing atrocities in a world where were bombarded with information and can you make people care. Worth the read
" “No 'we' should be taken for granted when the subject is looking at other people's pain,” "
Opening lines: ‘In June 1938 Virginia Woolf published Three Guineas, her brave, unwelcomed reflections on the roots of war.’
Jul 17, 2010 rated it really liked it  ·  review of another edition
One of the great theorists of the erotic, Georges Bataille, kept a photograph taken in China in 1910 of a prisoner undergoing “the death of a hundred cuts” on his desk, where he could look at it every day. (Since becoming legendary, it is reproduced in the last of Bataille’s books published during his lifetime, in 1961, Les Armes d’Eros (The Tears of Eros)). “This photograph,” Bataille wrote, “had a decisive role in my life. I have never stopped being obsessed by this image of pain, at the same ...more
For years I'd been under the impression this wasn't simply about war photography, instead that it was a work on the whole title topic that used war photography as a starting point. Press articles around the time of release implicitly associated the book and Sontag's cancer, so I thought a lot of it would be philosophy and psychology about ways people respond to someone who is ill, perhaps in different times and societies. That was why I bought it. I also hoped for discussion of the popularity of ...more
Claire Reads Books
3.5 ⭐️ Sontag engages in some interesting intellectual exercises here as she considers our relationship with images of human suffering. Her writing is dense and winding and flirts with academic jargon—but her mastery of language and rhetoric is more impressive than her actual points, which aren’t as novel or complex as they may seem. Good food for thought, for sure, but her argumentation left me wanting more.
Sep 13, 2017 rated it liked it  ·  review of another edition
this was really important. Susan Sontag writes about war photography and its effects on people, how they handle it etc. but it was so repetitive you could literally summarize every chapter in one page maximum. however, it's certainly given me some insight into what goes on in my own psyche when i see horrible sceneries in form of photographs.

3/5 stars
David Cerruti
Three-star delivery
Five-star content
Food for thought
More than enough to choke on
Jul 03, 2020 rated it really liked it  ·  review of another edition
"We, don't understand. We don't get it. We can't imagine what it was like...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."
A very interesting essay filled with thought-provoking remarks.
In fact, there are many uses of the innumerable opportunities a modern life supplies for regarding - at a distance, through the medium of photography - other 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. (13)
In Regarding the Pain of Others, Sontag considers the subject of atrocity photography; of photographs that do
Aug 12, 2012 rated it did not like it  ·  review of another edition
Well, I thought this was going to be about something other than what it is, which is just some thoughts on warporn, deathporn, painporn--things Sontag seems to have an almost necrophiliacly prurient interest in. I never look at this stuff. I don't want to see it. I don't understand people who do; all I know is that they twist themselves into ethical knots trying to justify and give a larger meaning to their nasty little fetish.
I might pay attention to what Sontag wrote if she, herself, had actua
This is an articulate meditation mostly on war photography that didn't solve any of my problems. Somewhere at the bottom of my mind I was kind of hoping it would. Silly me. Anyway, while it's not particularly enlightening or revelatory (or helpful), the essay does help the reader focus his/her own ideas on the feelings conjured by the photography of suffering, and perhaps approach the images more intellectually.

Sontag questions an earlier idea put forward in On Photography, namely that constant
Feb 18, 2014 rated it it was amazing  ·  review of another edition
Recommends it for: All
This book is about images of human suffering and human wickedness. It is very well written. Sontag is brilliant. A review here will not do it justice. Read the book. Here is an excerpt:

"To designate a hell is not, of course, to tell us anything about how to extract people from that hell, how to moderate hell’s flames. Still, it seems a good in itself to acknowledge, to have enlarged, one’s sense of how much suffering caused by human wickedness there is in the world we share with others. Someone
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Susan 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’s College, Oxford.

Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In Am

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