Summary
Susan Sontag stirred considerable debate in the mid-1960s with her provocative essay “Against Interpretation.” Although she clarified that she wasn't opposed to all interpretations of art, her stance became entwined with the notion of "art for art’s sake," emphasizing form and style over moral and thematic content. Eventually, Sontag acknowledged that her approach was overly combative, targeting critics fixated on messages, which led to accusations of amorality. She later rectified her stance in the 1980 collection Under the Sign of Saturn, where she contends that a work's aesthetic cannot be detached from the moral sensibility of its creator.
The Role of "Sensibility"
Central to Sontag’s thought is the concept of "sensibility." In the paperback edition of Against Interpretation, and Other Essays, she presents her writings as a revelation of her evolving perceptiveness and worldview. Unlike critics who focus on in-depth analyses of artworks, Sontag is interested in what art reveals about the creator's mindset. For instance, in her essay “Spiritual Style in the Films of Robert Bresson,” she examines not just individual films but Bresson’s overarching vision of the world.
Eclectic Tastes and Critiques
Sontag’s wide-ranging tastes have drawn both praise and criticism. Her collection, Against Interpretation, and Other Essays, includes essays on diverse topics such as pornography, science fiction, psychoanalysis, literary criticism, and the modern French novel. This eclecticism not only dismantles the boundaries between art and entertainment but also mirrors her personal preferences. She encourages readers to explore the evolution of her sensibility rather than confining her critiques to the established canon of masterworks.
A Chronicle of Intellectual Growth
Against Interpretation, and Other Essays serves as a chronicle of Sontag’s intellectual journey. In the preface to the paperback edition, she advises that her book should be seen as a work-in-progress, showcasing her exploration and embrace of various positions, some of which she later disavowed, adjusted, or revisited with fresh insights. She prioritizes the theoretical frameworks underlying her evaluations over specific judgments. Sontag writes with enthusiasm and partisanship, seldom critiquing work she dislikes. The exhilaration of Against Interpretation, and Other Essays lies in witnessing a critic in the process of shaping her thoughts, acknowledging the impermanence of her writings, and reconstructing her identity as she engages with both new and established art forms.
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