Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.
Susan Sontag: In Plato's Cave
Transcript of Susan Sontag: In Plato's Cave
BORN ON JANUARY 16, 1933
DIED ON DECEMBER 28, 2004
IN ORDER TO UNDERSTAND HOW SONTAG'S ESSAY RELATES TO PLATO'S ALLEGORY, WE MUST UNDERSTAND THE VARIOUS COMPONENTS OF THE CAVE ITSELF AND HOW THEY WORK TOGETHER
UNIVERSITY OF CHICAGO
SAINT ANNE'S COLLEGE AT OXFORD
Spent majority of life writing and teaching in NYC
taught Philosophy at Sarah Lawrence College and City University of New York
taught Philosophy of Religion at Columbia University
came to public prominence after publishing...
Notes on Camp
" - 1964
" - 1966
"SONTAG'S ESSAYS ARE CHARACTERIZED BY A SERIOUS PHILOSOPHICAL APPROACH TO VARIOUS ASPECTS AND PERSONALITIES OF MODERN CULTURE"
Married to Phillip Rieff - sociology instructor at University of Chicago
Had a son together named Daniel
Later got involved with cuban-American playwright & artist Maria Irene Formes
Was involved with photographer Annie Leibovitz until her death
PRISONERS ARE CHAINED DOWN AND THEIR NECKS ARE SHACKLED SO THEY CANNOT STAND UP NOR MOVE THEIR HEADS
A FIRE LIES FAR BEHIND THE PRISONERS AND THERE IS A WALL (HALF WALL) BETWEEN THE PRISONERS AND THE FIRE
IN BETWEEN THE HALF WALL AND THE FIRE, PUPPET SHOWMEN LIFT OBJECTS (SCULPTURES) ABOVE THEIR HEADS SO THAT THE OBJECTS ARE DIRECTLY IN FRONT OF THE FIRE
THIS IN TURN CASTS THE SHADOWS OF THESE OBJECTS ON THE WALL THAT THE PRISONERS ARE FOCUSED ON
THE SHADOWS, THEN, REPRESENT THE CONCRETE DEPICTIONS OF REALITY, WHICH ARE TRANSLATIONS OF THE "TRUTH" THAT LIVES EXCLUSIVELY OUTSIDE THE CAVE
THE SHADOWS CAN BE COMPARED TO THE PHOTOGRAPHS AND THE INTIMATE RELATIONSHIP BETWEEN PRISONERS AND THESE SHADOWS CAN BE A METAPHOR FOR THE MODERN ROLE OF PHOTOGRAPHY AS EXPERIENCE