Dovima With Elephant By Susan Sontag Summary

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Thesis: (Nature is the driving force of the world, with a part of this the animal kingdom; in particular; the elephant a majestic gentle giant with intellect, emotions, and so many amazing things that people should know.)( Elephants are beautiful, intelligent, and important animals that have so many fun things to learn about.)

Haruki Murakami’s The Elephant Vanishes is a collection of short stories, published in 1993. Murakami is a Japanese author who has spent most of his life in the West. His writing style is heavily influenced by his lifestyle and therefore he is not considered to be a traditional Japanese author (Poole). The affects of westernization on the characters can be evaluated from their conversations and relationships. There is at least one Western component in each short story and it always has a relation to the plotline or the characters. Food, arts and romantic relationships are the three main motifs in which the affects of western elements can be seen. Although these motifs may not have a direct affect on the actions of the characters, there is always

Human beings have full control over their identities after they have received knowledge and have become shaped from external stimuli. These stimuli include the teaching process of humans which comes through tradition, schooling, and the actions of other humans and the influence of the organisms around them. Andrew Solomon, through “Son,” was able to use his experience of growing up and labeling himself as a gay dyslexic to show how his environment and knowledge had shaped his identity and how it was viewed by others with different identities. In “An Elephant Crackup,” Charles Siebert was able to explain how the other organisms or humans are able to form new identities for elephants over time by shaping them a new environment and having the elephants process it. In “Mind’s Eye,” Oliver Sacks had different case studies of blindness from different people and was able to show how each one experienced their blindness help shape and express their individual identities. The stimuli that becomes processed by a person in the situations, accounts, and studies of these works assist in the role of explaining the formulation of an identity.

In the short story, The Elephant in the Village of the Blind, there are a group of blind villagers that come across a conflict amongst themselves. The villagers are being introduced to an elephant for the first time in their lives. In curiosity, they all feel different parts of the elephant, observing the different textures and body parts. As they discuss their different views and experiences from touching the elephant their personal ideas created conflicts. As they disagree, it creates an interesting representation of human interaction. In this story, the conflicts that arise between the villagers represent the small bubble of human observation and subjectivity, and how much of human interaction is about competing to be correct in our beliefs because ego and self worth drive how we interact with each other.

In the compelling novel Water For Elephants by Sara Gruen, there are many various messages to be interpreted by the reader. One of the most axiomatic messages Gruen portrays is that of how one must break free of perceived confinement to discover true love and acceptance. This is very significant in the novel as there are numerous characters who are affected by their internal conflicts. For example, the main character Jacob Jankowski suffered a great feeling of confinement after both his parents die a sudden death. He escaped this by joining the circus, only to find himself imprisoned once again.

Teju Cole, in his essay “Against Neutrality,” dissected the tones behind photography- which he believes are thought of as unbiased towards the subject. The power of words and of photos is crucial to Cole’s essay. He states that images can “make a grim situation palatable” because of the photographer’s craftiness in selection (Cole 1). To anyone who isn’t an experienced photographer these tricks can be hard to see but Cole provides further insight from the historian, John Edwin Mason. Expectantly, Mason sheds light behind the misconception on photography, how the “manipulation in photography isn’t really about Photoshop or darkroom tricks”, but the style, angle and other aspects of taking photos (Cole 1).

Before starting this project, I knew very little about photography, photographers, or exactly how much impact photographical images have had on our society. I have never taken a photography class, or researched too in depth about specific pictures or photographers. This project has allowed me to delve deeper into the world of photography in order to understand just how much influence pictures can have over society’s beliefs, emotions, and understandings’. I have have chosen two highly influential photographers, Diane Arbus and Dorothea Lange, who I have found to both resonate with me and perfectly capture human emotions in way that moves others.

Elephant has long been known as one of man’s best friends, who have peacefully coexisted along with humanity for thousands of years. However, the relationship between the two is no longer in the equilibrium state. In “An Elephant Crackup?”, Charles Siebert discusses the downfall of the elephants. He gives a depiction of the recent raging and violent acts of the elephants among themselves and toward other species, including humans, and presents an educated and almost unexpected explanation to their behaviors. He says elephants are just like us; they have feelings and now are “suffering from a form of chronic stress, a kind of species-wide trauma”(Siebert 354). The similarity that should be something fascinating is now slowly turning them into the immensely savage beasts before wiping them out of existence. Even when the appearance of the words “stress” and “trauma” looks like a serious case of “anthropocentric conjecture”, it provides a totally new vision, a fresh way of looking at the boiling issue of the disappearance and sadistic acts of elephants specifically and wild animals at large. With the help of two powerful essays: “Great to Watch” by Maggie Nelson and “The Power of Context” of Malcolm Gladwell, the issue of the unusual behaviors of the elephants is thoroughly illuminated and its solution no longer seems to be out of human’s reach.

In the world we live in today, anyone can pick up a handheld video camera and record their son’s soccer game or daughter’s school play, but to really capture the beauty of an event takes true talent. It takes the expertise of a cinematographer or director of photography as they are also known, to capture the true essence of an event and scene. Thomas Edison even once said, “By faithfully reproducing and kind or type of movement, it [cinematography] constitutes man’s most astonishing victory to date over forgetfulness. It retains and restores the things memory alone can’t recover, not to mention its auxiliary agencies: the written page, drawing photography. … Like them, cinematography prevents the things of yesterday that are useful to tomorrow’s progress from sinking into oblivion; amongst these one must count moving things, which only a few years ago were considered impossible to fix in an image” (Neale, 54). A picture, whether it be a photographed image or a filmed image is nothing when it has not been looked at with the proper eyes. When expressed through the proper lens and eye an image can really be worth a thousand words.

The topic of my final paper will be about the famous Venus de Milo and how two contemporary artists have responded to the artwork’s notoriety. Since the Venus de Milo is considered a symbol of female beauty, I would like to unpack how the sculpture achieved that recognition in the 19th and early 20th century. The methodologies I will use include giving a historical account of the object’s history (focusing primarily on French nationalism and the Europe’s hunger for collecting classical Greek sculptures in the 19th century) while using the work of Arman and Mary Duffy to discuss the issues that arise when describing the Venus de Milo as an objectively beautiful piece of artwork. For the former approach, I would write about Winckelmann’s adoration

Although Sturken and Cartwright claim it is quite easy to fall for the misconception that photographs are “unmediated copies of the real world” (Sturken & Cartwright, 17), this is no longer true, if it ever was. While cumbersome, even before the advent of image editing software, it was possible to modify photographs. Furthermore, in contemporary society, we have completely lost faith in mass media representation; rarely do people expect images to be completely unmodified anymore. This is especially visible in western culture since people are pressured to conform into highly specific aesthetics where even a “natural” look is artificially crafted with makeup and digital filters. Even disregarding direct manipulation to a print through methods such as Photoshop, photographs are manipulated in such obvious ways, it almost seems absurd to point it out. The framing, lighting, and positioning are always adjusted by the photographer. Therefore, people themselves are a type of manipulation; a representative filter through which biases are imbued. In effect, Sturken and Cartwright’s conclusion that all camera-generated images bear an “aura of machine objectivity” (Sturken & Cartwright, 16) stemming from “the … legacy of still-photography” (Sturken & Cartwright, 17) is

Susan Sontag discusses the difference in viewing art in physical form versus viewing in through a lens. Throughout the essay “In Plato’s Cave”, Sontag thinks both Plato’s cave images and photographs represents, “the mere image of truth” (Sontag 3). With that, Sontag repeatedly uses the terms “truth” and “reality”, but does not define what these terms mean to her. The impression Sontag left for these terms is that “truth” or “reality” stand for nothing more than what we can see. Being said, the difference between what we can with our own eyes and what we can see with a camera is reduced to the physical/mechanical differences between the human eye and body camera/lens.

Susan Sontag said photographs sends across the harmlessness and helplessness of the human life steering into their own ruin. Furthermore the bond connecting photography with departure from life tortures the human race. (Sontag 1977:64)

Elephant is a short story written by Polly Clark in 2006. My focus point is William and his life, which I will analyze and interpret. I will also discuss the