5/30/2023 0 Comments Three guineas sparknotes![]() ![]() Sontag investigates the unified “we” audience of a particular photograph and how that audience’s unification is altered based on their position relative to the conflict in question. Sontag holds that “no ‘we’ should be taken for granted when the subject is looking at other people’s pain” (8). Woolf holds that the “we” uniting her and her male correspondent unites them in hatred against war and responding to photos depicting that hatred. Sontag takes up Woolf’s investigation in a different way. ![]() She ultimately decides that her experience with the photographs is similar to her male counterpart’s experience they are both profoundly repulsed by war. She acknowledges that the “photographs of the victims of war are themselves a species of rhetoric” (8). Woolf proceeds to examine her own thinking there by comparing her experience to a male counterpart’s in looking at photographs of war. Men (most men) like war, since for men there is ‘some glory, some necessity, some satisfaction in fighting’ that women (most women) do not feel or enjoy” (6). ![]() She opens with an interesting look at Virginia Woolf’s Three Guineas, in which Woolf reflects on the origins of war. This chapter is essentially an analysis on “regarding – at a distance, through the medium of photography- other people’s pain” (13). ![]()
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