Search results for ""Author Edward W. Said""

With their powerful blend of political and aesthetic concerns, Edward W. Said's writings have transformed the field of literary studies. As in the title essay, the widely admired "Reflections on Exile," the fact of his own exile and the fate of the Palestinians have given both form and the force of intimacy to the questions Said has pursued. Taken together, these essays--from the famous to those that will surprise even Said's most assiduous followers--afford rare insight into the formation of a critic and the development of an intellectual vocation. Said's topics are many and diverse, from the movie heroics of Tarzan to the machismo of Ernest Hemingway to the shades of difference that divide Alexandria and Cairo. He offers major reconsiderations of writers and artists such as George Orwell, Giambattista Vico, Georg Lukacs, R. P. Blackmur, E. M. Cioran, Naguib Mahfouz, Herman Melville, Joseph Conrad, Walter Lippman, Samuel Huntington, Antonio Gramsci, and Raymond Williams. Invigorating, edifying, acutely attentive to the vying pressures of personal and historical experience, his book is a source of immeasurable intellectual delight.

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From the Iranian hostage crisis through the Gulf War and the World Trade Centre bombing, the West has been haunted by a spectre called 'Islam'. As portrayed by the news media - and by a chorus of government, academic and corporate experts - 'Islam' is synonymous with terrorism and religious hysteria. At the same time, Islamic countries use Islam to justify unrepresentative and often oppressive regimes. In this landmark work, for which he has written a new introduction, one of our foremost public thinkers examines the origins and repercussions of the media's monolithic images of Islam. Combining political commentary with literary criticism, Edward Said reveals the hidden assumptions and distortions of fact that underlie even the most 'objective' coverage of the Islamic world.

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The seminal work that has redefined our understanding of colonialism and empire, with a preface by the author'Stimulating, elegant and pugnacious' Observer'Magisterial' Terry EagletonIn this highly-acclaimed work, Edward Said surveys the history and nature of Western attitudes towards the East, considering orientalism as a powerful European ideological creation - a way for writers, philosophers and colonial administrators to deal with the 'otherness' of eastern culture, customs and beliefs. He traces this view through the writings of Homer, Nerval and Flaubert, Disraeli and Kipling, whose imaginative depictions have greatly contributed to the West's romantic and exotic picture of the Orient. Drawing on his own experiences as an Arab Palestinian living in the West, Said examines how these ideas can be a reflection of European imperialism and racism. 'Beautifully patterned and passionately argued'New Statesman'Very exciting ... his case is not merely persuasive, but conclusive' John Leonard, New York Times

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Edward Said experienced both British and American imperialism as the old Arab order crumbled in the late 1940s and early 1950s. This account of his early life reveals how it influenced his books Orientalism and Culture and Imperialism. Edward Said was born in Jerusalem and brought up in Cairo, spending every summer in the Lebanese mountain village of Dhour el Shweir, until he was 'banished' to America in 1951. This work is a mixture of emotional archaeology and memory, exploring an essentially irrecoverable past. As ill health sets him thinking about endings, Edward Said returns to his beginnings in this personal memoir of his ferociously demanding 'Victorian' father and his adored, inspiring, yet ambivalent mother.

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Following his profoundly influential study, "Orientalism", Edward Said now examines western culture. From Jane Austen to Salman Rushdie, from Yeats to media coverage of the Gulf War, "Culture and Imperialism" is a broad, fierce and wonderfully readable account of the roots of imperialism in European culture.

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A "beginning," especially as embodied in much modern thought, is its own method, Edward Said argues in this classic treatise on the role of the intellectual and the goal of criticism. Distinguishing between "origin," which is divine, mythical, and privileged, and "beginning," which is secular and humanly produced, Said traces the ramifications and diverse understandings of the concept of beginning through history. A beginning is a first step in the intentional production of meaning and the production of difference from preexisting traditions. It authorizes subsequent texts -- it both enables them and limits what is acceptable. Drawing on the insights of Vico, Valery, Nietzsche, Saussure, Lévi-Strauss, Husserl, and Foucault, Said recognizes the novel as the major attempt in Western literary culture to give beginnings an authorizing function in experience, art, and knowledge. Scholarship should see itself as a beginning -- as a uniting of theory and practice. Said's insistence on a criticism that is humane and socially responsible is what makes Beginnings is a book about much more than writing: it is about imagination and action as well as the constraints on freedom and invention that come from human intention and the method of its fulfillment.

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More than half a century after its translation into English, Erich Auerbach's Mimesis remains a masterpiece of literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics. A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote Mimesis, publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, Mimesis is among the finest works of literary criticism ever written. This Princeton Classics edition includes a substantial introduction by Edward Said as well as an essay in which Auerbach responds to his critics.

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