:::From Publishers Weekly:::
Thanks to the British schools that the eminent Columbia University literary and cultural critic Said attended as a boy in Cairo, he learned more about 18th-century British property law than he did about the Islamic equivalent in his own part of the world. As an adult, he re-educated himself with a fierce intensity, although, as these 46 essays make clear, he now retains a certain affection for canonical figures and institutions, even as he celebrates an astounding range of learning. Said (Culture and Imperialism; Orientalism; Out of Place: A Memoir) views all of culture through the lens of "historical experience," emphasizing how feminism, ethnic and minority experience, and nationalism have broken tradition's grip on literature. Rather than put aside the canonical writers he was raised on, however, he "re-situates" them instead within their own histories. Given his keenly penetrating and original cast of mind, it is not surprising that Said's personal pantheon of heroes includes those who blur the line between criticism and creation, among them Foucault, Nietzsche, Gramsci, Barthes, Adorno and John Berger, not to mention pianist Glenn Gould, composer and conductor Pierre Boulez and filmmaker Gillo Pontecorvo. But his greatest hero is Joseph Conrad, for Conrad found trouble everywhere; if there is savagery in Africa and Asia and Latin America, there is just as much in the great capitals of Europe. This wide-ranging and brilliant collection is a fitting tribute to one of our leading scholars, who has changed the way we look at Western culture.
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:::From Booklist:::
For more than a third of a century, Columbia University professor Said has written insightfully about literature, culture, and the Middle East. This volume gathers nearly 50 essays, most on literary subjects, although Said also addresses philosophy and history, the arts and current events. Writers considered include Merleau-Ponty, Conrad, Nietzsche, Vico, Foucault, Hemingway, Blackmur, Mahfouz, and Melville, but Said also discusses Bach and Fidelio, analyzes the Tarzan stories and films, and offers an "Homage to a Belly Dancer." Several essays, including "Orientalism Revisited," deal with responses to Said's 1979 book, while the title essay probes the personal and literary impact of this quintessentially twentieth-century experience. The collection includes book reviews and polemics, appreciations of a specific artist or thinker, and efforts to synthesize the "larger picture." Said's wide-ranging intellect and breadth of knowledge make this collection a demanding read, appropriate for libraries serving patrons interested in serious literary, philosophical, and political criticism. Mary Carroll
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:::Table of Contents:::
Introduction
1. Labyrinth of Incarnations: The Essays of Maurice Merleau-Ponty
2. Sense and Sensibility
On R. P. Blackmur, Georges Poulet, and E. D. Hirsc
3. Amateur of the Insoluble
On E. M. Cioran
4. A Standing Civil War
On T. E. Lawrence
5. Arabic Prose and Prose Fiction after 1948
6. Between Chance and Determinism: Lukàcs's Aesthetik
7. Conrad and Nietzsche
8. Vico on the Discipline of Bodies and Texts
9. Tourism among the Dogs
On George Orwell
10. Bitter Dispatches from the Third World
11. Grey Eminence
On Walter Lippmann
12. Among the Believers
On V. S. Naipaul
13. Opponents, Audiences, Constituencies, and Community
14. Bursts of Meaning
On John Berger and Jean Mohr
15. Egyptian Rites
16. The Future of Criticism
17. Reflections on Exile
18. Michel Foucault, 1927-1984
19. Orientalism Reconsidered
20. Remembrances of Things Played: Presence and Memory in the Pianist's Art
On Glenn Gould
21. How Not to Get Gored
On Ernest Hemingway
22. Foucault and the Imagination of Power
23. The Horizon of R. P. Blackmur
24. Cairo Recalled: Growing Up in the Cultural Crosscurrents of 1940s Egypt
25. Through Gringo Eyes: With Conrad in Latin America
26. The Quest for Gillo Pontecorv
27. Representing the Colonized: Anthropology's Interlocutors
28. After Mahfouz
29. Jungle Calling
On Johnny Weissmuller's Tarzan
30. Cairo and Alexandria
31. Homage to a Belly-Dancer
On Tahia Carioca
32. Introduction to Moby-Dick
33. The Politics of Knowledge
34. Identity, Authority, and Freedom: The Potentate and the Traveler
35. The Anglo-Arab Encounter
On Ahdaf Soueif
36. Nationalism, Human Rights, and Interpretation
37. Traveling Theory Reconsidered
38. History, Literature, and Geography
39. Contra Mundum
On Eric Hobsbawm
40. Bach's Genius, Schumann's Eccentricity, Chopin's Ruthlessness, Rosen's Gift
41. Fantasy's Role in the Making of Nations
On Jacqueline Rose
42. On Defiance and Taking Positions
43. From Silence to Sound and Back Again: Music, Literature, and History
44. On Lost Causes
45. Between Worlds
46. The Clash of Definitions
On Samuel Huntington
Notes
Credits
Index
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从写作技法的角度来看,这本书的结构极其大胆且充满实验性。它似乎拒绝遵循任何既定的文学范式,而是将散文的沉思、信件的私密性以及日记的即时感熔于一炉。这种混合体裁的使用,非常有效地模拟了流放者在不稳定的环境中,试图用不同方式固定自身存在的努力。书中穿插的那些看似无关的、对自然现象的冷静描述,实则是作者寻找秩序与恒常性的锚点。当人类社会和个人生活都处于崩塌边缘时,对星辰运行、潮汐涨落的关注,提供了一种必要的距离感和永恒感。这种对“不以人为中心的”世界的回归,为沉重的个人叙事提供了一个呼吸的空间。令人敬佩的是,作者在探讨政治压迫和历史不公时,从未使用煽动性的语言,而是通过极其克制、甚至可以说是近乎疏离的描述,让事实本身发出最大的声响。这种高级的克制,比任何激烈的控诉都更具震撼力和持久的影响力,它要求读者付出更多的智力投入,去填补那些被精心留白的区域,从而真正参与到文本的意义建构之中。
评分我被作者构建的“记忆景观”深深吸引。她处理过去的方式,远比简单的怀旧要复杂得多。记忆并非是清晰的回放,而是像被风化的雕塑,不断被现实的棱角所磨损和重塑。书中反复出现的意象——比如某一种特定的光线、某种地方性的植物、或是孩提时玩伴的一个手势——都被赋予了强烈的象征意义,它们是通往失落世界的密钥,但同时也是束缚作者的枷锁。最让我感到震撼的是,作者似乎并不试图完全摆脱过去的阴影,反而学会了与这种阴影共存,甚至将其内化为自我身份的一部分。她探讨了“创伤的继承性”,即那些未曾亲身经历的家族历史的重负,如何通过文化和血液,投射到流放者的当下生活中。这种层次感极强的叙事,使得这本书超越了个人传记的范畴,触及了集体记忆与身份政治的宏大命题。阅读体验是持续的、低沉的共鸣,仿佛有一根无形的弦,被这本书拨动后,久久无法平静。
评分这本书最成功的地方,在于它对“他者性”的细致入微的观察与自我投射。作者以一种近乎人类学家的冷峻笔触,记录了流放地社会运作的潜规则和文化代码,那些初来看似寻常的日常互动,在流放者的眼中却充满了复杂的试探与误读。这种外部世界的“异化感”,通过作者的叙述,感染了作为局外人的我,让我开始反思自己日常生活中习以为常的那些“默认设置”。例如,作者对时间感的变化的描述尤其精妙——在流放之地,时间似乎被拉伸或压缩,不再遵循固有的规律,而是完全由内心的期待与失落所主导。这种内在时间的断裂,是流放经验中最难被言说的部分之一,但作者却成功地将其具象化了。此书并非一味沉溺于悲情,它更像是一部关于“适应性”的史诗,展现了生命如何在最不利的条件下,依然会本能地寻找连接点,哪怕这种连接是脆弱的、暂时的。它探讨了如何从“被驱逐者”的角色中,缓慢而艰难地挪移到一个“观察者”的位置上,从而获得一种新的、虽然带着伤痕但却更具穿透力的视野。
评分初翻此书,我对其行文的节奏感和音乐性感到惊艳。它不像传统的纪实文学那样直白叙事,反而更像是一部由无数碎片记忆、闪回片段和哲思片段交织而成的意识流作品。那种破碎感,恰恰精准地捕捉了流放者心智的运作模式——思绪总是在“此时此地”与“彼时彼地”之间快速跳跃,无法形成连贯的线性叙事。作者的用词极其考究,每一个动词和形容词的选择都仿佛经过了精密的称量,仿佛是生怕稍有不慎,就会泄露了某种无法言说的痛苦。特别是在描述“家”这个概念时,它被不断地解构、重塑,最终指向一种内在的、无法被任何地理坐标锁定的精神居所。这种对语言边界的探索,让文本本身也具有了一种流放的特质——它总是在边缘游走,拒绝被任何单一的定义所涵盖。阅读过程中,我不得不放慢速度,反复咀嚼那些意味深长的长句,感受其中蕴含的张力与回响。它不是一本可以快速读完的书,它更像是需要你与之共处、与之对话的作品,每读完一章,都感觉心灵被某种温和而坚韧的力量重新打磨了一遍。
评分这本关于流放的著作,其文字的力量简直令人窒息,它不仅仅是对地理上失所之感的记录,更是一次对人类灵魂深处“他乡客”体验的深入挖掘。作者的叙事如同在迷雾中穿行,时而清晰地描绘出故土记忆中那片土地的纹理与气味,那些细节之丰富,让我仿佛能闻到海边特有的咸湿气息,感受到阳光下尘土飞扬的温度。然而,这种清晰的再现,恰恰反衬出此刻存在的虚无与漂泊。最令人动容的是作者处理“失语”的方式,那些无法用母语准确表达的复杂情感,被作者巧妙地转化为一种近乎诗意的沉默,或者通过对新环境中微小事物的敏锐观察来侧面烘托内心的波澜。读者很容易代入那种既需要融入又必须保持距离的微妙心态,那种在夹缝中求生存的韧性与挣扎,被刻画得淋漓尽致。我特别欣赏作者在论述流放的哲学层面时,没有流于空泛的理论说教,而是始终将其根植于具体的生活场景之中,无论是对一顿陌生食物的品尝,还是对一次失败的社交尝试,都成为了探讨身份重构的绝佳切入点。这本书的阅读体验是深刻而令人不安的,它迫使你审视自己生活中那些看似稳固的“根基”,并思考,如果一切被剥夺,我们还剩下什么。
评分comlit 教授是edward said的学生啊啊啊。【那我岂不是edward said的徒孙
评分我读的这本是从我大CU的Said图书馆拿的,上面戳着“GIFT FROM THE SAID FAMILY” 2333
评分我读的这本是从我大CU的Said图书馆拿的,上面戳着“GIFT FROM THE SAID FAMILY” 2333
评分Compelling to think about but terrible to experience.
评分comlit 教授是edward said的学生啊啊啊。【那我岂不是edward said的徒孙
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