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Working with processes of translocation enabled Edward Said to point out interdependence and complementarity across geographical borders and disciplinary boundaries while recognizing cultural difference and the distinct historical experiences of colonizer and colonized. This book brings into focus Said’s politics of reading, from his literary criticism in English to his political columns in Arabic. The international contributors—from Britain, Egypt, France, Germany, India, Switzerland, and the United States—investigate his intellectual legacies without necessarily identifying themselves with the critical positions these involve. Instead of treating his work as a unitary theoretical system, the various arguments explored offer a critical assessment of those situations in which his writing has entered into a productive relationship with other theoretical positions and interlocutors. The collection considers location, which has always been a central category in and for Said’s writing; readings, which designates the acts by which, according to Said, the world comes to be constituted; and legacies, which pertains to the many fields across the boundaries of established academic disciplines that have taken up Said’s challenges. The critical positions visited in this book include critical and cultural theory, postcolonialism, literary studies, theatre and performance studies, and visual and music studies.
In this contribution to contemporary political philosophy, Jensen aims to develop a model of civil society for deliberative democracy. In the course of developing the model, he also provides a thorough account of the meaning and use of "civil society" in contemporary scholarship as well as a critical review of rival models, including those found in the work of scholars such as John Rawls, Jurgen Habermas, Michael Walzer, Benjamin Barber, and Nancy Rosenblum. Jensen's own ideal treats civil society as both the context in which citizens live out their comprehensive views of the good life as well as the context in which citizens learn to be good deliberative democrats. According to his idealization, groups of citizens in civil society are actively engaged in a grand conversation about the nature of the good life. Their commitment to this conversation grounds dispositions of epistemic humility, tolerance, curiosity, and moderation. Moreover, their regard for the grand conversation explains their interest in deliberative democracy and their regard for democratic virtues, principles, and practices. Jensen is not a naive utopian, however; he argues that this ideal must be realized in stages, that it faces a variety of barriers, and that it cannot be realized without luck.
This book examines the earliest writings of Edward Said and the foundations of what came to be known as postcolonial criticism, in order to reveal how the groundbreaking author of Orientalism turned literary criticism into a form of political intervention. Tracing Said’s shifting conceptions of ‘literature’ and ‘agency’ in relation to the history of (American) literary studies in the thirty years or so between the end of World War II and the last quarter of the twentieth century, this book offers a rich and novel understanding of the critical practice of this indispensable figure and the institutional context from which it emerged. By combining broad-scale literary history with granular attention to the vocabulary of criticism, Nicolas Vandeviver brings to light the harmonizing of methodological conflicts that informs Said’s approach to literature; and argues that Said’s enduring political significance is grounded in his practice as a literary critic.
Edward W. Said is considered one of the most influential literary and postcolonial theorists in the world. Affirming Said's multifaceted and enormous critical impact, this collection features essays that highlight the significance of Said's work for contemporary spatial criticism, comparative literary studies, and the humanities in general.
The sites from which postcolonial cultural articulations develop and the sites at which they are received have undergone profound transformations within the last decades. This book traces the accelerating emergence of cultural crossovers and overlaps in a global perspective and through a variety of disciplinary approaches. It starts from the premise that after the ‘spatial turn’ human action and cultural representations can no longer be grasped as firmly located in or clearly demarcated by territorial entities. The collection of essays investigates postcolonial articulations of various genres and media in their spatiality and locatedness while envisaging acts of location as dynamic cultural processes. It explores the ways in which critical spatial thinking can be made Productive: Testing the uses and limitations of ‘translocation’ as an open exploratory model for a critically spatialized postcolonial studies, it covers a wide range of cultural expressions from the anglophone world and beyond – literature, film, TV, photography and other forms of visual art, philosophy, historical memory, and tourism. The extensive introductory chapter charts various facets of spatial thinking from a variety of disciplines, and critically discusses their implications for postcolonial studies. The Contributors’ essays range from theoretical interventions into the critical routines of postcolonial criticism to case studies of specific cultural texts, objects, and events reflecting temporal and spatial, material and intellectual, physical and spiritual mobility. What emerges is a fascinating survey of the multiple directions postcolonial translocations can take in the future. This book is aimed at students and scholars of postcolonial literary and cultural studies, diaspora studies, migration studies, transnational studies, globalisation studies, critical space studies, urban studies, film studies, media studies, art history, philosophy, history, and anthropology. Contributors: Diana Brydon, Lars Eckstein, Paloma Fresno-Calleja, Lucia Krämer, Gesa Mackenthun, Thomas Martinek, Sandra Meyer, Therese-M. Meyer, Marga Munkelt, Lynda Ng, Claudia Perner, Katharina Rennhak, Gundo Rial y Costas, Markus Schmitz, Mark Stein, Silke Stroh, Kathy-Ann Tan, Petra Tournay-Theodotou, Daria Tunca, Jessica Voges, Roland Walter, Dirk Wiemann.
Popular Music and the Postcolonial addresses the often-overlooked relationship between the fields of popular music and postcolonial studies, and it has implications for ethnomusicology, cultural and literary studies, history, sociology, and political economy. Popular music in its many forms exploded in popularity, following developments in sound technology and shifting population demographics, in the 1960s, the era of radical agitation against empires in the global south but also within the very heart of Europe. Popular music aided in fostering and documenting such resistance to violent oppression and in liberating the hearts and minds of the colonized. This collection offers a timely intervention in this field, showing popular music’s role in defining or undermining certain colonial and postcolonial nations, in expanding and complicating the domain of postcolonial theorists—including the "founder" of postcolonial studies Edward Said—and in decolonizing the ears of its diverse, sometimes antagonistic, audiences. This book was originally published as a special issue of Popular Music and Society.
This Edinburgh Companion seeks to develop a postcolonial framework for addressing the Middle East. The first collection of essays on this subject, it assembles some of the world's foremost postcolonialists to explore the critical, theoretical and disciplinary possibilities that inquiry into this region opens for postcolonial studies. Throughout its twenty-four chapters, its focus is on literary and cultural critique. It draws on texts and contexts from the late nineteenth to the early twenty-first centuries as case studies, and deploys the concept of 'post/colonial modernity' to reveal the enduring impact of colonial and imperial power on the shaping of the region. And it covers a wide and significant range of political, social, and cultural issues in the Middle East during that period - including the heritage of Orientalism in the region; the roots and contemporary branches of the Israel-Palestine conflict; colonial history, state formation and cultures of resistance in Egypt, Turkey, the Maghreb and the wider Arab world; the clash of tradition and modernity in regional and transnational expressions of Islam; the politics of gender and sexuality in the Arab world; the ongoing crises in Libya, Iraq, Iran and Syria; the Arab Spring; and the Middle Eastern refugee crisis in Europe.
How can cradling, handling, or rubbing a text be said, ethically, to have made something happen? What, as readers or interpreters, may come off in our hands in as we maculate or mark the books we read? For Adam Zachary Newton, reading is anembodied practice wherein “ethics” becomes a matter of tact—in the doubled sense of touch and regard. With the image of the book lying in the hands of its readers as insistent refrain, To Make the Hands Impure cuts a provocative cross-disciplinary swath through classical Jewish texts, modern Jewish philosophy, film and performance, literature, translation, and the material text. Newton explores the ethics of reading through a range of texts, from the Talmud and Midrash to Conrad’s Nostromo and Pascal’s Le Mémorial, from works by Henry Darger and Martin Scorsese to the National September 11 Memorial and a synagogue in Havana, Cuba. In separate chapters, he conducts masterly treatments of Emmanuel Levinas, Mikhail Bakhtin, and Stanley Cavell by emphasizing their performances as readers—a trebled orientation to Talmud, novel, and theater/film. To Make the Hands Impure stages the encounter of literary experience and scriptural traditions—the difficult and the holy—through an ambitious, singular, and innovative approach marked in equal measure by erudition and imaginative daring.