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267 pages, Paperback
First published January 1, 2006
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About the author
Edward W. Said
193?books3,999?followers(Arabic Profile ?????? ????)
Edward Wadie Said was a professor of literature at Columbia University, a public intellectual, and a founder of the academic field of postcolonial studies. A Palestinian American born in Mandatory Palestine, he was a citizen of the United States by way of his father, a U.S. Army veteran.
Educated in the Western canon, at British and American schools, Said applied his education and bi-cultural perspective to illuminating the gaps of cultural and political understanding between the Western world and the Eastern world, especially about the Israeli-Palestinian conflict in the Middle East; his principal influences were Antonio Gramsci, Frantz Fanon, Aim¨¦ C¨¦saire, Michel Foucault, and Theodor Adorno.
As a cultural critic, Said is known for the book Orientalism (1978), a critique of the cultural representations that are the bases of Orientalism¡ªhow the Western world perceives the Orient. Said¡¯s model of textual analysis transformed the academic discourse of researchers in literary theory, literary criticism, and Middle-Eastern studies¡ªhow academics examine, describe, and define the cultures being studied. As a foundational text, Orientalism was controversial among the scholars of Oriental Studies, philosophy, and literature.
As a public intellectual, Said was a controversial member of the Palestinian National Council, because he publicly criticized Israel and the Arab countries, especially the political and cultural policies of Muslim r¨¦gimes who acted against the national interests of their peoples. Said advocated the establishment of a Palestinian state to ensure equal political and human rights for the Palestinians in Israel, including the right of return to the homeland. He defined his oppositional relation with the status quo as the remit of the public intellectual who has ¡°to sift, to judge, to criticize, to choose, so that choice and agency return to the individual¡± man and woman.
In 1999, with his friend Daniel Barenboim, Said co-founded the West¨CEastern Divan Orchestra, based in Seville, which comprises young Israeli, Palestinian, and Arab musicians. Besides being an academic, Said also was an accomplished pianist, and, with Barenboim, co-authored the book Parallels and Paradoxes: Explorations in Music and Society (2002), a compilation of their conversations about music. Edward Said died of leukemia on 25 September 2003.
Edward Wadie Said was a professor of literature at Columbia University, a public intellectual, and a founder of the academic field of postcolonial studies. A Palestinian American born in Mandatory Palestine, he was a citizen of the United States by way of his father, a U.S. Army veteran.
Educated in the Western canon, at British and American schools, Said applied his education and bi-cultural perspective to illuminating the gaps of cultural and political understanding between the Western world and the Eastern world, especially about the Israeli-Palestinian conflict in the Middle East; his principal influences were Antonio Gramsci, Frantz Fanon, Aim¨¦ C¨¦saire, Michel Foucault, and Theodor Adorno.
As a cultural critic, Said is known for the book Orientalism (1978), a critique of the cultural representations that are the bases of Orientalism¡ªhow the Western world perceives the Orient. Said¡¯s model of textual analysis transformed the academic discourse of researchers in literary theory, literary criticism, and Middle-Eastern studies¡ªhow academics examine, describe, and define the cultures being studied. As a foundational text, Orientalism was controversial among the scholars of Oriental Studies, philosophy, and literature.
As a public intellectual, Said was a controversial member of the Palestinian National Council, because he publicly criticized Israel and the Arab countries, especially the political and cultural policies of Muslim r¨¦gimes who acted against the national interests of their peoples. Said advocated the establishment of a Palestinian state to ensure equal political and human rights for the Palestinians in Israel, including the right of return to the homeland. He defined his oppositional relation with the status quo as the remit of the public intellectual who has ¡°to sift, to judge, to criticize, to choose, so that choice and agency return to the individual¡± man and woman.
In 1999, with his friend Daniel Barenboim, Said co-founded the West¨CEastern Divan Orchestra, based in Seville, which comprises young Israeli, Palestinian, and Arab musicians. Besides being an academic, Said also was an accomplished pianist, and, with Barenboim, co-authored the book Parallels and Paradoxes: Explorations in Music and Society (2002), a compilation of their conversations about music. Edward Said died of leukemia on 25 September 2003.
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June 18, 2017
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June 11, 2011
From 2010 reading:I first read Said's On Late Style a few years ago, and returned to re-read it in light of some more recent publications. What is "lateness", as Said defines it? "Lateness" as a concept is not necessarily restricted to an artists's late compositions, but is rather a condition. Said challenges earlier definitions of lateness that focus on maturity and serenity, preferring rather to focus on style characterized by "intransigence, difficulty, and unresolved contradiction". Said takes his cue from Adorno, who sees in Beethoven's final works an art that is "uncreconciled, uncoopted by a higher synthesis: they do not fit any scheme, and they cannot be reconciled or resolved, since their irresolution and unsynthesized fragmentariness are constitutive, neither ornamental nor symbolic of something else." These works are characterized by negativity: "...where one would expect serenity and maturity, one instead finds a bristling, difficult, and unyielding--perhaps even inhuman--challenge."
Said exands this thesis out to examine late works in opera, film, and literature, focussing on those compositions that "remain uncreconciled, uncoopted by a higher synthesis". These qualites are located in Strauss, Britten, Thomas Mann, Euripides, and Lampedusa, and woven into a broad cultural critique. Althpugh Adorno's essay on Beethoven was well known, Said's exposition has reverberated in the years since the publication of On Late Style. The analysis of "lateness" is now a scholarly position, as eveidenced by such new monographs as Margaret Notley's "Lateness and Brahms", which places Brahms's last works in the context of music and culture at the twilight of Viennese liberalism. Said's book is a collection of essays brought together after his death, and though necessarily lacking a final, unifying summation, are nonetheless highly illuminating, and essential reading for any analyst of culture.
Said exands this thesis out to examine late works in opera, film, and literature, focussing on those compositions that "remain uncreconciled, uncoopted by a higher synthesis". These qualites are located in Strauss, Britten, Thomas Mann, Euripides, and Lampedusa, and woven into a broad cultural critique. Althpugh Adorno's essay on Beethoven was well known, Said's exposition has reverberated in the years since the publication of On Late Style. The analysis of "lateness" is now a scholarly position, as eveidenced by such new monographs as Margaret Notley's "Lateness and Brahms", which places Brahms's last works in the context of music and culture at the twilight of Viennese liberalism. Said's book is a collection of essays brought together after his death, and though necessarily lacking a final, unifying summation, are nonetheless highly illuminating, and essential reading for any analyst of culture.
May 3, 2015
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???? ?????? ???? ?? ??? ?????? ?? ?????? ??????? "?? ????? ??? ??????? ?? ?????? ?????? ??? ?? ??? ??????? ??????? ?? ????? ?????? ???????? ????? ?? ??????? ????????? ?? ??? ?? ????? ????? ?????"
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May 24, 2022
Edward Said was writing this book just before his death. It is a powerful discussion of the messy, confusing, contradictory and powerful 'late style' of writers. The mastery of form enables radical experimentation and the development of provocative confusions.
Said remains an inspiring and propulsive writer, incisive in thought and pithy in interpretation.
Outstanding and inspiring book.
Said remains an inspiring and propulsive writer, incisive in thought and pithy in interpretation.
Outstanding and inspiring book.
February 18, 2017
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February 24, 2018
?? ??? ?????? ?????? ??????? ????? ????? ???? ???????? ?????? ????? ??????? ????????? ??????? ??? ???? ???? ????? ??? ???????? ????? ???? ?? ???? ???????? ?? ???? ?????? ??????? ?????? ????? ????? ???????? ????????.
???? ?????? ?? ??? ???????? ??? ???? ???? ???? ????? ?? ?????? ???? ?????? ?????? ????? ?? ????? ??????? ?????? ??? ???? -??? ???- ?????? ??? ?????? ???? ????? ???????? ?? ??????: ??????? ???????.
?????? ???? ???? ????? ???????? ??????????? ????????? ??????? ?????? ????????? ?? ????? ??????? ?????????. ?????? ???? ?????? ????? ?????? ?? ?????? ????? ???????? ????????? ?????????. ??? "????????" ???????? ????? ??? ???? ?????? ????? ???? ?????? ???? ?? ???????? ????????.
??????? ?????? ??????? ???? ?? ??? ?????? ???? ???? ????? ???? ??? ????? ????? ?????? ???? ?????? ?????? ?????? ???? ?? ???? ?????? ???? ??????? ?? ????? ?????? ???? ?????? ??????? ?? ???????? ?????? ??????? ???? ?????...
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?????? ???? ???? ????? ???????? ??????????? ????????? ??????? ?????? ????????? ?? ????? ??????? ?????????. ?????? ???? ?????? ????? ?????? ?? ?????? ????? ???????? ????????? ?????????. ??? "????????" ???????? ????? ??? ???? ?????? ????? ???? ?????? ???? ?? ???????? ????????.
??????? ?????? ??????? ???? ?? ??? ?????? ???? ???? ????? ???? ??? ????? ????? ?????? ???? ?????? ?????? ?????? ???? ?? ???? ?????? ???? ??????? ?? ????? ?????? ???? ?????? ??????? ?? ???????? ?????? ??????? ???? ?????...
October 1, 2012
"Lateness" is an interesting prism through which to critically view an artist's works. I'm more familiar with lateness in Beethoven - the way the late piano sonatas, for example, are structurally, thematically, quite odd and different compared to the others. Maturity, senescence, decay, approaching death. (Death in Venice, which Said uses as one of his examples, is actually not a late work of Mann's, but the Britten opera based on it is a late work of Britten's.) These are separate essays previously published in other places, which Said and his wife and editor gathered together as Said himself knowingly approached death. It's a topic I'd like to see explored by other critics in full-length books. Said's writings, particularly on music, are like comfort food to me, and I'm always sad to come to the end of one of his collections.
June 25, 2016
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August 25, 2011
Edward Said, perhaps best known for ¡°Orientalism,¡± one of the most-recognized and important contributions to post-colonial studies, wrote the essays in ¡°On Late Style¡± shortly before his death. The sense of ¡°lateness¡± ¨C of mortality, of obsolescence ¨C permeates them, and they cover everything from the music of Strauss, Mozart, and Beethoven, to the political activism of Jean Genet, to ¡°Il Gattopardo¡± (as envisioned by both Lampedusa and Visconti). In many ways, this is Said¡¯s last conversation with Theodor Adorno, whose presence deeply informs his criticism in many of these essays.
The book begins by reading around lateness as an aspect of chronological development ¨C as synonymous with maturity ¨C and opens the concept up as something that can realize ¡°intransigence, difficulty, and unresolved contradiction,¡± instead of the facile harmony and resolution that seeks the end of all tension. Said claims that late style refuses to reconcile what is impossible to reconcile, and that this reconciliation is oftentimes just a refusal to accept difference. It ¡°grasps the difficulty of what cannot be grasped and then goes forth to try anyway.¡± Musicologist Rose Subotnik says of the late work of Beethoven, no doubt with his Missa Solemnis or the Ninth Symphony in mind, ¡°no synthesis is conceivable [but is in effect] the remains of a synthesis, the vestige of an individual human subject sorely aware of its wholeness, and consequently the survival, that has eluded it forever.¡± It is this idea of lateness ¨C which is quite distinct from, but not completely unrelated to, mortality and death ¨C which Said puts to critical use in these wonderful essays.
While I think that everything in the book is worth reading, a few essays especially jumped out as being worthy of attention. In ¡°Return to the Eighteenth Century,¡± Said sets out to carve a middle path between two radically different opinions on the late operas of Richard Strauss. Adorno¡¯s rejection and derision of them is total, saying that he ¡°intended to master music without submitting to its discipline¡± and that ¡°his ego ideal is now fully identified with the Freudian genital-character who is uninhibitedly out for his own pleasure.¡± Compare this with Glenn Gould¡¯s hagiographic characterization of Strauss as ¡°more than the greatest man of music of our times.¡± In one of the most convincing arguments made in the book, Said argues against Adorno¡¯s accusation of Strauss being a Beidermeier relic, and that he went a long way in countering Wagner¡¯s theatrical idiom of ¡°history as a grand system to which everyone and every small narrative is subject,¡± becoming the ¡°keeper of the art of our fathers.¡±
The most compelling and readable essay in the collection is ¡°On Jean Genet,¡± an autobiographical account of Said¡¯s two encounters with Genet during the early 1970s. The second of these, which took place in Beirut, allowed Said to learn about Genet¡¯s role in Palestinian activism, which was passionate and total. Through a reading of ¡°Les Paravents,¡± Said argues that because of Genet¡¯s lifelong marginality as a thief, prisoner, and homosexual, that he was able to sympathize with Palestinians without the Western rose-colored glasses of Orientalism.
I recommend this for anyone, especially those seriously interested in classical music. For Said admirers who have only known him as a literary critic, these essays open up whole new vistas by displaying the full panoply of his concerns and academic interests. While I have the suspicion that many musicologists would disagree with his characterizations of, for example, Mozart and late Beethoven and perhaps Strauss, these are nevertheless well-wrought essays constructed with lapidary reasoning. These essays are all the more poignant because Said knew that he was in the last stages of his fight with leukemia as they were being written. Readers who admire Said for his clear presentation of sometimes very opaque ideas will not be disappointed with this collection.
The book begins by reading around lateness as an aspect of chronological development ¨C as synonymous with maturity ¨C and opens the concept up as something that can realize ¡°intransigence, difficulty, and unresolved contradiction,¡± instead of the facile harmony and resolution that seeks the end of all tension. Said claims that late style refuses to reconcile what is impossible to reconcile, and that this reconciliation is oftentimes just a refusal to accept difference. It ¡°grasps the difficulty of what cannot be grasped and then goes forth to try anyway.¡± Musicologist Rose Subotnik says of the late work of Beethoven, no doubt with his Missa Solemnis or the Ninth Symphony in mind, ¡°no synthesis is conceivable [but is in effect] the remains of a synthesis, the vestige of an individual human subject sorely aware of its wholeness, and consequently the survival, that has eluded it forever.¡± It is this idea of lateness ¨C which is quite distinct from, but not completely unrelated to, mortality and death ¨C which Said puts to critical use in these wonderful essays.
While I think that everything in the book is worth reading, a few essays especially jumped out as being worthy of attention. In ¡°Return to the Eighteenth Century,¡± Said sets out to carve a middle path between two radically different opinions on the late operas of Richard Strauss. Adorno¡¯s rejection and derision of them is total, saying that he ¡°intended to master music without submitting to its discipline¡± and that ¡°his ego ideal is now fully identified with the Freudian genital-character who is uninhibitedly out for his own pleasure.¡± Compare this with Glenn Gould¡¯s hagiographic characterization of Strauss as ¡°more than the greatest man of music of our times.¡± In one of the most convincing arguments made in the book, Said argues against Adorno¡¯s accusation of Strauss being a Beidermeier relic, and that he went a long way in countering Wagner¡¯s theatrical idiom of ¡°history as a grand system to which everyone and every small narrative is subject,¡± becoming the ¡°keeper of the art of our fathers.¡±
The most compelling and readable essay in the collection is ¡°On Jean Genet,¡± an autobiographical account of Said¡¯s two encounters with Genet during the early 1970s. The second of these, which took place in Beirut, allowed Said to learn about Genet¡¯s role in Palestinian activism, which was passionate and total. Through a reading of ¡°Les Paravents,¡± Said argues that because of Genet¡¯s lifelong marginality as a thief, prisoner, and homosexual, that he was able to sympathize with Palestinians without the Western rose-colored glasses of Orientalism.
I recommend this for anyone, especially those seriously interested in classical music. For Said admirers who have only known him as a literary critic, these essays open up whole new vistas by displaying the full panoply of his concerns and academic interests. While I have the suspicion that many musicologists would disagree with his characterizations of, for example, Mozart and late Beethoven and perhaps Strauss, these are nevertheless well-wrought essays constructed with lapidary reasoning. These essays are all the more poignant because Said knew that he was in the last stages of his fight with leukemia as they were being written. Readers who admire Said for his clear presentation of sometimes very opaque ideas will not be disappointed with this collection.
March 12, 2016
Objective is the fractured landscape, subjective is the light in which ¨C alone ¨C it glows into life. He [the artist] does not bring about their harmonious synthesis. As the power of dissociation, he tears them apart in time, in order, perhaps, to preserve them for the eternal. In the history of art late works are the catastrophes. (160)This is the notion of 'late style' that Said takes from Adorno and develops in his book On Late Style. Unfortunately, Said died passed away before he could finish it; the book itself therefore isn't how Said must have imagined it, and the chapters (which are formed mostly from essays and lecture notes) form a somewhat disjointed whole, and do not stick as firmly to Said's central exploration of 'late style' as one might like. I am also not entirely convinced that Said successful demonstrates that the phenomenon of late style exists, although I'm inclined to agree with him (and Adorno) that it does. Perhaps, with more time to work on it, Said would have demonstrated the manifestation of late style more satisfactorily, in greater depth, and with a wider range of evidence. Having said that, there were certainly moments of clarity and acuity. There were three chapters that I thought were especially good: On Jean Genet, which offers captivating anecdotes about and a critical discussion of Genet and his work, A Lingering Old Order, which focuses on di Lampedusa, Visconti, and Gramsci, particularly in the context of (Southern) Italy, and Glimpses of Late Style, which sums up Said's notion of 'late style', with wonderful examples from Cavafy and Mann. These three chapters, taken together, showcase Said's powers as a writer and essayist, and even by themselves provide abundant material for consideration.
May 3, 2015
???? ?????? ???? ?? ??????? ??????? ?????? ???? ??????? ?? ?????? ?????????? ?????????? ?????? ??? "??????? ????????????"? ???? ????? ??????? ???? ????? ?????. ???? ????? ???? "?? ??????? ???????: ?????? ???? ?? ??????"? ??? ????? ??? ???? ???? ??? ?????.
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?? ???? ????? ??? ?????? ???? ?? ??????? ??????? ????? ?????? ??? ??? ?????? ??????? (?????? ?????? ??????) ?? ????? ?????? ?? ????? ??????? ????? ???? ??????? ?? ??? ??????? (??? ???? ????? ????? ??? ?????? ?? ??? ?? ???? ?????? ????? ???? ??? ??????? ????? ?????? ???????). ??? ?? ???? ?????? ??? ?????? ?????????? ???? ??? ?? ????? ?????? ????? ??????? ???????? ?????? ??? ????? ??????? ??? ?????? ????. ??????? ??? ????? ??????? ??? ????? ????? ????? ??? ?? ??? ??????? ??????? ??? ???? ????? (????? ???? ?? "??????? ????????????" ?????? ?? ?????).
??????? ??????? ????? ?????? ????????? ??????? ?? ??????? ??????? ?? ??????? ????? ????? ?????? ???? ??? ???? ????? ?? ???? "?? ??????"? ?? ???? ?????? ?????? ????? ??????? ?????? ?? ??????. ???????? ????????? ??? ?? ??? ????? ?????? ???? ???????? "???????" ???????? ??? ???? ?????? ????? ????????? ???? (????? ??? ????? ???? "??????? ?????? ??????? ???????" ???? ??????). ???? ?????? ???? ?? ?? ??? ?? ??? ??????? ??????? ????.
?? ???? ????? ??? ?????? ???? ?? ??????? ??????? ????? ?????? ??? ??? ?????? ??????? (?????? ?????? ??????) ?? ????? ?????? ?? ????? ??????? ????? ???? ??????? ?? ??? ??????? (??? ???? ????? ????? ??? ?????? ?? ??? ?? ???? ?????? ????? ???? ??? ??????? ????? ?????? ???????). ??? ?? ???? ?????? ??? ?????? ?????????? ???? ??? ?? ????? ?????? ????? ??????? ???????? ?????? ??? ????? ??????? ??? ?????? ????. ??????? ??? ????? ??????? ??? ????? ????? ????? ??? ?? ??? ??????? ??????? ??? ???? ????? (????? ???? ?? "??????? ????????????" ?????? ?? ?????).
April 28, 2023
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??????? ??????? ?? ??? ????? ?????????? ???????? ?? ????? ??????? ???????? ?? ??????? ? ????? ??????? ?? ???? ???????? ? ??? ????? ? ???? ???? ????? ???? ?? ?????¡. ??? ?????? ??????? ?????? ?????? ?????? ???? ??????? ?????? ???? ?????? ???? ??? ??????? ???????? ????? ?????? ???????? " ??? ??? ???? ???????? ?????????"
August 10, 2024
?? ?????? ???? ?????? ?????? ?????? ?????? ??????? ??? ? ?????? ??????? ?? ????? ???????. ??????? ???? ?????? ???????? . ??? ?? ???????? ????? ???: ????????? ???????? ?? ??? 1991? ???????????? ???????????: ????????? ?? ???????? ????????? ?? ??? 2002? ?? ????? ?????? ??????? ?? ????? ??? ??????? ???????.. ?????? ???? ??? ??????? ???? ?? ??? 2015 ??? ?????.
????? ?? ???? ??? ?????? ????? ??????? ?? ????? ????? ? ????? ??? ??? ????? ?? ????? ????? ????? ?? ??? : ??? ????? ??????? ??? ??????? ?????? ???. ??? ??????? ????????: ??? ?????? ? ??????? ???????. ??????? ?????? ???? ????. ??? ??????? ??????? ???????? ? ?? ??????? ????? ????????. ?????? ??????? ??????? ??? ?? ?????? ??????? ?? ?????? ??????????? ??????? ???????? ????? ????????? ????? ?????.
???? ???? ??? ????? ????? ???????? ???????? ??????? ??????? ??????" ???? ??????? ???????? ? ??? ???? ??????? ?????? ???? ??????? ??????? ?????? ???????? ???? ??? ?? ?????? ???? ?????? ??????? ??? ????? ??? ?????? ?? ?????? ?? ???? ????? ???? ?????. ?????? ???? ?????? ???? ????? ??? ????????? ?????? ?? ????? ?? ???? ??????? ??????? ??????? ??? ??? ?? ???? ?????? ?????? ???? ?? ?????? ?? ???? ????? ???? ??????? ???????.? ?? ???????? ????? ??????? ????????? ??????? ?????? ?? ???? ????? ? ???????? ? (???? ???????? ???????? ????????? ??????????. )???? ??? ???? ??????? ????? ??? ?? ?????? ??????? ????? ?????.
???? ??? ?????? ?? ????? ?????? ????? ?? ???? ?????? ??????? ?????? ??????? ??? ??????? ?? ?????.
????? ?? ???? ??? ?????? ????? ??????? ?? ????? ????? ? ????? ??? ??? ????? ?? ????? ????? ????? ?? ??? : ??? ????? ??????? ??? ??????? ?????? ???. ??? ??????? ????????: ??? ?????? ? ??????? ???????. ??????? ?????? ???? ????. ??? ??????? ??????? ???????? ? ?? ??????? ????? ????????. ?????? ??????? ??????? ??? ?? ?????? ??????? ?? ?????? ??????????? ??????? ???????? ????? ????????? ????? ?????.
???? ???? ??? ????? ????? ???????? ???????? ??????? ??????? ??????" ???? ??????? ???????? ? ??? ???? ??????? ?????? ???? ??????? ??????? ?????? ???????? ???? ??? ?? ?????? ???? ?????? ??????? ??? ????? ??? ?????? ?? ?????? ?? ???? ????? ???? ?????. ?????? ???? ?????? ???? ????? ??? ????????? ?????? ?? ????? ?? ???? ??????? ??????? ??????? ??? ??? ?? ???? ?????? ?????? ???? ?? ?????? ?? ???? ????? ???? ??????? ???????.? ?? ???????? ????? ??????? ????????? ??????? ?????? ?? ???? ????? ? ???????? ? (???? ???????? ???????? ????????? ??????????. )???? ??? ???? ??????? ????? ??? ?? ?????? ??????? ????? ?????.
???? ??? ?????? ?? ????? ?????? ????? ?? ???? ?????? ??????? ?????? ??????? ??? ??????? ?? ?????.
July 9, 2021
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Œ¦ì¶ SaidíÕf£¬Adorno ¾ÍÊÇAdorno¿ÚÖеġºÍí¡» (lateness)£¬¶ø¸ù±¾²»¿ÉÄܳ¬Ô½¡ºÍí¡»£¬Ö»ÄÜÔö¼Ó¡ºÍí¡»µÄÉî¶È£»ËùÒÔÔÚÎÄŒW»òÒô˜·ÉϵÄÍíÆÚ×÷Æ·£¬Æ䡺³ÉÊì¡»µÄÉî¶Èí×Ô춲»ÈÝ춎p·å î‘BµÄ„“×÷
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¿Éϧß@±¾•øÊÇÕûÀíì¶ Said ß^ÊÀááµÄßz¸å£¬ÉÙÁË Said Œ¦ÔuÕ“ÏÂÒ»‚€¾CÓ^È«¾ÖµÄ½YÕ“£¬Ò²»òÔS°Ñ•rég¾€ÀéL½üì¶ÓÀa£¬ÎÄŒW»òÒô˜·£¨»òÆäËûÖ÷ˆ£©Ê܆¢°l¶ø„“еÄÃ}Â䣬²»†ÎÖ»ÊÇÀÛ·eÇ°È˵ÄÉî¶È £¨×ÔÒÔžéͬ춹ŵäÁ¦ŒWÄÜ°üº¬ÔÚÁ¿×ÓÁ¦ŒW½âጵĸÅÄ
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Ó¡ÏóÉî¿ÌµÄÔÚÔuÕ“ÉÐÈǃÈÕ¹£¬»ùì¶ÈǃÈͬÇé°ÍÀÕ˹̹µÄÁ¢ˆöºÍÔÚ·¨‡øÎĉ¯±»¹ÂÁ¢µÄÌŽ¾³£¬ Said Æ䌽oÓèÈǃÈ×÷Æ·˜O¸ßµÄÔuƒr
Œ¦ì¶ SaidíÕf£¬Adorno ¾ÍÊÇAdorno¿ÚÖеġºÍí¡» (lateness)£¬¶ø¸ù±¾²»¿ÉÄܳ¬Ô½¡ºÍí¡»£¬Ö»ÄÜÔö¼Ó¡ºÍí¡»µÄÉî¶È£»ËùÒÔÔÚÎÄŒW»òÒô˜·ÉϵÄÍíÆÚ×÷Æ·£¬Æ䡺³ÉÊì¡»µÄÉî¶Èí×Ô춲»ÈÝ춎p·å î‘BµÄ„“×÷
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Ó¡ÏóÉî¿ÌµÄÔÚÔuÕ“ÉÐÈǃÈÕ¹£¬»ùì¶ÈǃÈͬÇé°ÍÀÕ˹̹µÄÁ¢ˆöºÍÔÚ·¨‡øÎĉ¯±»¹ÂÁ¢µÄÌŽ¾³£¬ Said Æ䌽oÓèÈǃÈ×÷Æ·˜O¸ßµÄÔuƒr
October 22, 2022
jo dit was echt heel erg interessant. en leesbaar!! said heeft echt een vet chille schrijfstijl, ik was super ge?ntrigeerd de hele tijd, terwijl ik lang niet alles wat ie zei inhoudelijk nou zo interessant vond. ik ben echt helemaal ge?nspireerd i love it here!!
September 24, 2022
Le¨ª estos ensayos porque los dejaron olvidados en la librer¨ªa donde trabajo. Apunto aqu¨ª solamente lo que recuerdo. Los ensayos son sobre compositores y, en menor medida, sobre escritores. Los ensayos hablan sobre obras tard¨ªas, realizadas en los ¨²ltimos a?os del artista, y que no responden a la imagen de lo tard¨ªo como un declive, una decadencia, un desvanecimiento, sino al contrario, obras donde lo tard¨ªo es una especie de renovaci¨®n/renacimiento/nuevo comienzo. El ensayo sobre Beethoven que abre el libro marca la pauta de los dem¨¢s. Las ¨²ltimas sonatas, cuartetos para cuerdas, bagatelas para piano y la Missa Solemnis de Beethoven son todas obras que en conjunto parecen fragmentarias, desvinculadas unas de otras, a diferencia de sus obras tempranas que parec¨ªan corresponder a un conjunto org¨¢nico superior. Said argumenta que esto se debe a que estas obras poseen una individualidad y una autonom¨ªa radicales que impiden su subsunci¨®n a un esquema superior. No son los retazos de una imaginaci¨®n menguante, sino m¨¢s bien nuevas regiones, muy alejadas unas de otras. En este mismo tenor habla de la ¨®pera Coss¨¬ fan tutte de Mozart, una ¨®pera que pertenece al periodo de Don Giovanni, Le nozze di Figaro y Die Zauberfl?te, y que justamente ha sido eclipsada por estas otras tres obras. Aunque Mozart realmente era muy joven todav¨ªa durante este periodo, su prematura muerte ha hecho de estas obras "tard¨ªas", y en el caso de Coss¨¬ fan tutte se trata igualmente de una obra aparentemente anodina que da la ocasi¨®n de hacer algo ligero, absurdo y sinsentido, a diferencia de las otras obras donde hay algo as¨ª como un motivo de mayor "trascendencia". Hay tambi¨¦n un ensayo sobre un Jean Genet ya mayor dirigi¨¦ndose a una muchedumbre de estudiantes universitarios y Panteras Negras en una de tantas manifestaciones, este ensayo es tambi¨¦n m¨¢s anecd¨®tico. Hay otro sobre Glenn Gould, en mi opini¨®n el m¨¢s flojo del libro, pues es un mero elogio de Glenn Gould como genio y maestro y uno de los m¨¢s grandes de la historia e implacable destructor de convenciones y un int¨¦rprete a la altura de Bach y un mega ching¨®n y blah blah blah blah blah que le dan a uno ganas de dejar a escuchar a Glenn Gould para siempre. ?Por qu¨¦ no se dan cuenta que el elogio desmesurado causa repulsi¨®n? Pero bueno, el ensayo final tiene unas entradas sobre Kavafis y Thomas Mann realmente buenas, y creo que me hubiera gustado m¨¢s que se desarrollaran m¨¢s estos fragmento en lugar del zalamero elogio de Gould. Th. W. Adorno es tambi¨¦n un "contrapunto" constante a lo largo del libro, y como suele ser el caso, recurre a ¨¦l para fingir que lo refuta, describe lo que dice el se?or y luego ¨¦l dice su parte, como si no estuviera cometiendo un hombre de paja s¨²pero obvio, en uno de los primeros ensayos hasta saca la de "pero el de Adorno es una perspectiva muy parcial, muy suya" como si no fuera ¨¦se el caso con todos los autores. Pero bueno, buen libro, aunque m¨¢s de un ensayo lo le¨ª con ganas de ya acabarlo y sacarlo del camino. Ahora que lo recuerdo hay tambi¨¦n un ensayo sobre Richard Strauss, que igual est¨¢ bueno.
March 1, 2023
I¡¯m a little too stupid to get the parts about opera, but when Said starts talking about Visconti that¡¯s something I can understand
February 9, 2024
Too musical for my liking
Read
October 22, 2024nie spodziewa?em si?, ?e tyle naczytam si? o operze w tym roku. nothing like a very specific main topic paired with some proper yapping?
March 9, 2020
There's a sanctity to this book, because it was (ironically, or perhaps unironically) published posthumously so has a special status as Said's last work. It's fantastically written, informed but with clarity. Where it struggles though, is when the discourse deviates in favour of an enthusiasm.
November 3, 2015
"?? ?? ????? ??? ????? ????? ??? ????? ?????? ??????? ??????? ???????? ??? ????? ?? ?????? ??? ??????? ?????? ???? ???? ?? ????? ???? ????? ???? ???? ???? ??? ?????? ?? ???????? ?? ????? ???? ??????? ?????? ?????? ??????? ?? ??????? ???????? ??????? ???? ?? ???? ??????? ????? ???????? ???????? ?????????? ??????? ??????".
????? ?????? ???? ?? ????? ??????? ??????? ?????? ?? ?????? ??? ?????? ????? ?????? ????? ?? ??????? ????????? ????? ?? ??? ????? ??? ?? ?? ??????? ????????? ?????? ???? ?? ????? ?????? ?? ??????? ???? ???? ???? ?? ?????? ??????? ?? ??????? ??????? ?? ?????? ?????? ??? ?????? ?? ??? ??????? ?? ??? ?? ????? ?? ?? ?????? ?????.
????? ????? ?????? ????? ?? ?? ?????? ????? ????????? ?? ???????? ?????? ????????? ?????? ???? ??? ??????? ?????? ??? ?? ???? ????? ?? ???????? ???????? ???????? ????????? ?? ????? ?????? ???????? ???? ???? ?? ????? ?????? ???? ??????? ????? ???? ???? ??? ?????.
????? ?????? ???? ?? ????? ??????? ??????? ?????? ?? ?????? ??? ?????? ????? ?????? ????? ?? ??????? ????????? ????? ?? ??? ????? ??? ?? ?? ??????? ????????? ?????? ???? ?? ????? ?????? ?? ??????? ???? ???? ???? ?? ?????? ??????? ?? ??????? ??????? ?? ?????? ?????? ??? ?????? ?? ??? ??????? ?? ??? ?? ????? ?? ?? ?????? ?????.
????? ????? ?????? ????? ?? ?? ?????? ????? ????????? ?? ???????? ?????? ????????? ?????? ???? ??? ??????? ?????? ??? ?? ???? ????? ?? ???????? ???????? ???????? ????????? ?? ????? ?????? ???????? ???? ???? ?? ????? ?????? ???? ??????? ????? ???? ???? ??? ?????.
Read
July 19, 2017?? ????? ?? ????? ?????? ?????? ???? ????? ?????? ???? ???? ?? ???..
????????? ????? ?????? ???? ?? ??? ?????..
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?????? ???? ?????? ?? ?????? ???? ????? ?????? ?????? - ???? ???? ???? ?? ???? ?? - ?? ????? ?????? ????
????????? ?? ?????? ????? ????? ?? ?????? ???? ????? ????..
?????? ???? ??? ?? ???????? ????? ???????? ??????? ???????? ??? ???????..
??????? ????? ?? ???? ?????? ???????? ???????? ??? ?????? ???????? ???????? ????????? ???????..
????? ??? ?????? ?? ??? ???? ??????? ??.. ????????? ?????? ?? ????? ?????? ??????? ???..
?????? ???? ?? ?? ????? ??? ?? ??? ?????? ???? ??? ????? ????????? ??????? ??????? ??????..
????
????? 2017
????????? ????? ?????? ???? ?? ??? ?????..
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?????? ??? ?? ??? ????? ?? ??? ?????? ???? ?? ?????? ??..
?????? ???? ?????? ?? ?????? ???? ????? ?????? ?????? - ???? ???? ???? ?? ???? ?? - ?? ????? ?????? ????
????????? ?? ?????? ????? ????? ?? ?????? ???? ????? ????..
?????? ???? ??? ?? ???????? ????? ???????? ??????? ???????? ??? ???????..
??????? ????? ?? ???? ?????? ???????? ???????? ??? ?????? ???????? ???????? ????????? ???????..
????? ??? ?????? ?? ??? ???? ??????? ??.. ????????? ?????? ?? ????? ?????? ??????? ???..
?????? ???? ?? ?? ????? ??? ?? ??? ?????? ???? ??? ????? ????????? ??????? ??????? ??????..
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????? 2017
December 30, 2007
Disappointing work that is bitty and not a really coherent set of insights.
November 29, 2015
??? ???? ?? ?????..!
November 26, 2020
Lo ¡°stile tardo¡±, secondo Edward Said, autore di questo saggio, che peraltro si rif¨¤ ampiamente al pensiero del filosofo Theodor W. Adorno, ¨¨ una specifica categoria creativa. Pi¨´ specificamente, ¨¨ una fase che cronologicamente avviene al termine del periodo creativo di un qualsiasi autore, ma non ¨¨ necessariamente collegata al momento senile; piuttosto pu¨° essere identificata come una stagione di progressiva indifferenza alle forme e alle tematiche del proprio tempo, a volte anche un tentativo di trascenderle, non alla ricerca di un ¡°oltre¡± (che, per forza di cose, non ci potrebbe essere) quanto piuttosto di una riflessione autoreferenziale e scompositiva. A questo fine, sempre sulla scorta del pensiero di Adorno che viene assunto come guida, Said affronta una serie di autori e di artisti dei pi¨´ vari, cercando di identificare lo ¡°stile tardo¡± della loro produzione. Si parla di Beethoven e delle sue ultime composizioni, di Tomasi di Lampedusa e del film di Visconti tratto dal Gattopardo, di Glenn Gould e delle sue mitiche interpretazioni di Bach, cos¨¬ come di morte a Venezia e dell¡¯opera che ne ha tratto Britten (stranamente, in questo caso non del film di Visconti). Si parla anche di Jean Genet, e la conversazione su di lui (che Said aveva conosciuto personalmente) diventa un pretesto per parlare anche delle vicende libanesi, dei movimenti palestinesi, dell¡¯Intifada e questioni correlate, alle quali Genet partecip¨° attivamente e verso le quali Said, date le sue origini palestinesi, ¨¨ piuttosto sensibile, nonostante tutto il suo pensiero sia solidamente inserito nel campo della cultura e della filosofia occidentale. Tutto quello che Said scrive ¨¨ di grande profondit¨¤ e interesse, nonostante uno stile molto denso e alquanto difficile, soprattutto quando (piuttosto spesso) sviluppa i pensieri di Adorno. In effetti, quando avevo 16 anni o poco pi¨´ leggevo strenuamente Adorno, cercavo faticosamente un senso nelle cose che diceva e magari lo trovavo pure. Adesso le stesse cose mi sembrano le supercazzole di uno che probabilmente era gi¨¤ un vecchio brontolone quando era lui, ad avere 16 anni. E la cosa tragica ¨¨ che un¡¯intera generazione di musicisti quelle cose le ha prese sul serio, producendo di conseguenza musica volutamente inascoltabile, dando del fascista a chi utilizzava ancora l¡¯accordo maggiore, e creando uno scollamento tra musica ¡°colta¡± e ¡°leggera¡± ben peggiore di quello contro cui protestava Adorno. Detto in breve, il pensiero di Adorno ¨¨ che, dato che il mondo ¨¨ brutto e cattivo, qualsiasi tentativo ¨C artistico o d¡¯altro genere ¨C di trovarvi gioia e bellezza ¨¨ inevitabilmente falso, ipocrita, deviante rispetto alla dura verit¨¤ ¨C quella che viene espressa, ad esempio, con la musica dodecafonica o atonale. Molto interessante, a questo proposito, fare un paragone tra la visione di Cos¨¬ fan tutte proposta nel libro che ho recentemente letto, ¡°Ma Susanna non vien¡±, e in questo. Se in quello l¡¯opera mozartiana viene vista come un inno alla gioia del poliamore, un superamento delle convenzioni romantiche oltre il quale c¡¯¨¨ un modo di essere e di amare pi¨´ ricco e gratificante, qui la stessa opera viene vista come un disvelamento, agito da Ferrante il filosofo ai quattro giovani innamorati ed idealisti, di una realt¨¤ cinica e arida nella quale i sentimenti valgono poco, sono pronti a mutarsi e a disseccarsi, non vi sono certezze n¨¦ bellezze nel cammino che conduce verso la ¡°tardivit¨¤¡±, cristallizzazione estetica che ¨C of course ¨C ¨¨ un¡¯anticipazione della morte. A questo proposito, ci sarebbe da chiedersi quanto sia utile e soprattutto produttivo questo lasciarsi andare a melanconicissime, intorcinatissime e soprattutto alla fin fine sterili e inutili riflessioni, da parte di filosofi, intellettuali e pensatori vari, sul tema della fine, della morte, del senso, e via dicendo. Molto pi¨´ sano e sensato, a mio parere, l¡¯atteggiamento di coloro che fanno finta di niente, si bombano di viagra e si fanno mettere una pompetta nell¡¯affare per trombarsi la Ruby di turno fino al loro ultimissimo giorno.
February 20, 2019
?? ??????? ??????? ?????? ???? ??? ??????
"?? ?????? ??????? ??????? ???? ?? ?? ?? ????? ??? ??????? ?? ?????? ?????? ??? ?? ??? ??????? ??????? ??? ??????? ?? ?????? -??? ??? ????? ????????? ????? ?? ??????? ????????- ?? ????? ?????? ???????? ????? ?? ??????? ????????? ?? ???? ?? ????? ????? ????? ??? ?? ????????? ????????? ???? ???????? ????? ????? ???????."
?????? ????
???? ?????? ???? ????? ??? ??? ???? ????? ???? ?? ????? ?????? ??? ?????? ?????? ??????? ???? ??? ??????? ??????? ???????? ??? "?????" ???? ?????? ?? ???????? ????????? ??????? ???? ???? ?? ????? "???? ???? ??? ?? ????? ?????????" ???? ???? ?????? ???? ??? ???? ?? ?? ??? ???? ?????? ????? ??????? ???? ????? ?????? ????????? ??? ?????? ????? ?????? ???????? ????? ????? ??? ?????? ??????? ??????? ??? ?????? ??? ??????? "????? ???? ????????"? ?????? ???? ?????? ??? ??????? ?????? "???? ?? ????" ??????? ???!
??? ????? ?? ?? ????? ???? ???? ???? ???????? ??? ??? ?? ??????? ???? ????? ???? ????? ?? ???????? ?????? ?????? ?????? ??? ??????? ?????? ??????? ??????? ???? ???? ???? ?????? ??????? ??? ?? ????? ?? ?????? ?????? ????????? ???? ???? ???? ?? ?????? ?? ????? ??????? ???? ??????? ?? ????? ???? ??? ?? ??? ????? ????? ?????????? ????? ?????? ???????? ???????? ???????? ?? ???? ????????? ???? ???? ?? ??? ?????? ???????.
????? ?????? ????? ?? ??? ?????? ?? ?????? ???? ???? ??? ????? ???????? ???? ??? ?????? ?????? ????????? ???? ?? ??? ???????? ??????? ????????? ?????? ?????? ??? ??????? ?? ???? ????? ??????? ?????? ????? ?? ????? ???????? ???? ??? ???? ???? ????? ????? ??? ???? ???? ????? ??? ??? ????? ?????? ???????? ???? ?????? ????? ????? ?????????? ???? ?? ??????.
"?? ?????? ??????? ??????? ???? ?? ?? ?? ????? ??? ??????? ?? ?????? ?????? ??? ?? ??? ??????? ??????? ??? ??????? ?? ?????? -??? ??? ????? ????????? ????? ?? ??????? ????????- ?? ????? ?????? ???????? ????? ?? ??????? ????????? ?? ???? ?? ????? ????? ????? ??? ?? ????????? ????????? ???? ???????? ????? ????? ???????."
?????? ????
???? ?????? ???? ????? ??? ??? ???? ????? ???? ?? ????? ?????? ??? ?????? ?????? ??????? ???? ??? ??????? ??????? ???????? ??? "?????" ???? ?????? ?? ???????? ????????? ??????? ???? ???? ?? ????? "???? ???? ??? ?? ????? ?????????" ???? ???? ?????? ???? ??? ???? ?? ?? ??? ???? ?????? ????? ??????? ???? ????? ?????? ????????? ??? ?????? ????? ?????? ???????? ????? ????? ??? ?????? ??????? ??????? ??? ?????? ??? ??????? "????? ???? ????????"? ?????? ???? ?????? ??? ??????? ?????? "???? ?? ????" ??????? ???!
??? ????? ?? ?? ????? ???? ???? ???? ???????? ??? ??? ?? ??????? ???? ????? ???? ????? ?? ???????? ?????? ?????? ?????? ??? ??????? ?????? ??????? ??????? ???? ???? ???? ?????? ??????? ??? ?? ????? ?? ?????? ?????? ????????? ???? ???? ???? ?? ?????? ?? ????? ??????? ???? ??????? ?? ????? ???? ??? ?? ??? ????? ????? ?????????? ????? ?????? ???????? ???????? ???????? ?? ???? ????????? ???? ???? ?? ??? ?????? ???????.
????? ?????? ????? ?? ??? ?????? ?? ?????? ???? ???? ??? ????? ???????? ???? ??? ?????? ?????? ????????? ???? ?? ??? ???????? ??????? ????????? ?????? ?????? ??? ??????? ?? ???? ????? ??????? ?????? ????? ?? ????? ???????? ???? ??? ???? ???? ????? ????? ??? ???? ???? ????? ??? ??? ????? ?????? ???????? ???? ?????? ????? ????? ?????????? ???? ?? ??????.
June 23, 2023
A superb last work by Said, who died before finishing the work of making its disparate elements into a more cohesive whole.
Still, compelling and motivating. It had me listening to late Beethoven, Strauss, Bach via Glenn Gould, and grabbing a copy of Lampedusa's The Leopard for future reading.
A friend commented on Said, "Said is an excellent writer and illuminates all he writes, if mistaken on a few minor points, i.e. thinking Marx was an orientalist and an affection for Foucault premised on ignoring Foucault's death of the author, theory, which is central."
Totally agree.
Still, compelling and motivating. It had me listening to late Beethoven, Strauss, Bach via Glenn Gould, and grabbing a copy of Lampedusa's The Leopard for future reading.
A friend commented on Said, "Said is an excellent writer and illuminates all he writes, if mistaken on a few minor points, i.e. thinking Marx was an orientalist and an affection for Foucault premised on ignoring Foucault's death of the author, theory, which is central."
Totally agree.
October 22, 2018
Informative and full of interesting thoughts and facts yet I felt these essays were written more for and to himself rather than for the benefit of an audience and consequently much of Said's impact lacked the force I expected, but very well worth reading.
December 30, 2019
Anything that seems like mere digression is part of the subtle argument, and adds to the description of a type of talent that is made possible by conditions it seeks to abolish, disrupt or supersede entirely.
March 9, 2018
A lot to meditate on in the short but dense study on the last style of various artists.
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