Culture and Imperialism

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Culture and Imperialism

Culture and Imperialism

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S. war against Iraq as well as maps out a vision for the productive future of the study of “world literature” or “Anglophone literature.

He also explores the ways in which imperialism has been represented in cultural productions, such as novels and films, and argues that these representations have often been used to justify and perpetuate imperialism. The late chapters change course a bit, but the same spirit, speaking to American physical and cultural imperialism and the current events at the time of Said's writing (1993): The Gulf War and the role of the media in how this was reported/covered, and discussed, Saddam Hussein, Iraq and Gulf States, the tensions in Iran, Rushdie's fatwa, and the on-going occupations and intifada in Palestine, Said's birthplace.

B. Yeats, Chinua Achebe, and Salman Rushdie to show how subject peoples produced their own vigorous cultures of opposition and resistance. S. and French literature is not to dismiss the literature of unworthy of analysis but to suggest the need for the complexity of our analysis and examination of literature in relationship to empire. In this sense the counterpoint does not consist in the traditional parallel between an author and his or her critics. Like all of Edward Said's writings this book is endlessly repetitive, but if you can wade through the thickets of verbiage you'll find gems of extraordinary insight.

He traces the themes of 19th- and 20th-century Western fiction and contemporary mass media as weapons of conquest and also brilliantly analyzes the rise of oppositional indigenous voices in the literatures of the "colonies. It is not only the reading of books, it would turn out, but the picking of concepts, too, that are trivialized and added to universities as though students ‘have the choice to pick them out like they are looking at a menu’: Communism. Scholars can be frankly engaged in the politics and interests of the present- with open eyes, rigorous analytical energy, and the decently social values of those who are concerned with the survival neither of a disciplinary fiefdom or guild nor of a manipulative identity like ‘India’ or ‘America’, but with the improvement and non-coercive enhancement of life in a community struggling to exist among other communities…What matters a great deal more than the stable identity kept current in official discourse is the contestatory force of an interpretive method whose material is the disparate, but intertwined and interdependent, and above all overlapping streams of historical experience. He is moving beyond the simple binary of East and West, to present the role of art and culture in a series of global interventions that was fostered by the United States as the vanguard of the West, and other European imperialist powers such as England and France. I first heard about this collection of essays via Philosophy Tube’s video, in which he praised it as being quite good when compared to another piece of work he read.From Jane Austen and Charles Dickens, to Rudyard Kipling and Albert Camus, Saïd insists that these works are aware of the fact of empire, and that, at best, they simply take it for granted (the latter two were much more vocal about how they felt, of course).

Foucault traces the role of discourses in wider social processes of legitimating and power, emphasizing the construction of current truths, how they are maintained and what power relations they carry with them. Hotjar sets this cookie to know whether a user is included in the data sampling defined by the site's daily session limit.He posits that peoples have multiple overlapping identities and shared heritage as compared to the divisiveness required by the imperial project. Showing, kind of, how the novel implicitly reconfirms empire and imperialist ideology, sometimes less explicit (Austen) sometimes more so (Conrad). The perfect example of what I mean is to be found in Jane Austen’s Mansfield Park , in which Thomas Betram’s slave plantation in Antigua is mysteriously necessary to the poise and the beauty of Mansfield Park, a place described in moral and aesthetic terms well before the scramble for Africa, or before the age of empire officially began” (59).

As Conrad puts it: The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. But for those who believe that many of the current problems in the world can be traced back to European interference and destruction through the many empires which grew like a cancer in the 19th century, this book is a must read. Second side note: Oddly enough, one of the most significant impacts of this book was to create in me a desire to re-read many of the 19th Century British novels I last read in high school. He later theorized that discourse is a medium through which power relations produce speaking subjects. While I studied English Language and Literature at Birzeit University (in the West Bank), Edward Said’s name never once came up during the four semesters [even though he is celebrated in the Palestinian society and has often spoken at the University.In obnoxiously simplified terms, he’s a ‘middle of the road’ guy, all about acknowledging both the ‘good’ and the ‘bad’ in a work of art.



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