Culture and Imperialism

Culture and Imperialism

Edward W. Said

Language: English

Pages: 380

ISBN: 0679750541

Format: PDF / Kindle (mobi) / ePub


A landmark work from the intellectually auspicious author of Orientalism that explores the long-overlooked connections between the Western imperial endeavor and the culture that both reflected and reinforced it. "Said is a brilliant . . . scholar, aesthete and political activist."--Washington Post Book World.

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Western proponents of Third World nationalism, like Conor Cruise O’Brien, Pascal Bruckner (The Tears of the White Man), and Gérard Chaliand. In an interesting semi-documentary history of the earlier French support for Third World resistance, Aux Origines des tiers-mondismes: Colonisés et anti-colonialistes en France (1919–1939), Claude Liauzu ventures the thesis that by 1975 an anti-imperialist block no longer existed as it had earlier.168 The disappearance of a domestic opposition to imperialism

Neither the ethos nor the rigorous training required to install that bildung nor the extraordinary discipline it demanded has survived, although occasionally one hears the accents of admiration and retrospective discipleship; but no critical work done now resembles work on the order of Mimesis. Instead of European bourgeois humanism, the basic premise now is provided by a residue of nationalism, with its various derivative authorities, in alliance with a professionalism that divides material into

astonishing power from the seventeenth to the end of the nineteenth century. These structures do not arise from some pre-existing (semi-conspiratorial) design that the writers then manipulate, but are bound up with the development of Britain’s cultural identity, as that identity imagines itself in a geographically conceived world. Similar structures may be remarked in French and American cultures, growing for different reasons and obviously in different ways. We are not yet at the stage where we

acknowledges his debt to the old, bitterly energized, and vengeful convict, Pip himself collapses and is revived in two explicitly positive ways. A new Pip appears, less laden than the old Pip with the chains of the past—he is glimpsed in the form of a child, also called Pip; and the old Pip takes on a new career with his boyhood friend Herbert Pocket, this time not as an idle gentleman but as a hardworking trader in the East, where Britain’s other colonies offer a sort of normality that

a fate. The paradox of personal identity is that it is implicated in that unsuccessful dream. Jude would not be who he is were it not for his futile wish to become a scholar. Escape from being a social non-entity holds out the promise of relief, but that is impossible. The structural irony is precisely that conjunction: what you wish for is exactly what you cannot have. The poignancy and defeated hope at the end of Jude the Obscure have become synonymous with Jude’s very identity. Because he

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