New York .. Edward wakes up
Lazy Dawn, Plays a Mozart Melody
He runs around the university’s tennis court
He thinks about the journey of thought across borders
And above the barriers, he reads the New York Times
He writes his tense comment, cursing an oriental
He guides the general to his weak point
In the heart of an East. Take a shower, and choose
She swapped him in style for a cock, and he drinks
His coffee with milk, and screaming at dawn:
Do not hold back!
On the wind he walks, and in the wind
He knows who he is. There is no ceiling for the wind
There is no home for the wind, and the wind is a compass
This is how the late Palestinian poet Mahmoud Darwish lamented his friend, Palestinian-American thinker Edward Said, describing a meeting between them in New York, and said, “I met Edward 30 years ago / and time was less wild than now /… We both said: If your past is an experience / Make tomorrow a meaning and a vision! / Let’s go, let’s go to our tomorrow with confidence / In the sincerity of imagination, and in the miracle of grass. “
Forty years ago, the global intellectual arena was on a date with the publication of Saeed al-Mafsali’s book “Orientalism,” during which it became a major tool in dismantling the cognitive structure for producing orientalists, and its relationship with the “Western imperialist project”.
As a thinker and pioneer in post-colonial studies, Said viewed Orientalism (like his counterparts Michel Foucault and others) as an authoritarian employment of knowledge of the East, after its “orientalization” and its stereotyping, in preparation for its colonization and control.
In his next book Covering Islam, Said notes the reductionist nature of Orientalism studies and its production, and how it turned into “regional” studies, and the efforts of serious or promising researchers were exhausted to eventually become “area experts”, recruited into Western intelligence, diplomacy and militarism circles.
In their turn, researchers and intellectuals who are critical of the idea of ”power” and the modern Western “state” considered “Orientalism” a fundamental travel they raise in confronting other narratives about the state and modernity.
In it, he deliberately deconstructed and dislocated the West’s view of the East, and refuted the stereotype in which orientalists relied on studies and concepts based on non-scientific grounds.
In the book, he revealed the relationship of Western studies about the East to power and political tendencies, and the large investments that were allocated to it, and how Orientalism became an ideological doctrine – with a political background – that produced an image of the other (the East) with an authoritarian desire colonial control.
He showed how that doctrine affected the formation of Western consciousness, and created a bad impression for the Western recipient about the East, and a negative view full of intolerance against Arabs and Islam.
Contrary to what some believed, Edward Said did not take the defensive position in his book, but rather the position of the critic who reveals the error of the West in his approach and vision of the East, and put forward a new approach that contributes to bridging the gap between East and West, by respecting multiculturalism and linking knowledge to humanism instead of ideological authoritarianism.
Saeed considered that “Orientalism” has formed since the end of the 18th century a Western way of controlling the East, stressing that the study of the East by Westerners is a biased study driven by colonial purposes, pre-existing views, and an inferior view of the peoples of the East, no matter how scientific and objective they try to appear.
But Saeed, who died of cancer on September 25, 2003, did not witness all the post-classical transformations of European Orientalism, especially after Arabs and Islam were no longer included in the attempt to know and understand, but rather with hatred, hatred and hatred, according to Hamid Dabashi, author of the book “After Orientalism: Knowledge.” And power in a time of terror. “
“The Palestinian cause”
Edward Said has always been the most prominent internationally recognized Palestinian thinker, and his book “The Palestinian Question” was published in 1979, one year after he published his most famous book, “Orientalism.” In his book, the author discusses the conditions of the Palestinian people and the history of the Nakba, the dispossession of the Palestinians of their property, their displacement in exile, and the distortion of their cause in the West.
It also deals with the development of Palestinian political movements, especially the Palestine Liberation Organization, which was once led by his friend Yasser Arafat, and the changing perceptions of Palestinian groups regarding the issue of Jewish identity and the Israeli state.
The last book
In the book published after his departure, Edward Said, “About the Late Way”, asked whether a person gets wiser as he gets older? Are there unique qualifications in vision and form that artists acquire due to age in the later period of their lives?
The Palestinian-American thinker (1935-2003) in his book – translated by Fawaz Trabelsi and published by Dar Al Adab in Beirut (2015) – focused on the last or late life of writers and artists he talks about and about their works, that period which he calls the period of decomposition and ill health, Or the solutions of other factors that carry the possibility of premature end, even for those who are not old, according to a previous report by Al-Jazeera Net.
The book has a subtitle “Music and Literature Against the Current”, and it contains 7 chapters: “The Timeless and Late,” “Return to the 18th Century,” “The School of Lovers, at the Frontier”, “On Jean Genet”, and “An Old Order Slow down, “the prodigal guitarist” and “hints of late style.”
Attached to the text were the translator’s introduction, an introduction entitled “Music is the Exile of Language” by Michael P Steinberg, and an introduction to the late style of Michael Wood who narrates the story of collecting lectures in a book, and then an introduction to Mary Saeed – the wife of the deceased – revolving in the same orbit.
Through his approaches to literature and thought, Saeed deals with the experiences of Theodore Adorno, Jean Genet, Cavefee, Lampedusa, and Thomas Mann.
And in the musical composition Bach, Mozart, Beethoven, Strauss, and Glen Gould, in addition to Greek opera and theater.
And the author of “Out of Place” biography believes that everyone can provide ready evidence of how late works culminate in a biography of aesthetic pursuit. It also deals with the study of artistic retardation, not in terms of harmony and detachment, but rather with what is stubbornness, hardship, and contradiction without a solution, then he asks: What if aging and poor health only result in the blissful acceptance that “maturity is everything”?
The author of “Culture and Imperialism” discusses the phenomenon of the late style that Adorno gave a dense and deep meaning in an important text of his on the last period of Beethoven’s art, and returns to the idea of delay in more than one sense.
He points out that, according to Adorno, tardiness is the idea of survival beyond what is acceptable and normal, and how tardiness includes the idea that no one can ever transcend the delay, and he cannot transcend, overtake, or escape from it, and that all that one can do It is to deepen the lag.
The author of “Orientalism” believes that the late style is a fashionable style, and it is strange that it is separate from the present. He says that only few artists and thinkers care enough about their profession to believe that the profession is also aging, and that it has to face death with failed feelings and memory.
Strauss occupies a crucial central position in Said’s investigation of the later style. He describes Strauss’s later work as “defiant,” and believes that the challenge is its precise expression. And he finds that when a person is overwhelmed with a feeling of lateness and a thumbs, he will not have many options, and Strauss’s music in his late stage is what forces him to choose the only suitable choice for him.
The subjective overlap of the objective with the researcher in some chapters is not hidden by Said in his work, as he formulates his ideas and arranges them in a way that serves his topic and his cause, and hence his book reflects his late – or last – style of writing, thought, music, literature, philosophy and life.
Edward Said considers that any artistic style includes the beginning of the artist’s relationship with his time or the historical period, society and ancestors, explaining that the aesthetic product – despite its unassailable individuality – remains part of the era in which it was produced and issued.
In the conclusion of the poem “Attention to Edward Said,” Darwish said:
I did not
And alive, and that life is on this earth
Create a direction or a mirage that prolongs hope
Sing, for the aesthetic is freedom
I say: life that can only be defined
Against it is death … not life!
He says: We will live, even if life leaves us
To our business. Let us be masters of the words that
It will make its readers immortal – to the point
The expression of your friend, Ritsus …
And he said: If I die before you
I recommend the impossible!
I asked: Is the impossible far away?
He said: A generation later
I asked: If I die before you?
He said: I will console the mountains of Galilee
And I write: “The aesthetic is only
Attain the appropriate. ”Now, don’t forget:
If I die before you, I command you the impossible!
When I visited it in New Sodom
In the year two thousand and two, he was being resisted
The war of Sodom against the people of Babylon …
And cancer together. He was like an epic hero
The latter defends the right of Trojan
In sharing the novel
نسسرْ يودِّعُ قمَّتَهُ عالياً
So stay over the Olympics
Farewell to pain hair!