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Słuchając głosów. Czytanie kontrapunktowe Edwarda Saida

100%
Koziołkiewicz E.
Przegląd Humanistyczny
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2015
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vol. 59(2 (449))
117-125
PL
In Culture and Imperialism Edward Said introduces contrapuntal reading as a method of analysis capable of overcoming the ethnocentrism of writers and literary audience. His approach, especially the interpretation of Austen’s Mansfield Park, was widely commented. Scholars praised the method, but also expressed doubts concerning Said’s selective use of the text and his conviction that the whole imperial culture was imperialist by definition. The article resumes discussion on possible modifications of contrapuntal reading and offers understanding consistent with Said’s general idea, but opposing to what the author sees as internal discrepancies and redundant limitations of his method.
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Na styku muzyki i polityki: West-Eastern Divan Orchestra – projekt muzyczny z przesłaniem politycznym

100%
Wagińska-Marzec M.
Przegląd Zachodni
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2017
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issue 4(365)
217-245
EN
There are not many artists who engage so strongly not only in the artistic domain, but also in the social and political spheres, as the Argentine-Israeli pianist and conductor resident in Berlin, Daniel Barenboim. Especially noteworthy is his music project initiated and realized together with Edward Said, an American of Palestinian background and esteemed philosopher, music and culture theoretician and critic. In 1999 they created an Arab-Israeli orchestra named West-Eastern Divan Orchestra, made up of young musicians who come from war-torn countries of the Near East (Palestine, Israel, Syria, Lebanon, Jordan, Egypt, etc.). In accordance with the principles of its founders the ensemble carries a “message of peace” to the world. Through music, joint workshops, concerts, discussions and conversations a gradual leveling of judgments and mutual prejudices on the people, history and culture of the nations represented by the musicians takes place. This is the best proof that not only is understanding possible among discordant nations despite political, cultural and denominational differences, but even friendships can be established. Thus, Barenboim’s claim is confirmed that the solution of the conflict in the Near East lies not in military measures but in the people.
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Translating the Self in Edward Said’s Out of Place: A Memoir

75%
Embabi D.
Anglica. An International Journal of English Studies
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2017
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issue 26/1
149-164
XX
This paper examines the link between the notion of ‘cultural translation,’ initially introduced by Homi Bhabha in The Location of Culture (1994), and autobiographical writing by a translingual writer: Edward Said’s memoir, Out of Place (1999). As an ArabAmerican intellectual, Said culminates his writing career with a memoir, in which he represents the educational years of his life. Said shows through the narrative that the interplay between Arabic and English language and cultures strongly infl uenced the formation of his identity. Thus, this paper explores reading his memoir as an attempt at ‘cultural translation’ according to which diff erence is not necessarily trapped in binary oppositions of self/other; East/West; home/foreign land – to name only a few. Difference in this context rather opens a possibility for more fluid boundaries allowing for negotiation and change.
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Krytykując innych czy nas samych? Spór MacIntyre’a z Winchem i idea krytyki społecznej

71%
Rasiński L.
Forum Oświatowe
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2017
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vol. 29
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issue 2(58)
35-44
EN
MacIntyre states in his criticism of Winch’s Idea of Social Science… that it is impossible to criticize the practices of societies with different forms of rationality in terms of their own forms of rationality;  these practices must be intelligible within our own rationality. In this way he assumes that the only possible way to criticize other cultures is a “view from outside.” Responding  MacIntyre, Winch states that every criticism of other cultures requires “extending of our own ability of understanding.” This seems to suggest that the only possible criticism is the “critique of ourselves.” This paper attempts to support Winch’s position with political argumentation. It refers to the Walzer-Said debate to demonstrate that the logic of social criticism requires reference to the political dimension of domination and the associated concept of emancipation.
PL
Krytykując Idei nauk społecznych… Wincha MacIntyre stwierdza, że niemożliwa jest krytyka praktyk społeczeństw, w których obowiązują inne formy racjonalności w kategoriach ich własnych form racjonalności, ponieważ  praktyki te muszą być zrozumiałe w obrębie naszej własnej racjonalności. W ten sposób zakłada, że jedynym możliwym sposobem krytykowania innych kultur jest „spojrzenie z zewnątrz”. W odpowiedzi Winch zauważa, że każda krytyka innych kultur wymaga „poszerzenia naszej własnej zdolności rozumienia”. To wydaje się sugerować, że jedyną możliwą formą krytyki jest „krytyka nas samych”. Celem tego artykułu jest próba wsparcia tego stanowiska poprzez odwołanie się do argumentów politycznych. Poprzez nawiązanie do debaty między Walzerem a Saidem, staram się ukazać, że logika krytyki społecznej wymaga odniesienia do politycznego wymiaru dominacji oraz połączonego z nim pojęcia emancypacji.
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Heart of Darkness: Piercing the Silence

63%
Khan A.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
73-82
EN
‘Dead silence’ can resonate with more meaning than the spoken word, the absence of oral discourse signaling the presence of an unsettling subject, as Edward Said commented in Culture and Imperialism. Heart of Darkness pierces this silence through its assessment of Victorian society’s corrosive capitalist core. The novella’s symbolism and collapse of binaries anticipates modernism, and these techniques allow Conrad to censure white men, both those with real and petty power; and white women, who are depicted as colonialism’s passive or active enablers. This portrayal ultimately condemns the characters’ brutality even as it expresses cynicism about humanity’s potential for compassion.
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Moving Beyond Edward Said: Homi Bhabha and the Problem of Postcolonial Representation

63%
Chakrabarti S.
International Studies. Interdisciplinary Political and Cultural Journal
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2012
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vol. 14
5-21
EN
The essay takes up the issue of postcolonial representation in terms of a critique of European modernism that has been symptomatic of much postcolonial theoretical debates in the recent years. It tries to enumerate the epistemic changes within the paradigm of postcolonial theoretical writing that began tentatively with the publication of Edward Said’s Orientalism in 1978 and has taken a curious postmodern turn in recent years with the writings of Gayatri Spivak and Homi Bhabha. The essay primarily focuses on Bhabha’s concepts of ambivalence and mimicry and his politics of theoretical anarchism that take the representation debate to a newer height vis-à-vis modes of religious nationalism and Freudian psychoanalysis. It is interesting to see how Bhabha locates these within a postmodern paradigm.
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BYRONIC “RUGGED NURSE OF SAVAGE MEN” IN THE 21ST CENTURY: THE PERPETUALLY ROMANTIC ALBANIA

62%
Vaso K.
Świat Tekstów. Rocznik Słupski
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2020
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vol. 18
121–131
PL
W Pielgrzymce Childe Harolda (1812–1818) Lord Byron pisze o Albanii: Kraina Albanii! pozwólcie, że zwrócę moje oczy / ty, surowa pielęgniarko dzikich mężczyzn! Ta jedna z najbardziej niezapomnianych wizyt w tym regionie została uwieczniona w portrecie Thomasa Phillipsa Portret lorda Byrona w albańskim stroju (1813). Przywołana przez lorda Byrona w tym wierszu Albania przedstawia powszechnie obecny obraz regionu jako krainy dzikich ludzi. Wizja ta zostaje wzmocniona krwawą historią Bałkanów, która także została zinternalizowana przez jej mieszkańców. Wykrzyknik Lorda Byrona jest powtarzany przez innych zachodnich turystów, takich jak Edith Durham i Edward Lear, którzy w 1848 roku piszą, że w Albanii jest „luksus i niedogodności, z jednej strony wolność, ciężkie życie i brud z drugiej”. Chociaż stwierdzenia te zawierają fragmenty prawdy, szczególnie odnosząc się do luksusowego krajobrazu i ubóstwa na obszarach wiejskich, działa w nich również orientalistyczna perspektywa zdefiniowana przez Edwarda Saida. Tutaj Zachód definiuje Wschód jako gorszy, miejsce dziczy, które zostało powoli wyparte przez industrializację w krajach ojczystych zachodnich turystów. Szczególne niebezpieczeństwo związane z tą perspektywą leży w jej absorpcji i utrwaleniu przez samych Albańczyków. Sztuka, która koncentruje się na tematach takich, jak krwawe waśnie i zaprzysiężone dziewice (Broken April Ismaila Kadare i Sworn Virgin Elvira Dones to tylko kilka przykładów), odnosi największe sukcesy w otrzymywaniu wsparcia finansowego i międzynarodowego uznania. Takie działanie umożliwia kontynuację i rozpowszechnianie romantycznej idei kraju jako miejsca egzotycznego i niebezpiecznego.
EN
n Childe Harold’s Pilgrimage (1812–1818), Lord Byron writes these verses on Albania: “Land of Albania! let me bend mine eyes / on thee, thou rugged nurse of savage men!” One of the most memorable visits to the region, eternally immortalized in Thomas Phillips’ Portrait of Lord Byron in Albanian Dress (1813), Lord Byron’s evocation in this poem presents a commonplace perspective on the region as a land of savage men, a view further reinforced by the Balkans’ bloody history and one which has been internalized by its inhabitants as well. Lord Byron’s evocation is echoed by other Western visitors like Edith Durham and Edward Lear who in 1848 writes that, in Albania there is “luxury and the inconvenience, on the one hand, liberty, hard living and filth on the other.” Although these statements contain fragments of truth, especially pertaining to the luxurious landscape and the poverty of rural areas, an orientalist lens, as defined by Edward Said, is also at work. Here, the West defines the East as the other, a place of savage wilderness which has been slowly erased by industrialization in their home countries. The particular danger of this perspective lies in its absorption and perpetuation by the region itself. Art that focuses on topics like blood feuds and sworn virgins (Broken April by Ismail Kadare and Sworn Virgin by Elvira Dones are only a few examples) are the most successful in receiving financial support and international acclaim, thus enabling their continuation and proliferation of the Romantic idea of the country as an exotic and dangerous place.
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Kozak w Brukseli, czyli Mariana Pankowskiego krytyczny zamysł na styku kultur

51%
Burnatowski J.
Postscriptum Polonistyczne
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2012
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issue 1(9)
181-195
EN
The article attempts to reinterpret Marian Pankowski’s literary project. The author that has been marginally present in Polish reception, read once again in the context of modern theo-ries and discourses reveals the maturity and timeliness of his themes, asking difficult ques-tions concerning the identity of man in the 20th century. The author of Matuga is interested in the very foundations of pre-modern world; he asks questions about the sense of religion, meaning of the traditionally perceived concept of nationality and ‘functionality’ of pre- Victorian model of morality. In the article author’s conviction, such artistic attitude was possible only due to constant existence between the home country and the exile, between East and West, due to some ‘world-being’ that enabled him to ask a reader some difficult questions about condition of the contemporary man, question missing in Polish literature at that time. The author of the article is also convinced that the most important and interesting cultural (and literary) processes always take place at the borderlands, where different cultures, genres and identities meet. Such notion is based on postcolonial theory by Edward Said.
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