Late Style as Resistance in the Works of Edward Said, Mahmoud Darwish, and Mourid Barghouti

2021 ◽  
pp. 31-46
Author(s):  
Tahrir Hamdi
Keyword(s):  
Edward Said ◽  
Critical Moment ◽  
Late Style ◽  
Impending Death ◽  
The Face

This chapter critically engages with Edward W. Said’s conceptualization of ‘Late Style’ in light of continued catastrophic occurrences in Palestine. It argues that a ‘lateness of beginnings’ represents the Palestinian intellectual’s deepest resistance against catastrophe, impending death, dispossession, and colonization. In the face of continued catastrophe, resistance in post-millennial Palestine is currently being reinvigorated by the creativity of new Palestinian generations, who have attained a metaphorical lateness by the very means of the repetition of the catastrophic. The chapter explores the reconfiguration of Late Style resistance in the works of Edward Said, Mahmoud Darwish, and Mourid Barghouti, arguing that these intellectuals’ works are important in foregrounding an oppositional criticism in the face of divisionist agendas at this most critical moment in the continuation of the Palestinian struggle.

scholarly journals Beethoven's Mask and the Physiognomy of Late Style

2020 ◽  
Vol 43 (3) ◽  
pp. 143-169
Author(s):  
Abigail Fine
Keyword(s):  
Popular Imagination ◽  
Late Style ◽  
Critical Tradition ◽  
The Face ◽  
Late Works

This article shows how discourse on Beethoven's late works has been underpinned by material fascination with the composer's body, most apparent in the cult veneration of his dying face, which was commodified in the form of his mask. From 1890 to 1920 in Germany and Austria, Beethoven's mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm Hüttenbrenner that recounted Beethoven's death as a heroic battle with the storm clouds. Two conflicting physiognomies—the stubborn Napoleonic commander and the suffering Christ-like redeemer—led to a critical divide that saw late works as either transcendent of, or marred by, suffering. When we unmask a prehistory of late style, we see how modern discourse on lateness still orbits around this tension between the spiritual and material, between transcendence and decay, and how this critical tradition crystallized around Theodor W. Adorno's stark resistance to the transcendent deathbed that was epitomized by the writings of Ludwig Nohl. Lateness, then, has a hidden backbone in a popular fascination with the artist's body. This same fascination led many to imagine Beethoven's final compositions as almost tangible traces of his person, hearing his late Adagios as “grave-songs,” as the composer's dying voice.

Female Intersubjectivity: Violence, Women, and Elegy in Lee Chang-dong’s Poetry

2020 ◽  
Vol 25 (1) ◽  
pp. 237-261
Author(s):  
Jung Ja Choi
Keyword(s):  
Alzheimer’S Disease ◽  
Alzheimer's Disease ◽  
Young Girl ◽  
Korean Society ◽  
South Korean ◽  
Impending Death ◽  
The Face ◽  
The Dead ◽  
Sex Crime

Abstract This article explores the configuration of female intersubjectivity demonstrated in the film Poetry (Si, 2010) by Lee Chang-dong (Yi Ch’angdong), as well as the power of poetry to conjure the dead and provide space and voice for marginalized and silenced women. The focus of the film is Mija, a woman in her mid-sixties who works as a caregiver to a disabled man while raising a grandson on her own. Just as Mija discovers that her grandson has been implicated in a sex crime that led to a girl’s death, she learns that she herself is in the first stage of Alzheimer’s disease. It is through poetry that Mija mourns her own impending death and also that of the young girl, who is otherwise consigned to oblivion under the phallocentric order of South Korean society. Lee Chang-dong’s film, this article argues, shows that despite the impossibility of poetry in the face of tragedy, lyric imagination offers women the power to escape the patriarchal imposition of silence and preserve a story of their own.

Elaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said

Paragraph ◽  
2008 ◽  
Vol 31 (3) ◽  
pp. 265-280 ◽  
Author(s):  
KATHERINE FRY
Keyword(s):  
Narrative Structure ◽  
Musical Analysis ◽  
Edward Said ◽  
Late Style ◽  
Musical Works ◽  
Utopian Thinking ◽  
The Aesthetic

This article examines the role of the aesthetic in the criticism of Edward Said through a reading of two lesser-explored texts, Musical Elaborations (1991) and On Late Style (2006). It explores how, by drawing upon ideas from Gramsci and Adorno, Said advocates a convergence of social and aesthetic approaches to musical analysis and criticism. Although critical of some of the tensions arising from Said's varying perspectives on music and society, the article suggests that we can nonetheless detect a distinctive ideology of the aesthetic in Said's writings on music. It argues that Said's ideas on the temporal or narrative structure of certain musical works or performances function, within his wider thinking, as an aesthetic paradigm for undermining fixed identity and linear or totalizing narratives. Thus Said's reflections on music do not simply retreat from social and political concerns, but rather elaborate a utopian thinking regarding the interface between criticism and the aesthetic.

Edward said, late style and the aesthetic of exile

Third Text ◽  
1997 ◽  
Vol 11 (38) ◽  
pp. 15-24
Author(s):  
Tim Lawrence
Keyword(s):  
Edward Said ◽  
Late Style ◽  
The Aesthetic

scholarly journals André Gide en Égypte : l’inachèvement et la créativité

2014 ◽  
Vol 11 (2) ◽  
pp. 42-52
Author(s):  
Elizabeth Geary Keohane
Keyword(s):  
Writing Process ◽  
Edward Said ◽  
Andre Gide ◽  
Nous Pouvons ◽  
Late Style ◽  
De Se ◽  
Creative Space ◽  
Nous Examinons ◽  
André Gide ◽  
Article Analyse

Cet article analyse un ouvrage d’André Gide, Carnets d’Égypte, dans le contexte de ‘late style’, un concept adornien développé par Edward Said. Bien que Carnets d’Égypte représente un des derniers ouvrages de Gide, il ne s’agit pas d’une tentative de créer une impression de complétude ni de couronner une œuvre variée. C’est plutôt un espace créatif où il peut se permettre de se concentrer sur l’inachèvement. Nous examinons donc ce que Gide a choisi de ne pas ‘terminer’ ou même de ne pas ‘finaliser’ – le voyage lui-même et surtout le processus d'écriture qui s'ensuit. Pour Said, ‘late style’ est une attitude que nous pouvons déceler chez certains auteurs qui se trouvent devant la mort. Se concentrer sur l’inachèvement et non sur la complétude dans un tel cas révèle une certaine résistance chez Gide qui est tout de même productive, car elle arrive à faire avancer le processus d’écriture. André Gide in Egypt: the Unfinished and the Creative Process This article analyses a work by André Gide, Carnets d’Égypte, in the context of 'late style', an Adornian concept developed by Edward Said. Although Carnets d’Égypte is one of Gide’s final works, it does not attempt to create a sense of completeness nor does it attempt to crown a varied body of work. It is instead a creative space where he can allow himself to concentrate on the incomplete or the unfinished. I therefore examine what Gide has chosen not to ‘finish’ or even not to ‘finalise’ – that is, the journey itself and more particularly, the related writing process. For Said, ‘late style’ is an attitude that can be detected in certain authors facing death. Concentrating in such a case on what remains unfinished, instead of on completeness, reveals a certain resistance on Gide’s part which is nonetheless productive, since it manages to advance the writing process.

The “Oceanic Feeling” and Confrontation with Death

2021 ◽  
Vol 69 (3) ◽  
pp. 513-534
Author(s):  
Richard D. Chessick
Keyword(s):  
Nineteenth Century ◽  
Karl Jaspers ◽  
Human Psychology ◽  
Christopher Bollas ◽  
Impending Death ◽  
The Face ◽  
Transformational Experiences ◽  
The Aesthetic ◽  
Century Science

Freud’s explanation of Rolland’s “oceanic feeling” is reconsidered in the light of similar phenomena that occur in the face of impending death, such as the experiences described by Socrates in Plato’s Phaedo, and the aesthetic and transformational experiences described by Christopher Bollas. These phenomena are included in what Karl Jaspers calls “ciphers.” Other examples are presented to indicate the need to consider such phenomena in human psychology, phenomena that have been neglected in psychoanalysis due to the profound but arbitrary influence of Freud’s analysis of the “oceanic feeling,” an analysis based on the outmoded rigid assumptions of classical nineteenth-century science.

Introduction

More Time ◽  
2019 ◽  
pp. 1-37
Author(s):  
Lee Clark Mitchell
Keyword(s):  
Comprehensive Analysis ◽  
Edward Said ◽  
Late Style ◽  
Theodor Adorno ◽  
Jhumpa Lahiri ◽  
History Of ◽  
Contemporary Writers ◽  
Richard Ford

This introduction begins with a comprehensive analysis of the short story’s range, encapsulating a brief history of its practice and criticism from Poe onwards. As prelude to chapter analyses of four contemporary writers who have transformed the field, it offers an assessment of two exceptional stories focused on memory, by Richard Ford and Jhumpa Lahiri, before turning to Raymond Carver’s minimalism and issues raised by his stylistic alterations. The conception of “late style,” introduced by Theodor Adorno and revived by Edward Said in 2006, is then brought into question, along with the short story’s treatment as a distinct genre. A conclusion provides an overview of the book’s structure and rationale, outlining the distinctive storytelling qualities of the quartet of writers, as well as definitions of their late styles.

scholarly journals The G-Immunoglobulins in Acute Leukemia in Children Hematologic and Immunologic Relationships

Blood ◽  
1969 ◽  
Vol 33 (2) ◽  
pp. 198-206 ◽  
Author(s):  
OZDEN KIRAN ◽  
SAMUEL GROSS
Keyword(s):  
Acute Leukemia ◽  
Disease Process ◽  
Cytotoxic Agents ◽  
Temporary Reduction ◽  
Impending Death ◽  
The Face ◽  
Continuous Use ◽  
The Relationship ◽  
Igg Level ◽  
Leukemia In Children

Abstract Serial IgG determinations were carried out on 29 children with acute leukemia. With the exception of the pretreatment assays, all determinations were performed during the course of specific antileukemic therapy. Following the initial introduction to cytotoxic agents, a significant, although temporary, reduction in IgG level occurred. The continuous use of antileukemic agents did not alter the IgG levels. Relapses, responsive to changes in therapy, were usually associated with moderate reductions in the IgG levels. Greater reductions in IgG levels occurred following the institution of changes in therapy. In both instances the declines were followed by a return in IgG to the normal range. Declines of significantly greater magnitude and rate occurred in those patients no longer capable of responding to therapy changes. In such patients, levels below 3.8 to 3.5 mg./ml. signified impending death, a lack of response to infection and inability to evoke an IgG response. An example of the interrelationships between clinical and immunologic responsiveness is shown by the patient in complete relapse with a normal IgG assay, who went into remission and had an impressive IgG response following a rubeola infection. Shortly thereafter, her disease process entered an irreversible relapse stage with an IgG level of 2.9 mg./ml., and death occurred within 30 days following a bacterial septicemia. The relationship between hematologic and immunologic responsiveness raises the provocative question of paradoxically maintaining an immunologically responsive state as a means of prolonging the survival time in the face of persistent immunosuppressive therapy.

scholarly journals Corpus absconditum: imagens do Oriente e ideologia na representação do corpo feminino na imprensa

2011 ◽  
Vol 18 (3) ◽  
pp. 700
Author(s):  
Alberto Carlos Augusto Klein ◽  
Dulce Mazer
Keyword(s):  
Female Body ◽  
The Body ◽  
Edward Said ◽  
International Media ◽  
Islamic Tradition ◽  
The Press ◽  
The Face ◽  
The Media ◽  
The Individual ◽  
Religious Aspects

Em 11 de outubro de 2010 foi aprovada na França uma lei que proíbe o uso de vestimentas que cubram integralmente o rosto, impedindo o reconhecimento do indivíduo, o que afetou diretamente o costume islâmico de vestir a burqa ou o niqab. Tal decisão provocou intenso debate na mídia internacional do mesmo modo que suscitou discussões sobre o lugar do corpo na religião e na cultura. A partir do conceito de orientalismo de Edward Said, este trabalho compara duas formas de representação do corpo intensamente mobilizadas pela imprensa ocidental. Assim, este artigo aborda a negação da visibilidade do corpo feminino na cultura islâmica e sua redução a determinados estereótipos em contraste com a superexposição corporal da mulher ocidental. Além dos aspectos culturais e religiosos que distanciam ambas as representações, este trabalho propõe que a intolerância ocidental diante do corpus absconditum advém do valor de visibilidade propagado pela sociedade midiática do Ocidente, particularmente pela imprensa. Palavras-chave: Comunicação; Corpo feminino; Islamismo. Corpus absconditum: images of the East and ideology in the representation of the female body in the press AbstraRAct On October 11, 2010 a law that prohibits the use of clothing that fully cover the face was approved in France, preventing there cognition of the individual, which directly affected the Islamic tradition of wearing the burqa or niqab. This decision provoked intense debate in the international media the same way that triggered discussions about the place and role of the body in religion and culture. Inspired by the concept of orientalism of Edward Said, this paper compares two ways of representing the body highlighted by western press. Thus, this article discusses the denial of the visibility of the female body in Islamic culture and its reduction to certain stereotypes in contrast to the body overexposure of western women. Besides the cultural and religious aspects that set both kinds of representation apart, this study suggests that the western intolerance of the corpus absconditum derives as well from the visibility value propagated by the media society of the West, particularly by the press. Keywords: Communication; Female body; Islam.

scholarly journals Living actively in the face of impending death: constantly adjusting to bodily decline at the end-of-life

2015 ◽  
Vol 7 (2) ◽  
pp. 179-188 ◽  
Author(s):  
Deidre D Morgan ◽  
David C Currow ◽  
Linda Denehy ◽  
Sanchia A Aranda
Keyword(s):  
End Of Life ◽  
Impending Death ◽  
The Face
Sign in / Sign up

Export Citation Format

Share Document