By Mathieu E. Courville
Ontends that Said's interpretation of the secular isn't the utter contrary of faith within the glossy globalized international. "Edward Said's Rhetoric of the Secular" offers a tremendous new examining of Edward W. Said's paintings, emphasizing not just the excellence but additionally the bushy borders among representations of 'the religious' and 'the secular' came upon inside and all through his oeuvre and on the middle of a few of his so much known rhetorical ideas. Mathieu Courville starts by way of studying Said's personal reflections on his lifestyles, ahead of relocating directly to key debates approximately Said's paintings inside of spiritual reports and center japanese stories, and his dating to French serious theorists. via shut realization to Said's use of the literal and the figurative while facing spiritual, nationwide and cultural issues, Courville discerns a development that illuminates what stated skill by way of secular. Said's paintings indicates that the secular isn't the utter contrary of faith within the sleek globalized international, yet may perhaps exist in a effective pressure with it.
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Extra resources for Edward Said's Rhetoric of the Secular
The Palestinian disaster (or nakba) is human: the destruction of a society, the dispossession and painfully secular, mundane exile that followed, the loss to Zionism of the right even to have a history and a political identity. 35 32 Edward Said’s Rhetoric of the Secular In 1948, the Saids lost their family home in Jerusalem. 36 Said’s father, a man he describes as a great businessman, had established the center of his commercial undertakings in Cairo; to there, Said’s family moved. 5. 38 Said’s father left the region to come to America.
What is past is past and irrevocable; the wise man has enough to do with what is present and to come,” he often said, quickly adding “Lord Bacon” as an authoritative seal to close a subject he didn’t want to discuss. 52 Cairo, where the Saids remained after 1948, was not a place free from anticosmopolitan tribalisms either. Said was at times made to feel the brunt of this and such dislocating experiences left deep impressions. Consider this recollection, from Said’s Memoir, of a very “acute” and very “explicit, colonial encounter”: Coming home at dusk across one of the vast outlying fields of the Gezira Club [a private leisure club of which Said’s family were members], I was accosted by a brown-suited Englishman with a pith helmet on his head and a small black briefcase hanging from his bicycle handlebars.
But this better known aspect of his cultural theory can be understood fully only in the context of his view of the role of the intellectual in contemporary society and the function of criticism itself. ” Worldliness is a fascinating aspect of a theory developed during the rise to prominence of poststructuralism, because it is so manifestly contrary to the general trend of critical theory over the last few decades. Despite the widespread celebration of Orientalism, Being and Not Being a “Mere” Book 29 and its pivotal place in postcolonial theory, it is the concept of “worldliness” which stands as Said’s most significant contribution to critical theory.