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In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists. Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He u In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists. Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He uncovers the conflicts and complexity that often distinguish artistic lateness, resulting in works that stood in direct contrast to what was popular at the time and were forerunners of what was to come in each artist's discipline-works of true genius. Eloquent and impassioned, brilliantly reasoned and revelatory, On Late Style is Edward Said's own great last work.


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In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists. Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He u In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists. Said shows how the approaching death of an artist can make its way into his work, examining essays, poems, novels, films, and operas by such artists as Beethoven, Genet, Mozart, Lampedusa, Euripides, Cavafy, and Mann, among others. He uncovers the conflicts and complexity that often distinguish artistic lateness, resulting in works that stood in direct contrast to what was popular at the time and were forerunners of what was to come in each artist's discipline-works of true genius. Eloquent and impassioned, brilliantly reasoned and revelatory, On Late Style is Edward Said's own great last work.

30 review for On Late Style: Music and Literature Against the Grain

  1. 5 out of 5

    Khawla Al jafari

    في هذا الكتاب يتحدّث إدوارد سعيد عن اللحظة الثَّالِثَة التي تتشكَّل منها حياة المرء ؛ حين يبدأ الجسم بخيانة صاحبه باعتلاله وتردّيه ، عند تلك اللحظة تصبحُ استباقات الموت أكثر بروزًا ورقّة في التّعبيرات الفنية ( الموسيقيّة والشّعريّة ..) في تلك اللحظة يصبح سؤال المعنى أكثر إلحاحًا وأرقًا . هل نصبحُ أكثر نضجًا عندما نتقدّم في العمر ؟ الإجابة ليست بهذه البداهة .. هامش : Johnny cash في آخر أغانيه ومنها( Hurt )عبّر عن الأسلوب الأخير ؛ لوعة هائلة وتفجّع على فقدان الذّات قبل فقدانها .

  2. 4 out of 5

    Mark

    From 2010 reading:I first read Said's On Late Style a few years ago, and returned to re-read it in light of some more recent publications. What is "lateness", as Said defines it? "Lateness" as a concept is not necessarily restricted to an artists's late compositions, but is rather a condition. Said challenges earlier definitions of lateness that focus on maturity and serenity, preferring rather to focus on style characterized by "intransigence, difficulty, and unresolved contradiction". Said tak From 2010 reading:I first read Said's On Late Style a few years ago, and returned to re-read it in light of some more recent publications. What is "lateness", as Said defines it? "Lateness" as a concept is not necessarily restricted to an artists's late compositions, but is rather a condition. Said challenges earlier definitions of lateness that focus on maturity and serenity, preferring rather to focus on style characterized by "intransigence, difficulty, and unresolved contradiction". Said takes his cue from Adorno, who sees in Beethoven's final works an art that is "uncreconciled, uncoopted by a higher synthesis: they do not fit any scheme, and they cannot be reconciled or resolved, since their irresolution and unsynthesized fragmentariness are constitutive, neither ornamental nor symbolic of something else." These works are characterized by negativity: "...where one would expect serenity and maturity, one instead finds a bristling, difficult, and unyielding--perhaps even inhuman--challenge." Said exands this thesis out to examine late works in opera, film, and literature, focussing on those compositions that "remain uncreconciled, uncoopted by a higher synthesis". These qualites are located in Strauss, Britten, Thomas Mann, Euripides, and Lampedusa, and woven into a broad cultural critique. Althpugh Adorno's essay on Beethoven was well known, Said's exposition has reverberated in the years since the publication of On Late Style. The analysis of "lateness" is now a scholarly position, as eveidenced by such new monographs as Margaret Notley's "Lateness and Brahms", which places Brahms's last works in the context of music and culture at the twilight of Viennese liberalism. Said's book is a collection of essays brought together after his death, and though necessarily lacking a final, unifying summation, are nonetheless highly illuminating, and essential reading for any analyst of culture.

  3. 5 out of 5

    Maz

    أعجبني طرح فكرة ذاتية الأعمال المتأخرة للفنانين رغبةً في تخليدها بعمق وبُعدهم عن التقليد عند إحساسهم بقرب الموت.

  4. 5 out of 5

    طاهر الزهراني

    دائما عندما أقرأ إدوارد سعيد .. أتصوره شجرة وارفة آلت إلى السقوط في وقت مبكر.. كم هذا يؤلمني.. .. الكتاب يتحدث عن الأسلوب المتأخر، والمقصود به هو أسلوب المبدع المتأخر سواء كان موسيقيا أو مسرحيا أو روائيا، أو أي قالب إبداعي آخر، هو يتحدث عن النضج المتأخر الذي نلمسه في النصوص، أو كما يسميه هرمان بروش "أسلوب الشيخوخة" ذلك الأسلوب الذي يتفتح مع وطأة الموات الداهم، أو الذي يتجلى قبل دنو الكهولة أو الموت، بحيث يبلغ المبدع اوج إبداعه. يذكر إدوارد سعيد في هذا الكتاب أن الأسلو المتأخر "له القوة على التعبير عن دائما عندما أقرأ إدوارد سعيد .. أتصوره شجرة وارفة آلت إلى السقوط في وقت مبكر.. كم هذا يؤلمني.. .. الكتاب يتحدث عن الأسلوب المتأخر، والمقصود به هو أسلوب المبدع المتأخر سواء كان موسيقيا أو مسرحيا أو روائيا، أو أي قالب إبداعي آخر، هو يتحدث عن النضج المتأخر الذي نلمسه في النصوص، أو كما يسميه هرمان بروش "أسلوب الشيخوخة" ذلك الأسلوب الذي يتفتح مع وطأة الموات الداهم، أو الذي يتجلى قبل دنو الكهولة أو الموت، بحيث يبلغ المبدع اوج إبداعه. يذكر إدوارد سعيد في هذا الكتاب أن الأسلو المتأخر "له القوة على التعبير عن الخيبة واللذة دون أن يحل التناقض بينهما، هو ذاتية الفنان الناضجة، مجردة من العجرفة والتفخيم، لا تخل من كونها معرضة للخطأ" لعلي هنا أتذكر موقفا ظريفا تحدث عنه صالح علماني عندما التقى بيوسا ذات مرة وتحدث معه عن خطأ معرفي وقعه فيه يوسا، فرد عليه يوسا بأن هذه من أخطاء التلاميذ! هذه الحادثة غير موجودة في الكتاب ولكنها نقلت لي، ولكن يتضح منها سمات النضج، طبيعة من يمتازون بالأسلوب المتأخر في أعمالهم. في الكتاب يتحدث إدوارد سعيد عن نماذج عديدة، بتهوفن، جان جينيه، طوماس مان وغيرهم. الكتاب عبارة عن سبعة فصول، خمسة منها يتحدث فيها إدوارد عن الأسلوب المتأخر في الموسيقى، لهذا ربما الحديث دون تصور عن الموسيقى، وخاصو ما يخص الأوبرا والمسرحيات الموسيقية وغيرها من الفنون التي لم نحفل بها.. يكفي شعرت أني تحدثت كثيرا...

  5. 5 out of 5

    Lobstergirl

    "Lateness" is an interesting prism through which to critically view an artist's works. I'm more familiar with lateness in Beethoven - the way the late piano sonatas, for example, are structurally, thematically, quite odd and different compared to the others. Maturity, senescence, decay, approaching death. (Death in Venice, which Said uses as one of his examples, is actually not a late work of Mann's, but the Britten opera based on it is a late work of Britten's.) These are separate essays previo "Lateness" is an interesting prism through which to critically view an artist's works. I'm more familiar with lateness in Beethoven - the way the late piano sonatas, for example, are structurally, thematically, quite odd and different compared to the others. Maturity, senescence, decay, approaching death. (Death in Venice, which Said uses as one of his examples, is actually not a late work of Mann's, but the Britten opera based on it is a late work of Britten's.) These are separate essays previously published in other places, which Said and his wife and editor gathered together as Said himself knowingly approached death. It's a topic I'd like to see explored by other critics in full-length books. Said's writings, particularly on music, are like comfort food to me, and I'm always sad to come to the end of one of his collections.

  6. 5 out of 5

    Fahad Alqurain

    حين تقرأ لإدوارد سعيد فأنت تقرأ كتاب عميق ومفيد . هذا الكتاب فسحة في الموسيقى

  7. 5 out of 5

    John David

    Edward Said, perhaps best known for “Orientalism,” one of the most-recognized and important contributions to post-colonial studies, wrote the essays in “On Late Style” shortly before his death. The sense of “lateness” – of mortality, of obsolescence – permeates them, and they cover everything from the music of Strauss, Mozart, and Beethoven, to the political activism of Jean Genet, to “Il Gattopardo” (as envisioned by both Lampedusa and Visconti). In many ways, this is Said’s last conversation w Edward Said, perhaps best known for “Orientalism,” one of the most-recognized and important contributions to post-colonial studies, wrote the essays in “On Late Style” shortly before his death. The sense of “lateness” – of mortality, of obsolescence – permeates them, and they cover everything from the music of Strauss, Mozart, and Beethoven, to the political activism of Jean Genet, to “Il Gattopardo” (as envisioned by both Lampedusa and Visconti). In many ways, this is Said’s last conversation with Theodor Adorno, whose presence deeply informs his criticism in many of these essays. The book begins by reading around lateness as an aspect of chronological development – as synonymous with maturity – and opens the concept up as something that can realize “intransigence, difficulty, and unresolved contradiction,” instead of the facile harmony and resolution that seeks the end of all tension. Said claims that late style refuses to reconcile what is impossible to reconcile, and that this reconciliation is oftentimes just a refusal to accept difference. It “grasps the difficulty of what cannot be grasped and then goes forth to try anyway.” Musicologist Rose Subotnik says of the late work of Beethoven, no doubt with his Missa Solemnis or the Ninth Symphony in mind, “no synthesis is conceivable [but is in effect] the remains of a synthesis, the vestige of an individual human subject sorely aware of its wholeness, and consequently the survival, that has eluded it forever.” It is this idea of lateness – which is quite distinct from, but not completely unrelated to, mortality and death – which Said puts to critical use in these wonderful essays. While I think that everything in the book is worth reading, a few essays especially jumped out as being worthy of attention. In “Return to the Eighteenth Century,” Said sets out to carve a middle path between two radically different opinions on the late operas of Richard Strauss. Adorno’s rejection and derision of them is total, saying that he “intended to master music without submitting to its discipline” and that “his ego ideal is now fully identified with the Freudian genital-character who is uninhibitedly out for his own pleasure.” Compare this with Glenn Gould’s hagiographic characterization of Strauss as “more than the greatest man of music of our times.” In one of the most convincing arguments made in the book, Said argues against Adorno’s accusation of Strauss being a Beidermeier relic, and that he went a long way in countering Wagner’s theatrical idiom of “history as a grand system to which everyone and every small narrative is subject,” becoming the “keeper of the art of our fathers.” The most compelling and readable essay in the collection is “On Jean Genet,” an autobiographical account of Said’s two encounters with Genet during the early 1970s. The second of these, which took place in Beirut, allowed Said to learn about Genet’s role in Palestinian activism, which was passionate and total. Through a reading of “Les Paravents,” Said argues that because of Genet’s lifelong marginality as a thief, prisoner, and homosexual, that he was able to sympathize with Palestinians without the Western rose-colored glasses of Orientalism. I recommend this for anyone, especially those seriously interested in classical music. For Said admirers who have only known him as a literary critic, these essays open up whole new vistas by displaying the full panoply of his concerns and academic interests. While I have the suspicion that many musicologists would disagree with his characterizations of, for example, Mozart and late Beethoven and perhaps Strauss, these are nevertheless well-wrought essays constructed with lapidary reasoning. These essays are all the more poignant because Said knew that he was in the last stages of his fight with leukemia as they were being written. Readers who admire Said for his clear presentation of sometimes very opaque ideas will not be disappointed with this collection.

  8. 4 out of 5

    Steven

    Objective is the fractured landscape, subjective is the light in which – alone – it glows into life. He [the artist] does not bring about their harmonious synthesis. As the power of dissociation, he tears them apart in time, in order, perhaps, to preserve them for the eternal. In the history of art late works are the catastrophes. (160)This is the notion of 'late style' that Said takes from Adorno and develops in his book On Late Style. Unfortunately, Said died passed away before he could finish Objective is the fractured landscape, subjective is the light in which – alone – it glows into life. He [the artist] does not bring about their harmonious synthesis. As the power of dissociation, he tears them apart in time, in order, perhaps, to preserve them for the eternal. In the history of art late works are the catastrophes. (160)This is the notion of 'late style' that Said takes from Adorno and develops in his book On Late Style. Unfortunately, Said died passed away before he could finish it; the book itself therefore isn't how Said must have imagined it, and the chapters (which are formed mostly from essays and lecture notes) form a somewhat disjointed whole, and do not stick as firmly to Said's central exploration of 'late style' as one might like. I am also not entirely convinced that Said successful demonstrates that the phenomenon of late style exists, although I'm inclined to agree with him (and Adorno) that it does. Perhaps, with more time to work on it, Said would have demonstrated the manifestation of late style more satisfactorily, in greater depth, and with a wider range of evidence. Having said that, there were certainly moments of clarity and acuity. There were three chapters that I thought were especially good: On Jean Genet, which offers captivating anecdotes about and a critical discussion of Genet and his work, A Lingering Old Order, which focuses on di Lampedusa, Visconti, and Gramsci, particularly in the context of (Southern) Italy, and Glimpses of Late Style, which sums up Said's notion of 'late style', with wonderful examples from Cavafy and Mann. These three chapters, taken together, showcase Said's powers as a writer and essayist, and even by themselves provide abundant material for consideration.

  9. 4 out of 5

    Ali Almatrood

    في هذا العمل، الأخير لإدوارد سعيد، يقدّم نفسه باعتباره ناقدًا فنيًا عمومًا، وموسيقيًا خصوصًا، وهو الذي يتقن العزف على الپيانو، وضليع جدًا في فهمه الموسيقي من خلال قراءته لأدورنو أولاً، وعدّة نقّاد ومتخصصين موسيقيين. يبرز أدورنو في هذه الدراسة، حيث اسمه أكثر اسمٍ ذُكر، في محاولة لفهم شخصيات متعددة جدًا، من ضمنها بيتهوڤن مثلاً، وهو الذي -كما أظن- يستلهم منه إدوارد سعيد فكرته الرئيسية في الكتاب: الأسلوب المتأخر. إدوارد سعيد هنا، يشرّح الفنانين والموسيقيين باعتبارهم يُظهرون ذروتهم الموسيقية في أواخر في هذا العمل، الأخير لإدوارد سعيد، يقدّم نفسه باعتباره ناقدًا فنيًا عمومًا، وموسيقيًا خصوصًا، وهو الذي يتقن العزف على الپيانو، وضليع جدًا في فهمه الموسيقي من خلال قراءته لأدورنو أولاً، وعدّة نقّاد ومتخصصين موسيقيين. يبرز أدورنو في هذه الدراسة، حيث اسمه أكثر اسمٍ ذُكر، في محاولة لفهم شخصيات متعددة جدًا، من ضمنها بيتهوڤن مثلاً، وهو الذي -كما أظن- يستلهم منه إدوارد سعيد فكرته الرئيسية في الكتاب: الأسلوب المتأخر. إدوارد سعيد هنا، يشرّح الفنانين والموسيقيين باعتبارهم يُظهرون ذروتهم الموسيقية في أواخر فتراتهم الموسيقية. الذروة التي تظهرهم عراة، بعيدًا عن التأثر التام بالتموضع الاجتماعي والتاريخي. حيث "مراهقتهم" المخفية، والتي يجد فيها إدوارد قيمةً فنية عالية، تظهر في أساليبهم المتأخرة. التحليل النقدي لإدوارد سعيد في هذا الكتاب متقن وذكي جدًا، قادر على تفكيك مسيرة الفنان الذي يشرّحه بأدوات دقيقة، بحيث لا يترك مجالاً لعدم التفكير في إعادة قراءته مرةً وأخرى، والرجوع له باعتباره مصدرًا لقراءات أخرى أيضًا...

  10. 5 out of 5

    Wm

    Great concept. Mostly focused on opera so it wasn't that interesting to me, but the first and last chapters and the chapter on The Leopaard were great. Great concept. Mostly focused on opera so it wasn't that interesting to me, but the first and last chapters and the chapter on The Leopaard were great.

  11. 5 out of 5

    Angus George

    There's a sanctity to this book, because it was (ironically, or perhaps unironically) published posthumously so has a special status as Said's last work. It's fantastically written, informed but with clarity. Where it struggles though, is when the discourse deviates in favour of an enthusiasm. There's a sanctity to this book, because it was (ironically, or perhaps unironically) published posthumously so has a special status as Said's last work. It's fantastically written, informed but with clarity. Where it struggles though, is when the discourse deviates in favour of an enthusiasm.

  12. 5 out of 5

    Chedy R.

    شهرة إدوارد سعيد في البلدان العربية متعلقة خاصة بمواقفه من القضية الفلسطينية والإستشراق وبدرجة أقل "الثقافة والإمبريالية"، لكنه معروف عالمياً خاصة بكونه ناقدا. وهنا ينتزل كتاب "عن الأسلوب المتأخر: موسيقى وأدب ضد التيار"، وهو منقوص لأن سعيد توفي ولم يكمله. الأسلوب المتأخر يعتني بالأدب والموسيقى المنتجة في الفترات الأخيرة من الحياة، والتي يبرهن إدوارد سعيد على أنها غالبا ما تكون "ضد التيار"، بل تكون أحيانا معارضة تماما لتوجهات الكاتب أو الملحن. الاعتناء بالموسيقى هنا في آخر أعمال إدوارد سعيد كالخات شهرة إدوارد سعيد في البلدان العربية متعلقة خاصة بمواقفه من القضية الفلسطينية والإستشراق وبدرجة أقل "الثقافة والإمبريالية"، لكنه معروف عالمياً خاصة بكونه ناقدا. وهنا ينتزل كتاب "عن الأسلوب المتأخر: موسيقى وأدب ضد التيار"، وهو منقوص لأن سعيد توفي ولم يكمله. الأسلوب المتأخر يعتني بالأدب والموسيقى المنتجة في الفترات الأخيرة من الحياة، والتي يبرهن إدوارد سعيد على أنها غالبا ما تكون "ضد التيار"، بل تكون أحيانا معارضة تماما لتوجهات الكاتب أو الملحن. الاعتناء بالموسيقى هنا في آخر أعمال إدوارد سعيد كالخاتمة "اللازمة" للإرتقاء إلى مصاف فلاسفة مدرسة فرانكفورت مثلا (وسعيد كان يعتبر نفسه "التلميذ الوحيد الحقيقي لادورنو" ببعض المزاح). يعود ادورنو ليطل مع كل فصل في هذا الكتاب، وغرامشي أيضا. في سبعة فصول، يمر إدوارد سعيد من الإنتاج الثقافي للقرن الثامن عشر إلى الكاتب الملتزم (بقضايا التحرر الوطني) في النصف الثاني من القرن العشرين مرورا بأدب وموسيقى ما بين الحربين (وقد يكون تحليل إنتاج هذه الفترة من أهم ما كتبه إدوارد سعيد، خاصة على جمهورية فيمار وفيينا الحمراء). على كل حال، لقراءة هذا الكتاب والإستفادة منه، يجب أن يمتلك القارئ ثقافة موسيقية كلاسيكية متنوعة بعض الشيء لمجاراة نقد إدوارد سعيد. بالنسبة إلى النقد الأدبي، فهو يتطلب دراية مختص، ولو أن بعض الأمثلة العزيزة على سعيد تتكرر (والتي تعود في "الثقافة والإمبريالية" وغيرها من الكتب).

  13. 4 out of 5

    Wafaa Golden

    لم أستطع أن أقيّم الكتاب بنجمات وذلك لأنّه أوّلاً كتاب قيّم لا شكّ.. وبالتّالي ربّما يستحقّ أربع أو خمس نجمات.. ولكن.. الكتاب ليس لي ولم يقدّم لي أيّ معلومة ممكن أن أضيفها لي.. ولكنّي سمعت مقابلة مع إدوارد سعيد وذكره فدفعني الفضول - وأنا التي أحبّ أن أقرأ له - أن أقرأه وأطّلع عليه وبالتّالي لو قيّمته بنجمة واحدة أو نجمتين لكنت غبنته حقّه.. إدوارد سعيد غني عن التّعريف وكتبه وكتاباته وثقافته واطّلاعه قلّ نظيرهما.. والكتاب عبارة عن نقده ورؤيته لمقطوعات موسيقيّة وهو الخبير المتذوّق للموسيقى والأوبّرا وف لم أستطع أن أقيّم الكتاب بنجمات وذلك لأنّه أوّلاً كتاب قيّم لا شكّ.. وبالتّالي ربّما يستحقّ أربع أو خمس نجمات.. ولكن.. الكتاب ليس لي ولم يقدّم لي أيّ معلومة ممكن أن أضيفها لي.. ولكنّي سمعت مقابلة مع إدوارد سعيد وذكره فدفعني الفضول - وأنا التي أحبّ أن أقرأ له - أن أقرأه وأطّلع عليه وبالتّالي لو قيّمته بنجمة واحدة أو نجمتين لكنت غبنته حقّه.. إدوارد سعيد غني عن التّعريف وكتبه وكتاباته وثقافته واطّلاعه قلّ نظيرهما.. والكتاب عبارة عن نقده ورؤيته لمقطوعات موسيقيّة وهو الخبير المتذوّق للموسيقى والأوبّرا وفنونها.. ويعكس مدى تمكّنه من هذا الفن وتذّوقه له.. وبالتّالي استطاع أن يقدّم تحليله الدّقيق هذا.. الكتاب جيّد لا بل ممتاز لمن هو على اطّلاع واسع على هؤلاء المؤلّفين والكتاب ونتاجهم الفنّي.. وفاء تمّوز 2017

  14. 5 out of 5

    Connor

    I read this as a companion to Death by Water, which I realize now used this as a framing device in many ways. Ngl, much of the music talk was over my head, but the chapters with Adorno and Genet were incredibly well-written and formulated. I'm going to have to explore all the music that was discussed in this book, as I was unfamiliar with most of it. The basic premise is that Said is exploring the concept of Late Style, meaning the works authors/composers produce at the end of their career that a I read this as a companion to Death by Water, which I realize now used this as a framing device in many ways. Ngl, much of the music talk was over my head, but the chapters with Adorno and Genet were incredibly well-written and formulated. I'm going to have to explore all the music that was discussed in this book, as I was unfamiliar with most of it. The basic premise is that Said is exploring the concept of Late Style, meaning the works authors/composers produce at the end of their career that are difficult, untenable, almost incomprehensible.

  15. 5 out of 5

    Hind89

    رجل كثير لا ينقطع..!

  16. 4 out of 5

    Svalbard

    Lo “stile tardo”, secondo Edward Said, autore di questo saggio, che peraltro si rifà ampiamente al pensiero del filosofo Theodor W. Adorno, è una specifica categoria creativa. Più specificamente, è una fase che cronologicamente avviene al termine del periodo creativo di un qualsiasi autore, ma non è necessariamente collegata al momento senile; piuttosto può essere identificata come una stagione di progressiva indifferenza alle forme e alle tematiche del proprio tempo, a volte anche un tentativo Lo “stile tardo”, secondo Edward Said, autore di questo saggio, che peraltro si rifà ampiamente al pensiero del filosofo Theodor W. Adorno, è una specifica categoria creativa. Più specificamente, è una fase che cronologicamente avviene al termine del periodo creativo di un qualsiasi autore, ma non è necessariamente collegata al momento senile; piuttosto può essere identificata come una stagione di progressiva indifferenza alle forme e alle tematiche del proprio tempo, a volte anche un tentativo di trascenderle, non alla ricerca di un “oltre” (che, per forza di cose, non ci potrebbe essere) quanto piuttosto di una riflessione autoreferenziale e scompositiva. A questo fine, sempre sulla scorta del pensiero di Adorno che viene assunto come guida, Said affronta una serie di autori e di artisti dei più vari, cercando di identificare lo “stile tardo” della loro produzione. Si parla di Beethoven e delle sue ultime composizioni, di Tomasi di Lampedusa e del film di Visconti tratto dal Gattopardo, di Glenn Gould e delle sue mitiche interpretazioni di Bach, così come di morte a Venezia e dell’opera che ne ha tratto Britten (stranamente, in questo caso non del film di Visconti). Si parla anche di Jean Genet, e la conversazione su di lui (che Said aveva conosciuto personalmente) diventa un pretesto per parlare anche delle vicende libanesi, dei movimenti palestinesi, dell’Intifada e questioni correlate, alle quali Genet partecipò attivamente e verso le quali Said, date le sue origini palestinesi, è piuttosto sensibile, nonostante tutto il suo pensiero sia solidamente inserito nel campo della cultura e della filosofia occidentale. Tutto quello che Said scrive è di grande profondità e interesse, nonostante uno stile molto denso e alquanto difficile, soprattutto quando (piuttosto spesso) sviluppa i pensieri di Adorno. In effetti, quando avevo 16 anni o poco più leggevo strenuamente Adorno, cercavo faticosamente un senso nelle cose che diceva e magari lo trovavo pure. Adesso le stesse cose mi sembrano le supercazzole di uno che probabilmente era già un vecchio brontolone quando era lui, ad avere 16 anni. E la cosa tragica è che un’intera generazione di musicisti quelle cose le ha prese sul serio, producendo di conseguenza musica volutamente inascoltabile, dando del fascista a chi utilizzava ancora l’accordo maggiore, e creando uno scollamento tra musica “colta” e “leggera” ben peggiore di quello contro cui protestava Adorno. Detto in breve, il pensiero di Adorno è che, dato che il mondo è brutto e cattivo, qualsiasi tentativo – artistico o d’altro genere – di trovarvi gioia e bellezza è inevitabilmente falso, ipocrita, deviante rispetto alla dura verità – quella che viene espressa, ad esempio, con la musica dodecafonica o atonale. Molto interessante, a questo proposito, fare un paragone tra la visione di Così fan tutte proposta nel libro che ho recentemente letto, “Ma Susanna non vien”, e in questo. Se in quello l’opera mozartiana viene vista come un inno alla gioia del poliamore, un superamento delle convenzioni romantiche oltre il quale c’è un modo di essere e di amare più ricco e gratificante, qui la stessa opera viene vista come un disvelamento, agito da Ferrante il filosofo ai quattro giovani innamorati ed idealisti, di una realtà cinica e arida nella quale i sentimenti valgono poco, sono pronti a mutarsi e a disseccarsi, non vi sono certezze né bellezze nel cammino che conduce verso la “tardività”, cristallizzazione estetica che – of course – è un’anticipazione della morte. A questo proposito, ci sarebbe da chiedersi quanto sia utile e soprattutto produttivo questo lasciarsi andare a melanconicissime, intorcinatissime e soprattutto alla fin fine sterili e inutili riflessioni, da parte di filosofi, intellettuali e pensatori vari, sul tema della fine, della morte, del senso, e via dicendo. Molto più sano e sensato, a mio parere, l’atteggiamento di coloro che fanno finta di niente, si bombano di viagra e si fanno mettere una pompetta nell’affare per trombarsi la Ruby di turno fino al loro ultimissimo giorno.

  17. 5 out of 5

    Yaser Maadat

    عن الأسلوب المتأخر موسيقى وادب عكس التيار "ان امتياز الأسلوب المتأخر يكمن في أن له القوة على التعبير عن الخيبة واللذة دون أن يحل التناقض بينهما، فما يجمعهما في التوتر -بما هما قوتان متعادلتان تشدان في اتجاهين متناقضين- هو ذاتية الفنان الناضجة، مجردة من العجرفة والتفخيم، لا تخجل من كونها معرضة للخطأ ولا من الطمأنينة المتواضعة التي اكتسبتها نتيجة العمر والمنفى." ادوارد سعيد يبني ادوارد سعيد كتابه هذا على فكرة أصلية ظهرت في سلسلة مقالات قام ثيودور ادورنو بنشرها، بغرض نقد الأسلوب المتأخر باعتباره ردة " عن الأسلوب المتأخر موسيقى وادب عكس التيار "ان امتياز الأسلوب المتأخر يكمن في أن له القوة على التعبير عن الخيبة واللذة دون أن يحل التناقض بينهما، فما يجمعهما في التوتر -بما هما قوتان متعادلتان تشدان في اتجاهين متناقضين- هو ذاتية الفنان الناضجة، مجردة من العجرفة والتفخيم، لا تخجل من كونها معرضة للخطأ ولا من الطمأنينة المتواضعة التي اكتسبتها نتيجة العمر والمنفى." ادوارد سعيد يبني ادوارد سعيد كتابه هذا على فكرة أصلية ظهرت في سلسلة مقالات قام ثيودور ادورنو بنشرها، بغرض نقد الأسلوب المتأخر باعتباره ردة "رجعية" تبرز كظاهرة في الموسيقى الأوروبية تحديدا، ولكن سعيد في كتابه "الذي توفي قبل أن ينهيه بالمناسبة" يقلب منطق ادورنو رأسا على عقب، لا بل انه يوجه تقريحا لاذعا لادورنو الذي يتهمه بتشويه الماركسية عبر ترويجه لنسخة شمولية انهزامية منها، موردا نقد ادورنو للأسلوب المتأخر عند لودفيغ فان بيتهوفن "معبود سعيد الموسيقي"، وخصوصا تهكم ادورنو على بيتهوفن العجوز "الذي لا يسمع" وسخريته منه! على الرغم من كل النقد الذي وجهه سعيد لادورنو، الا أنه في النهاية أفرد كتابا لعرض أمثلة من الموسيقى والأدب اللذين يسيران عكس التيار، باتباع الأسلوب المتأخر الذي يبين نضوج الفنان أحيانا، كما هو الحال في موسيقى شتراوس وبيتهوفن، فيما يتفق سعيد مع ادورنو في الردة الرجعية لبعض الأدباء في أحيان أخرى كما هو حال رواية الفهد للامبيدوزا والتي أخرجها الماركسي فيسكونتي للسينما، في اطار ارستقراطي بائد يعبر عن ردة الأخير الرجعية. الفصل الأجمل برأيي في هذا الكتاب هو معالجة سعيد لأدب جان جينيه النضالي، سواء عبر مناصرة الثورة الجزائرية أولا أو عبر الالتصاق بالنضال الفلسطيني أخيرا، متوسطا ذلك بالحديث عن خطاب جينيه المناصر للفهود السود في جامعة كولومبيا التي كان سعيد نفسه يدرّس فيها، حيث يسلط سعيد الضوء على أدب جينيه القيمي الأخلاقي الذي يتجاوز سارتر ويطعن كولونيالية كامو في الصميم.

  18. 5 out of 5

    David Hollywood

    Informative and full of interesting thoughts and facts yet I felt these essays were written more for and to himself rather than for the benefit of an audience and consequently much of Said's impact lacked the force I expected, but very well worth reading. Informative and full of interesting thoughts and facts yet I felt these essays were written more for and to himself rather than for the benefit of an audience and consequently much of Said's impact lacked the force I expected, but very well worth reading.

  19. 5 out of 5

    David Allison

    Anything that seems like mere digression is part of the subtle argument, and adds to the description of a type of talent that is made possible by conditions it seeks to abolish, disrupt or supersede entirely.

  20. 5 out of 5

    Andrew Austin

    A lot to meditate on in the short but dense study on the last style of various artists.

  21. 5 out of 5

    Salma Osama

    ممتع

  22. 4 out of 5

    Frank

    This is a posthumously-published collection of essays. He was in the process of writing this book when he passed away on September 25, 2003 according to the forward, written by his wife Mariam. The subject 'late style' refers to works produced by artists, musicians and authors near the end of their lives. Said has interesting things to observe, examine and discuss about these works, and what he finds is not the obvious -- reflections on mortality, the preciousness of life, fear of death, wonderin This is a posthumously-published collection of essays. He was in the process of writing this book when he passed away on September 25, 2003 according to the forward, written by his wife Mariam. The subject 'late style' refers to works produced by artists, musicians and authors near the end of their lives. Said has interesting things to observe, examine and discuss about these works, and what he finds is not the obvious -- reflections on mortality, the preciousness of life, fear of death, wondering about an afterlife and/or religion -- no. He talks of none of this. Rather, Said notices that artists at this stage of their life have nothing to prove, and are more free to discard formalism in their works. They arrive at a maturity which lets them strip hubris and pandering to popular tastes from their work in order to pursue ideas in possibly purer fashion. It helps if the reader is familiar with the works Said discusses -- by artists such as Beethoven, Genet, Mozart, Lempedusa, Euripides, Mann, and Britten, among others. I would venture to say that Said is an intellectual's intellectual. He presents his ideas clearly but also clearly enjoys highbrow conversation. He does not shy from politics nor culture. Said is a fan of T.W. Adorno, who's ideas frequently pop up in the discussions...an author who is new to me and whom I intend to check out. These essays are very rich, and I needed time to think about one before starting the next. Said's use of language is very scholarly but bursting with ideas. I enjoyed this book very much, and the essays will make me return to see and hear the works they examine with new perspectives.

  23. 4 out of 5

    Hazem Barakat

    "إن أي أسلوب فني يتضمن باديء بدء علاقة الفنان بزمانه، فالنتاج الجمالي، على الرغم من فرديته غير القابلة للنقض، يبقى جزءا من العصر الذي أنتجه وصدر فيه، هكذا عبر موزارت في موسيقاه عن أسلوب أوثق ارتباطا بعوالم البلاط والكيسة من بيتهوفن أوفاغنر، وكلاهما صادر عن بيئة علمانية شديدة الارتباط بالعبادة الرومانسية للإبداع الفردي". يناقش إدوارد سعيد ما يسميه الأسلوب المتأخر للفنان أو الأديب عند اقتراب نهاية حياته، خروجه عن المقبول والمألوف، عناده في خلق تناقض بلا حل ضد المجتمع والمفاهيم كمعركة أخرى في صراعه "إن أي أسلوب فني يتضمن باديء بدء علاقة الفنان بزمانه، فالنتاج الجمالي، على الرغم من فرديته غير القابلة للنقض، يبقى جزءا من العصر الذي أنتجه وصدر فيه، هكذا عبر موزارت في موسيقاه عن أسلوب أوثق ارتباطا بعوالم البلاط والكيسة من بيتهوفن أوفاغنر، وكلاهما صادر عن بيئة علمانية شديدة الارتباط بالعبادة الرومانسية للإبداع الفردي". يناقش إدوارد سعيد ما يسميه الأسلوب المتأخر للفنان أو الأديب عند اقتراب نهاية حياته، خروجه عن المقبول والمألوف، عناده في خلق تناقض بلا حل ضد المجتمع والمفاهيم كمعركة أخرى في صراعه الأخير مع الواقع، يقدم سعيد رؤية عن منتجين ثقافيين في المراحل الأخيرة في حياتهم وسيرهم عكس التيار في هذه الفترة، في بحث عن ذاتهم أو في عنادهم للموت. تعتبر قراءة الكتاب تحديا في حد ذاتها، غزارة المعلومات عن الموسيقى والأدب ومقاربتها للواقع تفرض على القارىء التوقف عند كل صفحة للبحث عن الارتباط التاريخي للمقطوعة الموسيقية أو العمل الأدبي المذكور، كتاب أكثر من رائع، وترجمة فواز طرابلسي تعتبر عملا فنيا بحد ذاتها.

  24. 5 out of 5

    سعاد العنزي

    It is as sam a as Said's valuable books, and I think we need to apply this great notion of lateness in our cultural productions in order to examine them profoundly by asking how books, or other sorts of culture's productions reflect our time and place's issues in one sense. From another side, we have to investigate the validity of the works of the the writers who write at the late of their life inconsistently with their own previous work in terms of style, structure of the work, and themes as we It is as sam a as Said's valuable books, and I think we need to apply this great notion of lateness in our cultural productions in order to examine them profoundly by asking how books, or other sorts of culture's productions reflect our time and place's issues in one sense. From another side, we have to investigate the validity of the works of the the writers who write at the late of their life inconsistently with their own previous work in terms of style, structure of the work, and themes as well.

  25. 5 out of 5

    Lorraine

    I was initially unimpressed -- waiting for the 'oomph' which exists in essays by Adorno and company -- and not finding it. But this collection is remarkably lucid, and definitely worth a read based on its interesting ideas and its emphasis on belatedness. It was very very late night reading for me, so I'm afraid I can't do it justice -- but I was determined to give Mozart a try, after reading his essay on Cosi Fan Tutte. The essay on Glenn Gould is, too, an incredible piece I think, with many ob I was initially unimpressed -- waiting for the 'oomph' which exists in essays by Adorno and company -- and not finding it. But this collection is remarkably lucid, and definitely worth a read based on its interesting ideas and its emphasis on belatedness. It was very very late night reading for me, so I'm afraid I can't do it justice -- but I was determined to give Mozart a try, after reading his essay on Cosi Fan Tutte. The essay on Glenn Gould is, too, an incredible piece I think, with many observations on Bach that are spot on.

  26. 4 out of 5

    Night RPM

    For me, this is the seminal text of the last decade, on criticism. The best thing about it? No need to read Adorno to brush up on the late style theory. After reading this book, you will want to lose yourself in the late Mozart operas, Richard Strauss, Cavafy, Glenn Gould recordings, di Lampedusa, Jean Genet, etc. etc. etc. ....

  27. 4 out of 5

    Rob

    said's elegy to adorno and himself. a couple of beautiful essays on glenn gould and adorno's concept of late style. feels a bit patched together because it was, as said didn't finish it before he died. said's elegy to adorno and himself. a couple of beautiful essays on glenn gould and adorno's concept of late style. feels a bit patched together because it was, as said didn't finish it before he died.

  28. 5 out of 5

    Jessie

    The last chapter was definitely my favorite

  29. 4 out of 5

    jordan

    The chapter on Genet is the most helpful to my work; for the other chapters I was just along for the [have to take your word for it] ride.

  30. 5 out of 5

    Ed

    Disappointing work that is bitty and not a really coherent set of insights.

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