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Said Edward W. Orientalism.

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Culture and Imperialism

CULTURE

AND

IMPERIALISM

Edward W. Said

VINTAGE BOOKS

A Division of Random House, Inc.

New York

FffiSTVINTAGE BOOKS EDillON,JUNE 1994

Portions of this work, in different versions, have appeared in Field Dty Pamphlets, Grand Street, the Gtumlitm, Lond011 Reuiew ofBoolts, Nr.o Left Rer;iew, Rttrittm, the

Penguin edition

of Kim, Rme tmd Class, and Wdliams: CritiuJ Persp"tivtt, edited by Terry Eagleton. Grateful acknowledgment is made to Harcourt Brace Jovanovich, Inc. and Faber and Faber Ltd., for permission to reprint "Tradition and the Individual nlent" from Sektted &>Library of Congress Cataloging-in-Publication Data

Said, Edward W.

Culture and imperialism/Edward W. Said-1st Vintage Booka ed.

P· em.

Originallypubliohed: New York: Knopf, 1993.

Includes bibliogr•phical rcti.rences and index.

ISBN 0-679-75054-1

I. European literature -Hiotory and criticism-Theory, etc.

2. Uterarore-Hiororyand criticism-Theory, etc. 3. Imperialism in literature.

4. Colonies in literature. 5. Politics and culture.

I. Tide. [PN761.S28 1994]

809' .894-dc20

CIP 93-43485

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2 I

For

Eqbal Ahmad

The conquest of the eanh, which mostly means the taking it away from those who have a different complexion or slightly flaner noses than ourselves, is not a preny thing when you look into it roo much.

What redeems it

is the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea--something you can set up, and bow down before, and offer a sacrifice to

JosEPH CoNRAD, Heart of.Darlmess

Contents

Introduction xi

CHAPTER ONE

OVERLAPPING TERRITORIES,

INTERTWINED HISTORIES

Empire, Geography, and Culture

3

II Images of the Past, Pure and Impure IJ

Ill Two Visions in Hem of Darkne.t 19

IV Discrepant Experiences

3' v Connecting Empire to Secular Interpretation 43

CHAPTER TWO

CONSOLIDATED VISION

Narrative and Social Space 61

II Jane Austen and Empire 8o

Ill The Cultural Integrity of Empire

97

IV The Empire at Work: Verdi's Aida Ill

v The Pleasures of Imperialism 131

VI The Native Under Control 161

VII Camus and the French Imperial Experience 169

VIII A Note on Modernism J86

X II III IV v II III

Contents

CHAPTER THREE

RESISTANCE AND OPPOSITION

There Are Two Sides

Themes of Resistance Culture

Yeats and Decolonizarion

The Voyage In and the Emergence of Opposition

Collaboration, Independence, and Liberation

CHAPTER FOUR

FREEDOM FROM DOMINATION IN THE FUTURE

American Ascendancy: The Public Space at War

Challenging Orthodoxy and Authority

Movements and Migrations

Notes Index 191
209
220
2 39
262
z82

3°3

]26

Introduction

A bout five years after Orienta/ism was published in 1978, I began to gather together some ideas about the general relationship between culture and empire that had become clear to me while writing that book.

The first

·result was a series oflectures that I gave at universities in the United States, Canada, and England in·1985 and 1986. These lectures form the core argu ment of the present work, which has occupied me steadily since that time.

A substantial amount

of scholarship in anthropology, history, and area studies has developed arguments I put forward in OrieniiiJiJm, which was limited to the Middle East. So I, too, have tried here to expand the argu ments of the. earlier book to describe a more general pattern of relationships between the modern metropolitan West and its overseas territories.

What are .some

of the non-Middle Eastern materials drawn on here? European writing on Africa, India, parts of the Far East, Australia, and the Caribbean; these Africanist and Indianist discourses, as some of them have been called, I see as part of the general European effort to rule distant lands and peoples and, therefore, as related to Orientalist descriptions of the

Islamic world,

as well as to Europe's special ways of representing the Caribbean islands, Ireland, and the Far East What are striking in these discourses are the rhetorical figures one keeps encountering in their descrip tions of"the mysterious East," as well as the stereotypes about "the African [or Indian or Irish or Jamaican or Chinese] mind;" the notions about bring ing civilization to primitive or peoples, the disturbingly familiar ideas about flogging or death or extended punishment being required when "they" misbehaved or became rebellious, because "they" mainly understood force· or violerice best; "they" were. not like "us," and for that reason de• served to be ruled. xii Introduction Yet it was the case nearly everywhere in the non-European world that the coming of the wl-iite man brought forth some sort of resistance. What I left out of Orimtalirm was that response to Western dominance which cul minated in the great movement of decolonization all across' the Third World. Along with armed resistance in places as diverse as nineteenth century Algeria, Ireland, and Indonesia, there also went considerable efforts in cultural resistance almost everywhere, the assertions of nationalist identi ties, and, in the political realm, the creation of associations and parties whose common goal was self-determination and national independence. Never was it the case that the imperial encounter pitted an active Western intruder against a supine or inert non-Western native; there was ai'Wayr some form of active resistance, and in the overwhelming majority of cases, the resistance finally won out.

These two

factors-a general world-wide pattern of imperial culture, and a historical experience of resistance against empire--inform this book in ways that make it not just a sequel to

Orimtalirm but an attempt to do

something else. In both books I have emphasized what in a rather general way I have called "culture." As I use the word, "culture" means two things in particular. First of all it means all those practices, like the arts of descrip tion, communication, and representation, that have relative autonomy from the economic, social, and political realms and that often exist in aesthetic forms, one of whose principal aims is pleasure. Included, of course, are both the popular stock of lore about distant parts of the world and specialized knowledge available in such learned disciplines as ethnography, historiogra phy, philology, sociology, and literary history. Since my exclusive focus here on the modem Western empires of the nineteenth and twentieth centu ries, I have looked especially at cultural forms like the novel, which I believe were immensely important in the formation ofimperial attitudes, references, and experiences. I do not mean that only the novel was important, but that

I consider it

the aesthetic object whose connection to the expanding societies of Britain and France is particularly interesting to study. The prototypical inodern realistic novel is Robinson Cru.roe, and certainly not accidentally it is about a European who creates a fiefdom for himself on a distant, non

European island.

A great deal

of recent criticism has concentrated on narrative fiction, yet very little attention has been paid to· its position in the history and world of empire. Readers of this book will quickly discover that narrative is crucial to my argument here, my basic point being that stories are at the heart of what explorers and novelists say about strange regions of the world; they also become the method colonized people use to assert their own identityquotesdbs_dbs29.pdfusesText_35
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