Though best known for his political writings (Orientalism), Said was also, from 1986 until his death in 2003, the music critic for the Nation, and this collection draws together reviews from that publication and other magazines. Said had very firm opinions and lashed out against New York City's classical music scene in the 1980s and early '90s for produci...
Though best known for his political writings (Orientalism), Said was also, from 1986 until his death in 2003, the music critic for the Nation, and this collection draws together reviews from that publication and other magazines. Said had very firm opinions and lashed out against New York City's classical music scene in the 1980s and early '90s for producing safe but grimly uninteresting performances and repertories. Instead of simply blaming the intellectual cowardice of most contemporary musicians, however, he was able to provide detailed technical critiques of a conductor's handling of a Beethoven symphony or a singer's inadequacies in a Wagnerian role. Glenn Gould's intellectualized style of playing was a source of fascination to the critic, and new biographies or films about the pianist would inevitably draw his attention. Said also writes about his friendship with Daniel Barenboim (who contributes an introduction), which leads to one of the few discussions of Middle Eastern politics; a review of the controversial opera The Death of Klinghoffer sparks another. For the most part, however, his attention is strictly on the music, and he proves himself to have been astute and passionately engaged. (Nov.)
萨义德（Edward W. Said, 1935—2003），美国文学理论家与批评家，哥伦比亚大学英国文学与比较文学教授，其撰文与观点屡见于各大报纸杂志，在当今世界具有广泛世界影响力。为《国家民族政坛杂志》撰写音乐专栏多年。代表作有：《东方学》（Orientalism）《文化与帝国主义》（Culture and Imperialism）《从奥斯陆到伊拉克以及路线图》（From Oslo to Iraq and the Road Map）《权力、政治与文化》（Power, Politics, and Culture）《平行与矛盾》（Parallels and Paradoxes，与巴伦博伊姆合著）以及《论晚期风格》（On Late Style）。
萨义德（Edward W. Said, 1935—2003），美国文学理论家与批评家，哥伦比亚大学英国文学与比较文学教授，其撰文与观点屡见于各大报纸杂志，在当今世界具有广泛世界影响力。为《国家民族政坛杂志》撰写音乐专栏多年。代表作有：《东方学》（Orientalism）《文化与帝国主义》（Culture and Imperialism）《从奥斯陆到伊拉克以及路线图》（From Oslo to Iraq and the Road Map）《权力、政治与文化》（Power, Politics, and Culture）《平行与矛盾》（Parallels and Paradoxes，与巴伦博伊姆合著）以及《论晚期风格》（On Late Style）。
译者：
庄加逊，毕业于上海交通大学，外国文艺理论硕士，翻译、作家。译作包括《古尔德读本》(The Glenn Gould Reader，格伦· 古尔德著)、《为什么是马勒？》（Why Mahler?，诺曼· 莱布雷希特[Norman Lebrecht] 著）、《亲爱的阿尔玛》（Gustav Mahler: Letters To His Wife，马勒著，与曹利群合译）等。编译有《雅纳切克私信集》（莱奥什•雅纳切克[Leos Janacek] 著）。著有《陌上花来：回归与远行》。
梅梢 译 The core repertory of Western classical music is dominated by a small number of composers, mostly German and Austrian, mostly of the 18th and 19th centuries. In their work, perfection – of form, melody, harmony and rhythm – is common; in fact it o...
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爱德华·W·萨义德 作者
阿卡迪亚
江苏文艺出版社2012版
王小刀
广西师范大学出版社2019版
哲夫成城
江苏文艺出版社2012版
努力看书的白白
广西师范大学出版社2019版
0 有用 Daisy Li 2011-11-04 23:49:46
薩義德同學不但研究orientalism，也寫過很漂亮的關於音樂的文字。可是，您不必爲了Barenboim的一篇序言，就把他誇成非人類吧。您讚美Glenn Gould那些文字我們自然提不出異議，可是將誇Gould先生的話（甚至更炫目的讚美）用在Barenboim身上，後者未免當不起吧。而且，您明顯對Ashkenazy爺爺有成見，對他演奏和指揮的評價遠稱不上中肯。。。
0 有用 Daisy Li 2011-11-04 23:49:46
薩義德同學不但研究orientalism，也寫過很漂亮的關於音樂的文字。可是，您不必爲了Barenboim的一篇序言，就把他誇成非人類吧。您讚美Glenn Gould那些文字我們自然提不出異議，可是將誇Gould先生的話（甚至更炫目的讚美）用在Barenboim身上，後者未免當不起吧。而且，您明顯對Ashkenazy爺爺有成見，對他演奏和指揮的評價遠稱不上中肯。。。