By Edward W. Said
During this vintage paintings, now up to date, the writer of Culture and Imperialism reveals the hidden agendas and distortions of undeniable fact that underlie even the main "objective" insurance of the Islamic world.
From the Iranian hostage difficulty during the Gulf struggle and the bombing of the realm exchange middle, the yank information media have portrayed "Islam" as a monolithic entity, synonymous with terrorism and spiritual hysteria. while, Islamic international locations use "Islam" to justify unrepresentative and sometimes repressive regimes. Combining political observation with literary criticism, Covering Islam keeps Edward Said's lifelong research of the ways that language not just describes but in addition defines political fact.
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Extra info for Covering Islam: How the Media and the Experts Determine How We See the Rest of the World
If there is something a bit startling about the emerging empathy between the play’s German and its Jew, even less have the universalist prejudices of our culture prepared us for its Arab — a crazed Arab, to be sure, but crazed in the distinctive ways of his culture. He is intoxicated by language, cannot discern between fantasy and reality, abhors compromise, always blames others for his predicament, and in the end lances the painful boil of his frustrations in a pointless, though momentarily gratifying, act of bloodlust.
Leave aside the abominable diction and jaw-shattering jargon of the writing. What you have is not an idea at all, but a series of clichés mixed with unverifiable assertions that reflect the “thought” of “Syrians” much less than they do Miller’s. Miller gilds her paper-thin descriptions with the phrase “my friend,” which she uses to convince her reader that she really knows the people and consequently what she is talking about. It is as if she believes that her “friends” tell her intimate things that only she has been able to pry out of them.
These are fairly common, by no means recondite, phrases; and her mistakes are not just errors of transliteration, which she laboriously forgives herself for in advance at the book’s start. They are crude mistakes committed by a foreigner who neither has the care nor the respect for her subject that after twenty-five years earning a living out of it she might have taken the trouble to acquire. ” Shadia, the popular Egyptian actress, is rendered pretentiously as Sha’adia, indicating that Miller does not even know the difference between letters of the Arabic alphabet.