Book Description
Originally published in 1985, Neil Postman's groundbreaking polemic about the corrosive effects of television on our politics and public discourse has been hailed as a twenty-first-century book published in the twentieth century. Now, with television joined by more sophisticated electronic media—from the Internet to cell phones to DVDs—it has taken on even greater significance. Amusing Ourselves to Death is a prophetic look at what happens when politics, journalism, education, and even religion become subject to the demands of entertainment. It is also a blueprint for regaining controlof our media, so that they can serve our highest goals.
Customer Reviews:
Outstanding book - must read.......2007-09-27
One of the best books on the danger posed by entertainment to our civic community.
Important read.......2007-09-04
This book asks questions that we need to be asking but aren't. How can we not at least question the media and technology that we take in like oxygen? It's an important read and I recommend it to anyone who isn't apathetic.
The Audio Was Great.......2007-09-03
If you like people like Colin Wilson, you will love this well written and well thought out book. It is like listening to Colin Wilson without the references to literature but the lessons are intact.
Another "Thin" Classic From Postman.......2007-06-22
This is Postman's most famous and widely read book (as is attested by the more than 100 customer reviews here on Amazon) and it is, as other reviewers have suggested, a classic in the Media Studies field. The songwriter Roger Waters was inspired enough to title his album "Amused to Death" after reading Postman's book (although Postman states in one of his later works that he himself would never stoop to listening to the likes of a "Roger Waters").
Instead of giving the usual plot synopsis here as other reviewers have done, I would like instead to perform for you a Media Studies reading of the book. That is to say, instead of reviewing the book's contents, I would like to draw your attention to the medium and format of the book itself, and in doing so, point out what this reveals about Postman as a philosopher.
To begin with the most important point: there are no pictures. Anywhere. And not only is this true of Amusing Ourselves to Death, it is true of every single one of Postman's books. This should alert us to something very important here about Postman: he is iconophobic. He is engaged in a battle against images of any, and every, kind. Not even Marshall McLuhan was so antipathetic to the use of images and illustrations, for his very first book, The Mechanical Bride, is a series of commentaries upon advertisements. In the age old battle of the Word vs. the Image -- a battle which goes way, way back before the twentieth century to the Iconoclastic debates amongst the Greek Byzantines whose iconophobes were in fact influenced by the aniconism of Islam, an entire religion which, like Judaism, had been based upon a rejection of images -- Postman, in this tradition, definitely aligns himself on the side of the Word against the iconophiles, be they Catholics or Hindus or lovers of comic books, or whomever.
Also, you will not find any references to works of art of any kind in this book. Postman apparently has an antipathy to painting and imagery of any kind whatsoever, be it "classical" or electronic. It is important to point this out because it reveals, in the tradition of Harold Innis, Postman's essential "bias" in this book. Indeed, Postman's dialogue with Camille Paglia, published in an old issue of Harper's, underlines this point, for Paglia is as much an iconophile as Postman is an iconoclast. "In the beginning was the Word," Postman quotes, as though to clarify his own personal theology, before proceeding onward with his dialogue with Paglia.
The next thing to notice about the book is its brevity. It is very short, as in fact, are all Mr. Postman's books, for Postman has been quoted as saying that he does not believe in writing long books, and that if one cannot express oneself in two hundred pages or less, then one has no business writing a book. The bibliography, accordingly, is also short, and so apparently Mr. Postman did not feel the need to read many books in order to write this book.
For Postman really only has a single point to make here, and it is an important point which he argues persuasively and eloquently: television is taking over our culture, and all our thought patterns in every aspect or division of our culture is taking its cue from the syncopated, discontinuous and ahistorical "mentality" of television. How this has affected our reading habits, and whether those reading habits still continue, albeit in a changed manner, Postman fails to address. For people have not stopped reading books; instead, they continue to read books, but their expectations of the book have changed. The brevity of Postman's book is itself perhaps an example of what happens to sustained intellectual discourse in the Electronic Age: books get shorter because our attention spans (Postman's included) have shrank. Nobody wants to wade through books on the scale and magnitude of Spengler's Decline of the West or Hegel's Phenomenology of the Spirit. I notice, furthermore, that the sorts of books which Postman exhibits in his Bibliography are, one and all, short books.
Thus, here is the secret of Postman's book: Postman himself suffers from the very same attention deficit disorder that he castigates others for having suffered at the hands of Electronic Society.
Hmm. One would expect a professor of Media Studies who was as well read and thoughtful as Postman to engage our attention for a while longer. If this book is the greatest thing Postman ever wrote, then we must confess, alas, that Postman's work does not contain a single magnum opus on the level of a Gutenberg Galaxy or an Understanding Media. Perhaps this fact in itself is evidence of a general decline in intellectual and literary ability in our culture during the latter half of the twentieth century.
The reader should not understand that I am saying that there is anything wrong with Amusing Ourselves to Death. But we should learn to understand its limitations in order to appreciate its place in the pantheon of Media Studies classics, upon which list, after all is said and done, Amusing Ourselves to Death places relatively low.
--John David Ebert, author Celluloid Heroes & Mechanical Dragons: Film as the Mythology of Electronic Society
Deserves to be Called a Classic.......2007-06-19
It seems unlikely that a book labeled "Current Affairs" could have a shelf life of more than a few years. It seems preposterous that a book dealing with television and referring to Dallas and Dynasty could have anything to see twenty two years after being published. Yet Neil Postman's Amusing Ourselves to Death, now in it's "20th Anniversary Edition" continues to be read and studied and to hold influence. Even today it is used as required reading in many high school and college level courses. Though written by a man who made no claim to Christianity, few modern books written by an unbeliever have been more widely read and quoted by Christians. It truly is a remarkable little book.
Postman had that rarely quality of being able to see behind a fad, behind what was late and great. He saw the significance of the rise of the image and the fall of the word, the rise of amusement and the decline of discourse. He saw that television would soon saturate every area of our lives and taint the way we understand politics, religion, education and every other area of importance. As we now transition from a television-based culture to a computer-based culture the image remains central. Perhaps we have already amused ourselves past the point of no easy return. Television is remarkably effective at doing what it does best--entertaining. Postman had no argument with television is a tool of entertainment. In fact, the best things on television are its junk and no one is seriously threatened by this. Where television fails is in attempting to do the more serious work that has traditionally been carried by the written word.
Postman makes it his goal in this book to make the epistemology of television visible, demonstrating that television's way of knowing is hostile to typography's way of knowing, and not only that, but it is inferior to it. "Serious television" is a contradiction in terms for television speaks only in the voice of entertainment, never of serious, weighty, discourse--the kind of discourse that is essential to politics, religion and education. Television's influence has been relentless, transforming our culture so that every area is now considered a venue for entertainment.
Electronic media, led by television but being superseded by the computer, has changed the way we view the world and the way we carry on any kind of public discourse. Gone are the days when content was of overwhelming importance. Instead we deal with sound bites, with discordant images torn from any kind of context, and with style when in former days we relied on substance. Politicians win and lose election campaigns not on the basis of what they say, but on the basis of how they look when they say it.
Throughout the book is an interesting interplay between Huxley's Brave New World and Orwell's 1984. In the latter an oppressive regime dominates the world while in the former the people allow themselves to be overcome by levity, by entertainment and by pleasure so that they have no need of an oppressive regime. They were controlled by their amusements. Huxley, Postman argues, had it right. And I would tend to agree.
Amusing Ourselves to Death is a good read, a disturbing read, a thought-provoking read and, dare I say it, a must-read. It deserves its status as a classic and, though already two decades out of date, it is as timely as ever.
Book Description
ONLY CONNECT is a comprehensive history of American broadcasting from its earliest days in radio, through the rise of television, to the current era of digital media and the Internet. It presents broadcasting as a vital component of American cultural identity, placing the development of U.S. radio, television, and new media in the context of social and cultural change. Each chapter opens with a discussion of the historical period, thoroughly traces the development of media policy, the growth of media industries, and the history of U.S. broadcast programming, and closes with a look at the major ways that radio and television have been understood and discussed throughout American history.
Customer Reviews:
Fast shipment!.......2005-10-05
I was impressed with the timely response to my order. The book arrived to my house in record time. It was slightly used but it served it's purpose.
Amazon.com
When quiltmaker Ozella McDaniels told Jacqueline Tobin of the Underground Railroad Quilt Code, it sparked Tobin to place the tale within the history of the Underground Railroad. Hidden in Plain View documents Tobin and Raymond Dobard's journey of discovery, linking Ozella's stories to other forms of hidden communication from history books, codes, and songs. Each quilt, which could be laid out to air without arousing suspicion, gave slaves directions for their escape. Ozella tells Tobin how quilt patterns like the wagon wheel, log cabin, and shoofly signaled slaves how and when to prepare for their journey. Stitching and knots created maps, showing slaves the way to safety.
The authors construct history around Ozella's story, finding evidence in cultural artifacts like slave narratives, folk songs, spirituals, documented slave codes, and children's' stories. Tobin and Dobard write that "from the time of slavery until today, secrecy was one way the black community could protect itself. If the white man didn't know what was going on, he couldn't seek reprisals." Hidden in Plain View is a multilayered and unique piece of scholarship, oral history, and cultural exploration that reveals slaves as deliberate agents in their own quest for freedom even as it shows that history can sometimes be found where you least expect it. --Amy Wan
Book Description
The fascinating story of a friendship, a lost tradition, and an incredible discovery, revealing how enslaved men and women made encoded quilts and then used them to navigate their escape on the Underground Railroad.
"A groundbreaking work."--Emerge
In
Hidden in Plain View, historian Jacqueline Tobin and scholar Raymond Dobard offer the first proof that certain quilt patterns, including a prominent one called the Charleston Code, were, in fact, essential tools for escape along the Underground Railroad. In 1993, historian Jacqueline Tobin met African American quilter Ozella Williams amid piles of beautiful handmade quilts in the Old Market Building of Charleston, South Carolina. With the admonition to "write this down," Williams began to describe how slaves made coded quilts and used them to navigate their escape on the Underground Railroad. But just as quickly as she started, Williams stopped, informing Tobin that she would learn the rest when she was "ready." During the three years it took for Williams's narrative to unfold--and as the friendship and trust between the two women grew--Tobin enlisted Raymond Dobard, Ph.D., an art history professor and well-known African American quilter, to help unravel the mystery.
Part adventure and part history,
Hidden in Plain View traces the origin of the Charleston Code from Africa to the Carolinas, from the low-country island Gullah peoples to free blacks living in the cities of the North, and shows how three people from completely different backgrounds pieced together one amazing American story.
Customer Reviews:
Myth, legend or history?.......2007-05-27
I have read pros and cons on the authenticity of this book and remain convinced it is a novel lacking authentic historical documentation. Some of the quilt patterns mentioned did not exist prior to 1900 and the story tellers are unavailable or deceased. Although several respected quilt historians believe the author's tales, I choose to accept Barbara Brackman's statement in her book "Facts and Fabrications...Unraveling the History of Quilts and Slavery." Ms. Brackman wrote on page 7 of her book "We have no historical evidence that quilts were used as signal, codes or maps. The tale of quilts and the Underground Railroad makes a good story, but not good quilt history." The book is a slow read and repetitive.
Not a shred of evidence!.......2007-03-22
Having personally had the privilege to study with three of the Underground Railroad's top historians: David Blight, James Horton, and Lois Horton; All three said that there is not a shred of evidence supporting the idea that quilts served as maps. Quilts were however sewn and sold as fundraisers for abolitionist groups.
Fakelore - absolutely no evidence to back up this story.......2007-03-12
Just do a search on the internet for underground railroad quilts and you will find many web sites that debunk the myths set forth in this book. Although the concept is appealing, there is absolutely no evidence other than one woman's story to back it up. Almost all underground railroad historians and quilt historians label this book as FICTION, not fact! There is so much factual material to learn about the Underground Railroad - it is an insult to the history of black Americans to perpetuate a myth.
Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad.......2007-02-19
Very interesting book, not quite what I had expected. The book traces the story line of a particular person, along with the different perspectives of educators and their arguments of the authenticity of the patterns and their meanings.
I would recommend the book to anyone who enjoys quilting, along with an interest in American History and the importance of the Underground Railroad post Civil War.
Wonderful Reading ! Highly Recommended !.......2006-09-08
I learned about this book through the drama department at my church. We are putting on a play based on the story of the quilt code presented here. I was born and raised in Charleston, South Carolina. I have visited this booth many times. As an African American and a descendent of survivors of slavery, I understand the concept of an unwritten oral history. So much of my family history that has been handed done orally by the elders in my family would probably be unbelievable also. But that does not mean that it did not occur. The Timeline, Glossary, and Bibliography are excellent tools. This book has helped the cast to start discussions and learn more about this era in United States history.
Average customer rating:
- Excellent as a Historical Text Book
- Not very good...
- A very useful beginners guide to American film.
- Movie spoiler
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American Cinema/American Culture
John Belton
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ASIN: 007004466X |
Book Description
Developed to accompany the Annenberg-funded telecourse American Cinema, and written under the aegis of The New York Center for Visual History, this text offers a fascinating look at the interplay between the movie industry and mass culture in America.
Ideal for film appreciation and film and culture courses found in Cinema Studies, English, History, American Studies, or other departments, American Cinema/American Culture first examines the industry, its narrative conventions, and its cinematographic style.
Following this introduction, students are exposed to the sweep of film history in the U.S. using five genres as the bases for discussion and focusing on the point at which each had the greatest affect on the industry, film aesthetics, and American culture.
Finally, the book concludes with a look at Hollywood post World War II, giving separate chapter coverage to the effects of the Cold War, television, the counterculture of the Sixties, directors from the film school generation, and the trends of the Eighties and Nineties.
Customer Reviews:
Excellent as a Historical Text Book.......2007-03-24
So, I expected this book to be a bit more fun. Unfortunately, the fun element is missing. However, in fairness, the book serves as a thorough textbook for the history of American Cinema and its techniques and various genres. I did enjoy reading about the early studio system and the vast amount of control this oligopoly held. There were some very good critiques and studies of specific films, and a bit about specific actors and actresses. Even a bit about directors. Though packed with information, the book just lacks an entertainment value that it could and should have pulled off based on the subject matter.
The different genres studied include:
Westerns
War Movies
Silent Films
Film Noire
Screwball Comedies
As well as an overall dissertation on Classical Hollywood Style and its various techniques.
Not very good..........2005-03-05
I got this book for a class on the history of cinema. Unfortunately, as the title implies, it only deals with American Cinema. If this is a book for school, check out the class to see if foreign films and film history will be discussed. This book is, again, as the title implies--one-sided. Most of the movies it discusses, gives away crucial plot-points and endings. Some movies that I've been dying to see were ruined in just one or two sentences. This book is also very puffed-up and biased (I don't know any other way of explaining it). Many times throughout the book, Belton seems like James Lipton of "Inside the Actor's Studio", and goes on and on about the greatness of Hollywood, actors, director's, and films with nothing negative to say. It's not at all critical of anything and the author frequently inserts his own interpretation of films into the general text, which I found a little pompous. The book does offer up some interesting facts about the early history and the birth of cinema, but there's something about the way this book was written that makes it hard to stay interested. I think the chapters about film genres exaggerate the importance of some of them, and neglects other genres completely, ie. Horror, Thriller, Mystery, Sci-fi, Animation, Epics, etc. Again, question the instructor and/or look at the class syllabus before siging up if this is the only book for this class. I don't believe this is a comprehensive and unbiased view of cinema and it's history.
A very useful beginners guide to American film........2003-01-08
Years ago I took an intro-level film class at a community college. This was the text for the class. It was accompanied (at least in my class) by a PBS video series that combined film clips with interviews and historical information. Going into the class I had little more than a passing interest in film and film history. But after taking that class, my passion for film has grown exponentially with each year. But back to the book, I really liked this book and highlighted my way from the front cover to the back cover. There are of course limitations to this book. Firstly, it deals only with American films. Secondly, this book barely breaks the 300-page mark - hardly a comprehensive volume. You aren't going to get any information on John Cassavetes here or anything. Now if you have a chance to use this book in conjunction with the PBS films, I think you'll do much better (in fact I think the vids even give a nod to Cassavetes), but even then please note that this material is for an INTRO-level film class, and won't be much good for someone who already knows a fair amount about American film. But with that in mind, the book still has a lot to offer someone looking to introduce themselves to film history.
The first third of the book starts with the birth of film, moves quickly on to the Hollywood studio system, and walks us through the basics of film style (camerawork, lighting, editing, etc.). The second third covers the basics of film genre; there is a chapter about film noir, one on comedies, one on war films, and one on westerns. This second section was particularly useful to me. I could read each chapter, jot down a list of promising titles, hit my local video store, and I was good to go. The third section covers American film after World War II. In this section things seem a little compressed. 110 pages for 50 years of film? A lot is lost on the cutting room floor. But there's lots to dig into all the same. There's a chapter on Hollywood during the McCarthy years (yikes!), one on film's evolution during the emergence of television, a chapter on 1960s counterculture films, one on the film school directors of the 1970s and 1980s, and finally a pretty weak chapter on film in the 1990s. Oh yeah, and at the end of the book there's a handy glossary (in case you're ever stuck on what point-of-view editing is) and a pretty thorough index.
Again, not a book for someone who already has a good feel for film history. But definitely a great resource for someone new to film studies, or for someone who has trouble finding a movie at Blockbuster on Fridays. It did a great job getting me excited about movies, and I imagine its done the same for others.... A good companion to this text (or possibly an all-out replacement of it) is Scorsese's VHS/DVD, "A Personal Journey With Martin Scorsese Through American Movies."
Movie spoiler.......2002-10-08
This would be a great book to read if you have no intention of watching the films discussed within, or if you've already seen them. On quite a few films, it tells the whole plot, in detail, from opening to end credits.
I also don't like the prose of the author, as he excessively uses sentences "in quotations". The writing structure is very formulaic and boring. The "5 paragraph essay" format is good for high school students learning to write, but imagine an entire book written that way. I can only read it for 15 minutes before losing interest.
The book does, however, provide plenty of examples from a variety of films.
This book is a companion piece to the PBS series by the same name. The series is much more interesting. Don't bother with the book. A much better film text is "Film: An Introduction", by William Phillips, ISBN: 0312258968.
Book Description
Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.
Customer Reviews:
The best single-volume book on film history.......2006-05-01
If you are interested in film history on the whole, please, give yourself a treat by purchasing this book. It is not cheap but it is worth every penny. I had it after a course in film history and despite being someone who usually sell or dump away my texts after graduation, I find it very hard to give this one away. Boy, am I glad I did not. As one's scope and experience in world cinema grows, so too does one's interest in this book. Bordwell and Thomas's style is academic but always enthusiastic, and theirs is the most comprehensive account of world cinema in English (pre-war Japanese cinema, anyone?). I have not found another general film book on world cinema history to match, and I will certainly be purchasing its third edition (what I have is the first) if that ever comes by.
comparison.......2006-01-26
here's a short comparison I made between the following 3 film history books:
A History of the Cinema from Its Origins to 1970 (Eric Rhode)
A Short History of the Movies (Gerald Mast)
Film History: An Introduction, (Thompson-Bordwell)
I was looking for a technical/historical overview of the development of cinema, without idiosyncratic criticism and with emphasis on the origins of film techniques, genealogy of influences of filmmakers, relevant references to history, literature and other arts, and impartial accounts of filmmakers' careers.
Instead of a verdict, I will simply quote passages about two greats:
Rhode: [about Fellini] "Fellini's greatest works are inevitably works of laughter and tears. [...] Fellini gets into trouble when he deserts feeling for thought. La Dolce vita (1959) is a sterile thematic exercise [...] In the film's first sequence, a helicopter [...] The film, intellectualy, is over. Christ has been petrified into wood; he is the tool of modern machinery [...] Although the film has nothing more to say, Fellini continues for two hours, contrasting sensual things [...] Juliet of the Spirits [...] suffers from a similar over-schematization."
Mast: [about Antonioni] "Antonioni sometimes has trouble in allowing his images to accrete meaning [...] His failure to generalize experience was to be total in La notte (1960). Lacking any understanding of how writers think and feel, his portrait of the author, [...] is so unconvincing that the spectator may be tempted to think that Giovanni's crisis of conscience is no more than a rationalization of his inability to escape from his wife's purse-strings."
Thompson-Bordwell: [about Antonioni] "From the start of his career Antonioni demonstrated a mastery of deep focus (Fig. 19.30) and the long take with camera movement (pp. 427-429). The early works also pioneered [...] Antonioni's muted dramatization of shallow or paralyzed characters found a sympathetic response in an era that also welcomed Existentialism. [...] Juan Bardem, Miklos Jansco, and Theo Angelopoulos learned from his distinctive style. Francis Ford Coppola's The Conversation (1974) and Brian De Palma's Blow-Out (1981) derive directly from Blow-Up."
nuff said...
Comprehensive, nicely packaged.......2002-02-12
I used this book in a film studies class about four years ago and I kept it because of the wealth of information. For the first time I understood the different epochs of film not only in the U.S. but also around the world. I was introduced to a wider variety of international film and the work of Eisenstein, Renoir, Kurosawa, and others. I highly recommend this book for the concise language, easy explanations, and beautiful black and white and color reproductions from many films. This book is a page turner.
Just great.......1997-02-22
this is one of the most comprensive and clear books on film history. Just great to use it as a main reference book to college student
Amazon.com
While the 16 years that have passed since the first edition of this book hit the stands have been marked by an increase in sensitivity toward many ethnic, racial, and sexual minorities, the easy acceptance of stereotypes and prejudices in the portrayal, depiction of, and reporting about Islamic peoples has remained largely constant. In this updated version of this rigorous but engaging volume Edward Said looks at how American popular media has used and perpetuated a narrow and unfavorable image of Islamic peoples, and how this has prevented understanding while providing a fictitious common enemy for the diverse American populace.
Book Description
From the Iranian hostage crisis through the Gulf War and the bombing of the World Trade Center, the American news media have portrayed "Islam" as a monolithic entity, synonymous with terrorism and religious hysteria. In this classic work, now updated, the author of Culture and Imperialism reveals the hidden agendas and distortions of fact that underlie even the most "objective" coverage of the Islamic world.
Customer Reviews:
A Must Read For The Uneducated Westerner.......2006-06-27
Edward Said is one of my favorite social writers when it comes to Middle Eastern politics. Being a Palestenian Christian, it is obvious he wouldn't simply side with the East because of his religious ties with Islam. The book is very fair in showing exactly how the West's propaganda against the Middle East is a self-fulfilled prophecy. It's undoing will certainly be its downfall. This is a must read for anyone who wants to understand some tenets of journalism and is definately a must read for anyone who has ever taken an anthropology class. Pick it up!
Interesting but flawed thesis.......2006-06-10
In the latter stages of `Orientalism', Edward Said's monumental and controversial treatise on the `otherness' of Eastern cultures as perceived by Western writers and colonial figures, the German anti-Islamist Gustave von Grunbaum - writing some five decades ago - is taken to task. Said notes his `essentially reductive, negative generalisations' about Islam and supplies quotations to substantiate the charge. Despite Said's strictures, though, von Grunebaum's statements concerning the `basic anti-humanism of Islamic civilization' which `does not separate the things of Caesar from those of God' have a definite bearing on one side of the current debate in the light of more recent catastrophic events. This view of Islam as prescriptive, authoritarian, resistant to change is by its nature `Orientalist', in the pejorative sense which Said implies, because it is held by an outsider whose Western intellectual baggage must inevitably compromise any attempt on his part to be objective. Much as I usually defer to Said's prodigious scholarship I find myself in serious disagreement with him here. Likewise, the sequel `Culture and Imperialism' contains a discussion of W.B. Yeats in which Said objects to two American commentators on post '79 Iran quoting Yeats in their reports. He feels that the words of Ireland's greatest poet about `the worst being full of passionate intensity' would be better applied to the Western colonial intervention of 1953 than to those caught up in, or leading, the upheaval which would be its eventual outcome. Of course, many would take the view that Yeats' `Second Coming' could quite legitimately be referred to when the subject of the Ayatollah Khomeini's bloodstained Islamofascist regime is under discussion.
Unfortunately this propensity for denial and omission to some extent pervades `Covering Islam'. Written in the wake of Iran's 1979 `revolution' and the ensuing hostage crisis it deals with Western media perception of Islam and the Islamic world. Essentially what is presented is a further ramification of the argument in `Orientalism', which is referred back to, concerning the problem of negative, sometimes racist, Muslim stereotypes in mainly the US media. `I have no quarrel with the view that the Islamic world is in a dreadful state', Said concedes, acknowledging that at least some of the criticism might be justified. He also admits that most Islamic societies are `poor, tyrannical, militarily inept' and `incompetent, crude dictatorships', although without any attempt to analyse the possible underlying reasons for this. When even a respected authority like Bernard Lewis refers to Islam as something `static, determinist and authoritarian' - as distinct from the rationalist, secular West - he is in effect shouted down, possibly because Said senses in the remark some hint of an explanation which Lewis would like to offer for the inherent backwardness of Islamic countries. John Kifner of the New York Times gets similar treatment for an article in which he contrasts the Western mind - post-Reformation - with Islam, noting that the latter observes no separation of Church and State and remarking on the difficulty we in the West are bound to have in grasping the power exerted by Islam. Again, these seem to me pertinent observations although Said disallows them.
The main focus of the book is Iran and the various references to Khomeini, far from being critical, seem calculated not to offend his supporters whose hysterical adulation was dramatically pointed up at the time by the Western media. Incredibly, as an example of the hostile media slant Said even mentions an edition of Khomeini's `Islamic Government', published under the title `Khomeini's Mein Kampf' and carrying a preface by one George Capozi Jnr of the New York Post which compares Khomeini with Hitler. Given the nature of the regime and the psychology of its leader this would seem fair comment, but Said chooses instead to focus on Khomeini's reputation at home as a great reader of Islamic law who thus, as the nation's guide, fulfils the requirements of Iran's new constitution. His moral teachings are mentioned in passing along with his call for an Islamic republic which should `institutionalize righteousness' and act in the best interests of the oppressed. Sadly, these reassuring indications of the tyrant's honourable intentions merely disguise the brutal reality of a system which claimed many innocent lives. Nor, with the benefit of hindsight, is this regretted in the revised 1991 introduction. We have to look elsewhere to be informed about the regime's routine murder of gays, atheists, apostates, prostitutes and adulterers, not to mention the righteous Mullah's revolting prescriptions regarding bestiality and sex with children.
Said also states, at various points, his opinions on what qualifies anyone to report from Muslim countries or comment from the outside looking in. He regrets the fact that those who express negative opinions about the Islamic world often have no grasp of Islamic jurisprudence and are unfamiliar with the languages of the region. Zionist author Michael Walzer, for example, is referred to in this light. I would not normally defend Walzer (his characterisation of the Palestinian resistance as religious rather than political is patently absurd) but this seems a little unfair. By the same logic it might be argued that, in the `30s and `40s, to have criticised Hitler one should ideally have been a German speaker and possessed an in-depth knowledge of Germany's history and culture, also its legal system.
I have too high a regard for Professor Said to dismiss his thesis out of hand. It is valid up to a point. He is right to condemn the media charade of the hostage crisis following the takeover of the US Embassy in Tehran, the whole point of which was to force the return of the exiled Shah from the States to face trial. Over the 444-day period of the standoff a cavalcade of network `pundits', with their 3-minute soundbite approach to history, did little to advance public awareness of the background to the crisis. Of the struggle unfolding between the clergy and various political groupings in Iran very little was said. Of course, had there been serious analysis of this and other important issues it would probably have detracted from the entertainment value of the discussions centering upon conspiracy theories rather than facts. Thus, George Ball of the Washington Post's claim that the embassy takeover was `orchestrated by well-known Marxists' (how well known or who they were, exactly, was not specified) typified the general ambience of rumour and paranoia. Other equally informed contributors to the debate alleged PLO involvement and, because the Cold War still had a decade to run, inevitably the Soviet Union must have had a hand in it also. That the Iranian people might actually have suffered under the Pahlavi dynasty and therefore wished to bring its deposed head to account seems scarcely to have been considered. When the crisis was finally resolved rumours of torture and ill-treatment inflicted on the hostages by their captors were shown to have been a cynical lie conceived as part of the media's sensationalist agenda. This attention-grabbing, racist stereotype of the Muslim whose moral backwardness is bound to lead to uncivilized behaviour - played upon at length during the seige - unfortunately continues to have wide currency.
Said also notes hypocrisy in the charge that Islamic societies are theologically backward-looking if it is not equally applied to Israel. The terrorist Begin's citing of Biblical precedent to justify his war on the Palestinians is brought to mind. Indeed, the plethora of pro-Israeli books and journals masquerading as serious scholarship and responsible journalism, in their eagerness to portray Israel as a victim of Islamic violence, say little or nothing about the bombing and invasion of several Islamic countries by Israel and the US, or Palestinian dispossession. This is familiar territory and all of a piece with, elsewhere, Said's excoriating and entirely proper denunciations of Israeli oppression in the occupied territories. Various examples of hate propaganda in American right-wing publications are mentioned, one particularly repellent example being Martin Peretz of the `New Atlantic' who is shown nailing his racist, anti-Arab colours firmly to the mast in a theatre review. Such unpleasant media stereotypes seem to have multiplied following the OPEC price rises of 1974 and the increase in the cost of imported oil. This strand of Said's argument ultimately connects with his analysis, in the concluding chapter, of the corporate or government-driven agenda which dictates the angle of Islamic studies in American universities and the careers open to graduates in the subject area.
In sum, more than twenty-five years after its initial publication `Covering Islam' remains thought-provoking and merits reconsideration in the context of the post 9/11 debate. For the sake of balance, however, I would strongly recommend Muslim apostate scholar Ibn Warraq's rigorous critique of Islam `Why I Am Not A Muslim' as a powerful refutation of Said's assertion in his introduction that the religion is `doctrinally blameless' vis-à-vis the absence of personal freedoms in many Islamic societies. Also, those who might be persuaded of Islam's allegedly benign attitude towards women could do worse than read `Price Of Honour', Jan Goodwin' chilling account of its practical realization in some of these very societies. Of particular relevance to this discussion is her chapter on Iran entitled `There Is No Fun In Islam' - those being the Ayatollah's very words - which shows how the initial euphoria following the Shah's overthrow soon gave way tragically to the realization that one barbaric torture state had been swept away only to be replaced by another.
Contrarian worth reading . . ........2006-06-08
First published in 1981 and updated in 1997, Said's critique of the media's coverage of Islam, particularly in the Middle East, is a thought-provoking challenge to any reader's perceptions of what is reported as news from that war-torn part of the world. Written before 9/11, subsequent military intervention in Afghanistan, and the current conflict in Iraq, the book's interpretation of events unfolding there (the aftermath of the Islamic revolution in Iran) are often prophetic. An understanding of Islam based solely on Western "interest," he argues, will lead to further and protracted conflict rather than resolution of differences.
Despite a carping tone that becomes irritating and a tendency to make its points with a thoroughness that seems like overkill, the book throws a searching light on how Islam is represented by news gatherers, experts, and policy makers. Emphasis on violence, anti-American rhetoric, and resistance to "modernization," for example, belie the fact that there is not a single monolithic Islam but many Islams and that what news organizations perpetuate is an undifferentiated form of cultural stereotyping - as if it were sufficient to say about the Dutch that they all wear wooden shoes.
Said's arguments are dismissed (see other reviews here) for reasons that may have some validity (as a Palestinian-American, his sympathies are clearly not pro-Israeli), but readers can benefit nonetheless from his contrarian views, especially since they throw into question assumptions about the Middle East, which so far show a tendency (as in the case of Iran and Iraq) to seriously misjudge political and cultural realities.
Important points, but..........2006-01-04
In Covering Islam, Edward W. Said makes some vitally important points that remind us that our relationship with many countries (and not just in the countries/cultures/peoples who are Arabic or Islamic or in the Middle East) is informed by a media that does not always do justice to the people they cover -- in many cases, the media generalizes and demonizes. Making one of the most important points in the book, Said reminds us that Islam (like "Christendom" or "the West" or any broad cultural category) is not a monolithic homogeneous structure, but that many journalists, pundits, spokespeople, and citizens see and portray it as such.
Said cites many examples of journalists (and academics) who fall into lazy habits when looking at and writing these cultures. Unfortunately, it seemed to me that Said makes many generalizations himself, about American media and journalists (although, to be fair, he does give some examples in the last chapter of academics and writers who he believes have a more broad and insightful and accurate viewpoint) which made it harder for me to stay engaged with the book.
Finally, I wanted to know his solutions and suggestions, not just the problem. If everything an American journalist or adademic touches in a country such as Iran or Iraq or Afghanistan is tainted by post-colonialism and oil and government, how can the average person learn about that part of the world in a genuine manner? What information is trustworthy? Said has told us the problem, or part of it, but did not seem, in this book anyway, to offer solutions.
Islam covered.......2005-08-19
How Islam is portrayed in the Western media shows how the tail wags the dog - a minority determines how the majority sees the rest of the world by giving them access to selective information about the Other.
This book should be added to your post-9/11-book shelf.
Book Description
Language consists of dispositions, socially instilled, to respond observably to socially observable stimuli. Such is the point of view from which a noted philosopher and logician examines the notion of meaning and the linguistic mechanisms of objective reference. In the course of the discussion, Professor Quine pinpoints the difficulties involved in translation, brings to light the anomalies and conflicts implicit in our language's referential apparatus, clarifies semantic problems connected with the imputation of existence, and marshals reasons for admitting or repudiating each of various categories of supposed objects. He argues that the notion of a language-transcendent "sentence-meaning" must on the whole be rejected; meaningful studies in the semantics of reference can only be directed toward substantially the same language in which they are conducted.
Customer Reviews:
Empiricism Squared.......2006-09-03
Quine tells a fascinating story about translation. His is not a lazy mind.
His assumption (or belief) that language is learned completely through experience is simply false. Ample evidence drawn from experiments in psychology, neuro-physics, and even common sense demonstrate otherwise. Like the English philosophers who wrote about language and cognition centuries before him, his work will be found to be historically interesting, but ultimately dated; one might say, in the field of linguistics, pre-Copernicus.
Probably wrong but great nonetheless.......2006-06-22
First of all, unless you specialize in self-torture, don't try to read past chapter 2. (I myself died in the middle of chapter 5.) Chapters 1 and 2, however, are fantastic. You've probably heard the story before...it seems we can't tell whether by "Gavagai" the natives mean "rabbit", or "undetached rabbit part." The reason is, every single time a native is stimulated by the one, he is stimulated by the other...or something like that. That much is a fairly amusing observation, and Quine has a field day with it, suggesting that it's impossible in principle to discriminate between these putative "referents". Hmm. Well, let's just see. Say you and I are observing a "source"...a black box, out of which ticks a stream of letters. Say that, occasionally, the string of characters "R-A-B-B-I-T" appears in the stream. You have noticed that whenever this happens, I announce (gleefully) "Gavagai!" It seems you're stuck. You can never tell whether by "Gavagai!" I take myself to "refer" to "R-A-B-B-I-T" or to the rabbit-embedded "B-B" appearing in the stream. At least, not by passive observation. Once you can ask me questions about what I do take myself to be "referring" to, it seems that we can clear this issue up, but fast. Or not? Quine thinks not, and that's where things get interesting. I'm pretty sure he's wrong, but I'm not (exactly) sure why. Probably you can employ a meta-language to artificially attach referential information to sentences...more interesting, however, is the question why you would want to. Indeed, wouldn't a philosopher versed in the paradox just say "what's the difference?" when asked whether he "referred" to "R-A-B-B-I-T" or a rabbit-embedded "B-B"? The moral seems to be that you aren't stuck at all...you know what I *mean* either way, you just don't know what I'm referring to: reference, in short, doesn't contribute in the way we usually think it does to meaning. But, whatever the answers are, the puzzles are here, so read it.
A Seminal Book in Contemporary Pragmatism.......2005-11-14
This book is Quine's first full-length book, and it sets forth his most elaborate statement of his wholistic thesis of language. Instead of the metaphorical statement in "Two Dogmas" written a decade earlier, here in Word and Object Quine expresses his thesis in the literal vocabulary of behavioristic psychology with his idea of "stimulus meaning".
Much of the book is an exposition of his thesis of semantic indeterminacy as it is manifested in translation between languages, which thus appears as his indeterminacy of translation thesis sometimes called his "radical translation" thesis. In fact there is nothing radical about it; linguists have long known of such translation problems. As has long been said: translate est traduttore. But Quine uses it to critique positivism, and it is essential to his pragmatism.
In the translation situation he portrays the field linguist in the same situation that the positivist Carnap postulates in "Meaning and Synonymy in Natural Language", where Carnap attempted to describe how the field linguist can ascertain a term's "intension" or meaning by identifying its extension or range of application from the observed behavior of native speakers of an unknown language. Carnap admitted that this determination of extension involves uncertainty and possible error due to vagueness, but he excused this uncertainty and risk of error, because it occurs even in the concepts used in empirical science. While this admission of extensional vagueness in science made the fact unproblematic for Carnap, it had just the opposite significance for Quine.
For Quine extensional vagueness is an inherent characteristic of language that he calls "referential inscrutability", and which he later calls "ontological relativity." And what Carnap called intensional vagueness, Quine prefers to consider as a semantical indeterminacy in stimulus meaning but without admitting intensions.
For more on my views on Quine, please Google my book History of Twentieth-Century Philosophy of Science, which is also on my web site philsci with free downloads by chapter - especially BOOK III, and my other reviews of Quine's books at this AMAZON site.
Thomas J. Hickey
An Essential Read for Philosophy of Language Enthusiasts.......2002-12-30
In this incomparable and engaging book Quine takes up many of the questions he raised in "Two Dogmas of Empiricism" and in his other early papers. In Word and Object, he levels an attack against the traditional notion of meaning that is accepted by so many, because it is understood by so few. Though the position defended here is alomost completely wrong, it is wrong for interesting reasons and, along with Quine's other works, establishes a position regarding matters semantic that, from his ultra-empiricist positivist perspective is nearly inevitable. If you don't find his position at least a little compelling, then your heart is made of stone.
Pinnacle of Philosophical Clarity.......2001-06-20
This book is a true classic, both in content and presentation; Quine's pithy style, sometimes ironic, is singular in the literature of analytic philosophy. This book describes the generation of reference and logical categories out of the confluence of "sense-data" and "stimulus synonymy", and proceeds to plow through every permutation of problems which can arise from such an endeavor. Chapter two (the [in-]famous "indeterminacy of translation" thesis) is a fascinating linguistic reformulation of the "other minds" problem, demonstrating that one must conclude a type of "ontological relativity" amongst speakers. Along with Wittgenstein's "Philosophical Investigations," Ryle's The Concept of Mind," and Sellars' "Philosophy and the Empiricism of Mind," Quine's major work completes the quadrivium of mid-20th century analytic philosophy.
Book Description
Since the first edition of this landmark book was published in 1962, Everett Rogers's name has become "virtually synonymous with the study of diffusion of innovations," according to Choice. The second and third editions of Diffusion of Innovations became the standard textbook and reference on diffusion studies. Now, in the fourth edition, Rogers presents the culmination of more than thirty years of research that will set a new standard for analysis and inquiry.
The fourth edition is (1) a revision of the theoretical framework and the research evidence supporting this model of diffusion, and (2) a new intellectual venture, in that new concepts and new theoretical viewpoints are introduced. This edition differs from its predecessors in that it takes a much more critical stance in its review and synthesis of 5,000 diffusion publications. During the past thirty years or so, diffusion research has grown to be widely recognized, applied and admired, but it has also been subjected to both constructive and destructive criticism. This criticism is due in large part to the stereotyped and limited ways in which many diffusion scholars have defined the scope and method of their field of study. Rogers analyzes the limitations of previous diffusion studies, showing, for example, that the convergence model, by which participants create and share information to reach a mutual understanding, more accurately describes diffusion in most cases than the linear model.
Rogers provides an entirely new set of case examples, from the Balinese Water Temple to Nintendo videogames, that beautifully illustrate his expansive research, as well as a completely revised bibliography covering all relevant diffusion scholarship in the past decade. Most important, he discusses recent research and current topics, including social marketing, forecasting the rate of adoption, technology transfer, and more. This all-inclusive work will be essential reading for scholars and students in the fields of communications, marketing, geography, economic development, political science, sociology, and other related fields for generations to come.
Download Description
"Now in its fifth edition, Diffusion of Innovations is a classic work on the spread of new ideas. It has sold 30,000 copies in each edition and will continue to reach a huge academic audience. In this renowned book, Everett M. Rogers, professor and chair of the Department of Communication & Journalism at the University of New Mexico, explains how new ideas spread via communication channels over time. Such innovations are initially perceived as uncertain and even risky. To overcome this uncertainty, most people seek out others like themselves who have already adopted the new idea. Thus the diffusion process consists of a few individuals who first adopt an innovation, then spread the word among their circle of acquaintances--a process which typically takes months or years. But there are exceptions: use of the Internet in the 1990s, for example, may have spread more rapidly than any other innovation in the history of humankind. Furthermore, the Internet is changing the very nature of diffusion by decreasing the importance of physical distance between people. The fifth edition addresses the spread of the Internet, and how it has transformed the way human beings communicate and adopt new ideas."
Customer Reviews:
Interesting.......2007-09-12
This book is fascinating. It discusses the spread of ideas and products through communities, how they spread and why. Rogers breaks down the process and describes different categories of people depending on when they take up the innovation. This book is very readable, and although written by an academic, not written in academese. It covers various domains of interest (agriculture, sociology, marketing) and has something for everyone.
The one thing I think Rogers has missed is subjective norm. Not only do people weigh the relative advantage, compatibility, complexity, trialability and observability, but they also weigh up what they believe their personal network believes what they should do.
For instance, I will do something that someone important (to me)tells me to do, even if I personally find it silly, simply because I put enough weight and consideration into what I believe is their opinion.
Rogers gets close to that with the discussion of personal networks and adoption of innovations by organisations, but still misses the point. That is why this book only gets four stars, from me.
Excellent.......2007-08-10
Very insightful. A must read for a variety of academic disciplines. I don't know that I've been in a professor's office at my university and not seen this book on the shelf!
Diffusion of Innovations--The scientific framework of lessons learned.......2007-06-12
As a physician who has had the pleasure to experience life-changing innovations in his medical career, the chance to read Dr Rogers book on Innovation has been a real delight. Technology has changed so much around us in the last half of the 20th century that we can scarcely describe what life was like before "the innovation".
To my friends who happen to be innovators, early adaptors, beta testers and entrepreneurs, I recommend the book to provide the scientific disicpline with its glossary, case reports, primary scientific citations and organization of innovation theory that ones needs if one is in an "innovation" field and wishes to communicate professionally.
To the casual reader who is fascinated by the world around him/her and wishes to explore innovation scientifically, then this should be considered the "primer".
A textbook in disquise..........2007-02-15
This is a textbook in disquise. The information is good, but could be summarized better and in a more consise manner.
Good reference material...
most excellent piece of work on diffusion of innovation.......2006-12-26
There are several well written books on innovation but this is one of the most excellent piece of work on diffusion of innovation. Though if we look at history, research on the diffusion of innovations model began with the Bryce and Gross' (1943) investigation of the diffusion of hybrid seed corn among Iowa farmers. They explained how it came to attention and which of two channels (i.e., mass communication and interpersonal communication with peers) led farmers to adopt the new innovation.
But Rogers has further discussed the five characteristics of a technology acceptance - 1) relative advantage, the extent to which it offers improvements over available tools, 2) compatibility, its consistency with social practices and norms among its users, 3) complexity, its ease of use or learning, 4) trialability, the opportunity to try an innovation before committing to use it, 5) observability, the extent to which the technology's gains are clear to see.
Book Description
Communication in History's outstanding selection of readings from classic and contemporary sources gives an extensive overview of the most important ideas in the field.
Encompassing topics as wide-ranging as the role of printing in the rise of the modern state and the role of the Internet in the Information Age, this anthology reveals how media have been influential both in maintaining social order and as powerful agents of change. Revised with new readings for the Fourth Edition, Communication in History continues to be, as one reviewer wrote, "the only book in the sea of History of Mass Communication books that introduces the reader to a more expansive, intellectually enlivening study of the relationship between human history and communication history."
For anyone interested in media history, history of communication, the relationship of the media and society.
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