Publications

The Barenboim-Said Foundation has collaborated with the Spanish publisher Debate in the edition of several works by Edward W. Said and Daniel Barenboim:

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  Parallels and Paradoxes

  At the beginning of 2006, the Foundation published, in collaboration with the Israeli publishing house Am Oved Publishing Co., the translation into Hebrew of the work by Edward Said and Daniel Barenboim Parallels and Paradoxes.

  This book, written jointly by the musician Barenboim and the thinker Said, had never been translated into this language before.

  It contains transcriptions of conversations between both men concerning, among other matters, the differences between writing prose and music, between politicians who try to reach agreements and artists who only commit themselves to their art, and above all, regarding the power that culture has to go beyond national frontiers and political differences.

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  Humanism and Democratic Criticism

  The Barenboim-Said Foundation and the publishing house Debate, have jointly published a work by Edward Said in Spanish, called Humanism and Democratic Criticism. Said stands out for being one of the greatest thinkers of our time, as well as a fantastic writer and a professor of Comparative Literature.

  In this book, he passionately defends humanistic education and democratic values opposite to contemporary society's consumer excesses and the neo-liberal thought.

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  Representations of the intellectual

  In this book (six master conferences of the Reith cycle, initiated in 1948 by Bertrand Russell) Said tells us what being an intellectual means at a time when many people are in the information business.

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  Musical elaborations

  Essay about music and society, meditation about different artistic movements and their influences. Musical elaborations is an invitation to understand classical music and an approximation, from a master's hand, to understand the creation as an expression of what is real.

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  'Sobre el estílo tardío', de Edward W. Said

  Cuando la muerte nos ronda y somos conscientes de su espera, la naturaleza del tiempo se altera y el presente se ve acechado por el pasado revivido o el futuro inmensurable, recreando, de esa forma, el sentido especial de lo tardío.

  El estilo tardío – el término es de Adorno – no tiene un único tipo de expresión. Por un lado, podemos hablar de la proximidad de la muerte abriéndose camino en las obras del artista mediante el anacronismo y la anomalía, y por otro, de una serenidad sobrenatural que ha zanjado sus disputas con el tiempo.

  A Edward W. Said le interesaba el estilo tardío, no como armonía y resolución, sino como intransigencia, dificultad y contradicción no resuelta. Para Said, lo tardío es una “forma de exilio”, es la idea de sobrevivir más allá de lo que resulta aceptable y normal; lo tardío incluye la idea de que uno no puede ir más allá de lo tardío, pero puede permanecer en el tiempo incluso cuando se está fuera de él.

  Un estilo con sus aspectos alegres y trágicos. Un estilo que incluye el silencio, comprendido por Said, como expresión indirecta que ayuda a comprender la dificultad de lo que no puede ser comprendido.

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  'Music at limits. Three decades of musical essays and articles', by Edward W. Said

  Prologue by Daniel Barenboim

  Music at limits is a compilation of the best articles by Edward Said about music, one of his greatest passions written in the last three decades of his life. Covering a wide range of composers and interpreters, Mr Said analises their social and political contexts and provides his sharp, often surprising, perspectives. The work offers consideration about Wagner's censorship in Israel, the links between music and feminism, and about interpretations of the works by Beethoven, Bruckner, Rossini, Schumann or Stravinski, to name a few. As eloquent, revealing and profound as usual, Music at limits strenghthens Said's reputation as one of the most significant intellectuals of the 20th century.

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This publishing work is directed to give a greater diffusion to the work of Edward Said, specially in Spain.