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Rose, Arthur James. "Cynical cosmopolitans? : Borges, Beckett, Coetzee." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/7705/.
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The thesis argues for a form of kynical cosmopolitanism in the late work of Jorge Luis Borges, Samuel Beckett and J.M. Coetzee. Broadly sympathetic responses to these three writers conflate their writing style and their personal habits, and identify them as stoics. Broadly unsympathetic responses conflate their choice of theme and their apparent political quietude, and identify them as cynics. Instead of finding them aligned with stoicism or contemporary cynicism, the thesis draws on work by Peter Sloterdijk and Michel Foucault to recuperate kynicism (ancient cynicism) as a heuristic to explain how the writers consciously exploit a combination of style, theme, habit and political perspective in their late works. The late works of all three writers turn on a performance of the self that takes autobiographical enactment as the starting point for exploring political subjectivity. Following Diogenes of Sinope, who labelled this performative political subjectivity ‘cosmopolitanism’, this thesis argues that the late works of Borges, Beckett and Coetzee must be understood as creating a self-reflexive kynical cosmopolitanism, in which the role of the writer in the world becomes an aesthetic device for engaging with cosmopolitan political subjectivity.
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Ho, Kwai-yick, and 何貴益. "Ideology in the novels of J.M. Coetzee." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B2978069X.
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Hamilton, Grant A. R. School of English UNSW. "Beyond representation : Coetzee, Deleuze, and the colonial subject." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22310.
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This thesis concerns the colonial subject, subjectivity, and resistance in postcolonial theory and literature. It argues that contemporary attempts within the practice of postcolonial theory to retrieve a colonial subject from a representation that issues from a dominating colonial discourse can only be met with failure. Thus, this thesis follows Spivak's claim that the colonial subject is merely a production of positions granted by its very representation, which is to say, a given. However, this thesis also recognises that Spivak's assertion cannot account for moments of resistance to colonial discourse that abound in postcolonial literature. As such, this thesis claims that the colonial subject is not wholly given; that if one approaches the colonial subject through Gilles Deleuze's re-writing of subjectivity, demonstrated in the concept of 'the body without organs', then a transcendent configuration of the colonial subject is revealed. In elucidating this claim, this thesis turns to the fiction of South African academic and novelist, J.M. Coetzee. It is argued that Coetzee writes the Other by 'staging it', that is by testing the limits and eventually going beyond the authoritarian regime of representation. Thus, this thesis is constructed by three main chapters that offer both a rethinking of postcolonial theory in light of the work of Deleuze, and a reading of a selected cynosure of texts authored by Coetzee. The first chapter is a reading of Coetzee's Dusklands that concentrates on the body as a site of resistance to the manoeuvres of representation, demonstrating it to be a site that takes authority in the production of truth from the 'objective', structured methodology of reason, while the second chapter offers a reading of Coetzee's Waiting for the Barbarians that interrogates the postcolonial concern with 'space'. It is in this novel that Coetzee renders space in terms of its dynamic relationship with the nomad, which ultimately problematises the colonial endeavour to organise, represent, and thereby, 'know' the world. The final chapter engages Coetzee's Foe by way of a sustained critique of the operation of language, and demonstrates how Coetzee manages to test the boundaries of representation through language use. As such, each chapter offers a specific account of an entire programme that tends towards the transgression of the binds organised by the operation of representation.
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Johnston, Peter. ""Presences of the infinite" : J.M. Coetzee and mathematics." Thesis, Royal Holloway, University of London, 2013. http://repository.royalholloway.ac.uk/items/644d413c-e536-f08c-f2a8-3b8e27f7dfe0/7/.
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This thesis articulates the resonances between J.M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory not only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape.
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Lochner, Johanna Elizabeth. "Against totalising discourses : Ishiguro, Rushdie, Coetzee, and Adigo." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533486.
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Smuts, Merriman Eckard. "Embedded subjectivity in the work of J.M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/18698.
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Thesis (MA)--University of Stellenbosch, 2007.ENGLISH ABSTRACT: This thesis is the result of an immersion in the work of J.M. Coetzee. I have taken various of Coetzee’s novels, namely Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K and Slow Man, and constructed readings of these novels from the inside out. The overarching concern of the dissertation is the notion of subjectivity and Coetzee’s methods of representing subjectivity. It is my contestation that the experience of authentic subjective awareness arises from the process of reading itself. It is not a state of being that is described by the text, but rather a layered constellation of substitutive exchanges that emerges from the process of textual relation. The notion of embeddedness serves as a description of the way in which the text materializes this experience of subjectivity. The structure of exploration in each chapter has taken as its paradigm a conceptual concern arising from the text itself. In the first chapter (Elizabeth Costello) the concern is with structure itself. The character of Elizabeth struggles against the limitation inherent in the process of representation; this struggle is read as an indication of authentic subjective experience in the face of reduction to a system of codes. The second chapter (Disgrace) attempts to formulate the dynamic of subjective awareness in romantic terms. I construct a reading of Lurie’s predicament in terms that arise from his conceptual environment, in order to indicate the primacy of textual materiality as the locus of subjective awareness. The notion of the classic informs the third chapter (The Master of Petersburg). I use an essay by Coetzee to delineate a conception of the classic, which is then applied as a theoretical framework for an exploration of Dostoevsky’s pursuit of his stepson. The fourth and last chapter (Foe, Life & Times of Michael K and Slow Man) focuses on Coetzee’s use of the body as a figure for embedded subjectivity. It emerges that the body as a trope of embeddedness forms an important aspect of Coetzee’s work throughout his career. As such it is a very suitable figure for describing the dynamics of embeddedness as a mode of representation that aligns itself with the textual materiality of subjective being.
AFRIKAANSE OPSOMMING: Hierdie tesis het ontstaan as die gevolg van ‘n noukeurige ondersoek na die werk van J.M. Coetzee. Ek het myself laat begelei deur die inhoud van verskeie van Coetzee se boeke, naamlik Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K en Slow Man, om intensiewe lesings van hierdie boeke te konstrueer. Die oorkoepelende bemoeienis van die verhandeling is die konsep van subjektiwiteit en Coetzee se metodes van subjektiewe voorstelling. Ek beweer dat die ervaring van outentieke subjektiewe gewaarwording gesetel is in die leesproses. Dit is nie ‘n toestand van wese wat deur die teks beskryf word nie, maar eerder ‘n verweefde raamwerk van substituwe wisseling wat kom uit die proses van tekstuele relasie. Die konsep van inlywing (“embeddedness”) dien as 'n beskrywing van die manier waarop die teks hierdie ervaring van subjektiwiteit konkretiseer. Die struktuur van ondersoek in elke hoofstuk neem as paradigma 'n konsepsuele vraagstuk wat reeds gesetel is in die teks. In die eerste hoofstuk (Elizabeth Costello) is die bemoeienis met struktuur as sodanig. Elizabeth se karakter stry teen die inperking wat noodwending saamgaan met die proses van voorstelling; hierdie stryd word gelees as 'n aanduiding van outentieke subjektiewe ervaring teenoor die druk van vermindering tot 'n stel kodes. Die tweede hoofstuk (Disgrace) poog om die dinamiek van subjektiewe bewustheid te formuleer in terme wat afkomstig is van die romantiek. Ek konstrueer 'n lees van Lurie se toestand in terme wat kom van sy konsepsuele omgewing, om sodoende die voorrang van tekstuele materialiteit as die lokus van outentieke subjektiwiteit aan te dui. Die konsep van die klassieke belig die derde hoofstuk (The Master of Petersburg). Ek gebruik 'n essay van Coetzee om 'n begrip van die klassieke te formuleer, wat dan toegepas word as 'n teoretiese raamwerk waarbinne Dostoevsky se soeke na sy stiefseun ondersoek word. Die vierde en laaste hoofstuk (Foe, Life & Times of Michael K en Slow Man) fokus op Coetzee se gebruik van die liggaam as 'n figuur vir ingelyfde subjektiwiteit. Dit blyk dat die liggaam as 'n figuur van inlywing 'n prominente aspek van Coetzee se werk vorm deur sy loopbaan. As sodaning is dit 'n baie handige figuur om die dinamiek van inlywing te beskryf as 'n modus van voorstelling wat sigself koppel aan die materialiteit van die teks.
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Preston, A. "Violence and the modern novel : Coetzee and Sebald." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1415746/.
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Early in her long essay On Violence, Hannah Arendt says “no one engaged in thought about history and politics can remain unaware of the enormous role violence has played in human affairs, and it is at first glance rather surprising that violence has been singled out so seldom for special consideration.” In the more than four decades since the publication of her book, much has been done to remedy this omission. Violence is everywhere now. As, through the eyes of our novelists, philosophers and cultural theorists, we look back on the wreck of the twentieth century, we see it as Walter Benjamin’s Angel of History perceived it, as a constellation of violence piled upon violence, a chaotic record of man’s brutality against man. This thesis sets out to chart the presentation of violence in the modern novel, looking specifically at the work of JM Coetzee and WG Sebald, two writers who have not only given us detailed accounts of the operation of violence in their work, but whose novels perform the ethical uncertainties of writing within a tradition that has been tainted by that violence. Using theorists from Benjamin to Arendt to Giorgio Agamben, I will look at the ethical and aesthetic decisions that each writer has made and question how and with what success Coetzee and Sebald have managed to write within the wreckage of a tradition scarred by violence. In wrestling with the subject of violence, modern novelists have had to discard many of the formal certainties of previous ages, tainted as they are by historical violence. I will show how violence, and the need to shape a narrative mode with which to address a debased modern existence, has led to formal inventiveness, to generic hybrids, to complex philosophical performances wrapped within the covers of books calling themselves “novels.” I will look at Sebald and Coetzee’s use of silence, of history, of other writers’ work in their attempts to find a voice with which to narrate the violence of modernity.
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Herrick, Margaret. "Hope and incarnation in the works of J.M. Coetzee." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18441.
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Abstract Throughout his oeuvre J.M. Coetzee dismantles the Cartesian vision of human life in which the body is merely a cage enclosing the true self, the consciousness or soul. His fiction demonstrates that this dualistic vision turns the subject inward upon herself which alienates her from her body, the world and other people. For Coetzee, it was largely this dualistic vision that allowed for the conception of absolute otherness upon which the age of European expansion and colonization was premised. He draws on Merleau-Ponty's 'being-in-the-world' and on the Christian idea of the Incarnation to construct his own unique vision of a unified body-soul. This unified conception of being turns the subject outward into the world where she can reach out to other people. This reaching out can take the form of moments of 'ekstasis,' or standing outside the self, which, in the best of cases, is also caristas, or selfless love. For Coetzee, this love is a kind of earthly grace.Résumé Dans son oeuvre, J.M. Coetzee démonte le concept Cartésien de la vie humaine, pour laquelle le corps perd so importance et n'est qu'un enrobage pour l'esprit, qui lui règne sur le tout. Ses romans démontrent que cette vision dualiste renferme le sujet dans ses propres pensées, ce qui l'éloigne de son proper corps, du monde, et d'autrui. Pour Coetzee, cette vision dualiste des Européens leur a causé de percevoir les indigènes comme des Autres absolus avec lesquels ils ne peuvent s'identifier. Cette vision est à la base de l'esclavage et de la colonisation. Pour constuire son proper concept de l'unité du corps et de l'esprit, Coetzee utilise l'idée chrétienne de l'incarnation et de 'l'être au monde' élaborée par Maurice Merleau-Ponty. Le concept d'un être unifié libère le sujet de son monde interne, et l'ouvre vers le monde d'autrui où il peut s'approcher des autres. Ce rapprochement permet au sujet de développer une charité, ou 'Caritas,' envers l'autre, ce qui constitue, pour Coetzee, une forme de grâce.
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Hayes, Patrick. "J.M. Coetzee and the novel : reading the later fiction." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443766.
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Coetzee, Morné Pieter. "Upscaling of a sulphur dioxide depolarized electrolyzer / Coetzee, M.P." Thesis, North-West University, 2012. http://hdl.handle.net/10394/7001.
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In the last couple of years there has been a great need for finding alternative, cleaner burning fuel sources. This search has led to the development of various hydrogen technologies. The reason for this is that when burnt, hydrogen gas only forms water and oxygen as products. One of the methods used in the production of hydrogen gas is that of the electrolysis of sulphur dioxide which is facilitated by a sulphur dioxide depolarized electrolyzer. The electrolysis of sulphur dioxide has the advantage of requiring lower cell voltages in the electrolysis process when compared to the electrolysis of water.
This type of electrolyzer unfortunately suffers from low hydrogen gas production volumes. It was thought that by linearly increasing the reactions active area of the electrolyzer, the production volumes can be increased. A linearly upscaled 100cm2 cell was designed by using computer aided design software, such as SolidWorks, Cambridge Engineering Selector, EES and ANSYS. The cell was then constructed and tested to determine the effects of linearly upscaling. The results of the 100cm2 cell were compared to the results of a similar 25cm2 cell and results obtained from the literature. The 100cm2 cell exhibited very poor performance when compared to the other cells. The 100cm2 cell showed lower hydrogen production volumes at higher energy inputs than the 25cm2 cell and an 86cm2 stack assembly. It was concluded that creating stack assemblies with cells with smaller active areas would be much more efficient than linearly upscaling the active area of the cells.Thesis (M.Ing. (Mechanical Engineering))--North-West University, Potchefstroom Campus, 2012.
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Coetzee, Mercia. "Klasklimaat vir die onderrig van liggaamlike opvoeding / Mercia Coetzee." Thesis, Potchefstroom University for Christian Higher Education, 1995. http://hdl.handle.net/10394/9356.
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A school classroom is a complex, dynamic social system. As the formal and informal norms and
rules of classroom behaviour evolve, a stable socio-psychological climate is created. Teachers
frequently speak of a classroom's climate, atmosphere, tone or ambience and consider it to be
both important in its own right and influential on student learning. Classroom climate is
considered a useful criterion variable for evaluating the instructional and learning process. It
helps educators to understand the social, emotional and psychological dimensions in classroom
life. Over the past two decades, researchers have produced numerous studies attesting to the
importance of classroom climate in mediating cognitive and affective outcomes. The three
common approaches to studying classroom environment involve systematic observation, case
studies and assessing student and teacher perceptions. Perceptual measures were used in this
study. Although important educational climate work has been undertaken by researchers
interested in a variety of school subject areas, very little research has been done on the classroom
climate of physical education classes.
The ultimate aim of the study was to derive knowledge of and insight into the classroom climate
in physical education classes. To realise this goal the following aims were set for this study:
To conceptualise and identify the determinants that decide classroom climate enhancement
in general and specifically PE-classes by means of a literature study.
To measure the reliability and validity of a suitable instrument to measure the classroom
climate in PE-classes.
To determine the classroom climate by means of the suitable measuring instrument.
To achieve the first aim of the study an empirical literature survey was conducted where
classroom climate was conceptualised and specific determinants were identified which could
influence classroom climate in general and the classroom climate in PE-classes specifically.
To achieve the second aim, a pilot study was conducted to determine the reliability and validity of
an adjusted form of the CES (CES-PE) and the ML-LO to be used in PE classes. Reliability and
validity of the CES-PE and ML-LO to be used in PE settings, were proved.
To achieve the third aim of the study a questionnaire study was conducted on 1178 pupils and 22
teachers in 11 schools of the Northwest and Gauteng provinces. The pupils included in the study
ranged from standards 6 to 9.
The results of the empirical research were as follows:
The classroom climate experienced in PE-classes was regarded as being very positive.
The PE teacher perceived the classroom climate in a more positive light than the pupils.
There were no major differences between boys and girls of the classroom climate
experienced.
There were no major differences between the different standards of the classroom climate
experienced.
Some determinants that could influence classroom climate in PE-classes were measured with
the ML-LO. Results thereof were that the pupils regarded the PE-teacher, PE-uniform, the
status of PE, the use of PE in the school programme and the availability of PE-apparatus
positively. There were some negative aspects, the main one being that there was not
sufficient time to undress and dress and for hygiene care after PE-classes.
The PE-teachers completed an additional questionnaire (MO-LO) to gather their views on
certain aspects in PE classes. Two main findings came to light: firstly that PE-teachers
regard themselves as being well equipped to teach PE at school and, secondly, that the main
goal of the PE-teacher is to make PE-classes enjoyable and thereby foster a positive attitude
towards physical activities and sport in the pupils.
The following recommendation resulting from this research was considered to be the most
important:
There is a vast necessity for further research to be done in the RSA with regard to the
creation of a positive classroom climate in secondary schools, especially in light of the new education policies. This aspect can be addressed by including courses in classroom climate at tertiary education centres.Proefskrif (PhD (Menslike Bewegingskunde))--PU vir CHO, 1995
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Coetzee, Yolandé. "Intercultural experiences of South African business coaches / Yolandé Coetzee." Thesis, North-West University, 2013. http://hdl.handle.net/10394/10113.
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Interactions between business counterparts have become increasingly free from boundaries, as technological innovation brings the world closer together (Adler, 2002). Locally, the typical South African organisation employs workers from a multitude of cultural backgrounds, at various levels of acculturation. Organisational coaches must be prepared to engage with diverse national and international client populations. Coaching bodies such as the Worldwide Association of Business Coaches (WABC, 2008) and the locally-based Coaches and Mentors of South Africa (COMENSA, 2009; COMENSA, 2010), require coaches to provide culturally responsive services to coachees. If the coach differs culturally from the coachee, he/she may incorrectly use his/her own understanding of what is appropriate for a situation to make sense of the coachee’s behaviour, possibly leading to the misinterpretation of the diverse coachee’s situation. In addition, the coach may also project his/her own cultural bias and stereotypes onto the coachee. This in turn may lead to barriers in communication, and ultimately to the inhibition of efficiency of the coaching process as possible outcomes. Inefficient coaching may not allow for the achievement of the desired results, leading to financial losses for the company. Therefore, it is imperative that the coach is aware of his/her own culturally-laden values, beliefs and expectations which may include biases, prejudices and stereotypes held about the coachee, i.e. his/ her cultural self-awareness. The purpose of the current research study was to explore and describe the experiences and perceptions of South African organisational coaches in terms of cultural self-awareness. Specifically the study investigated how eight South African organisational coaches (N = 8) develop, maintain and promote cultural self-awareness, and what the perceived consequences of such awareness were. The study was conducted within the constructivist research paradigm and utilised a qualitative research approach. The multiple case study research strategy employed in-depth interviews to collect the research data. A grounded theory research methodology was used to analyse and explore the experiences and perceptions of South African organisational coaches in developing and utilising cultural self-awareness. Eight findings were obtained from the interviews, namely: the cultural self-awareness cultivated during coaching developed as part of a general process of cultural self-awareness, which in turn formed part of the participants’ personal development; both intentional strategies and happenstance led to the coaches’ cultural self-awareness; situational and internal factors contributed to changes in their cultural self-awareness; cultural self-awareness is maintained through self-management involving internal and external strategies; future cultural self-awareness is promoted through pursuing experiences that would cause them to question bias; a change in cultural self-awareness held consequences for the personal developmental process as well as for the coachee, and the coaching process; the meaning of cultural self-awareness was explained by using metaphors. The most prominent metaphors the coaches used were ‘sight’, ‘the past’, ‘internal work’, and ‘managing’; additional psychosocial processes that occur during intercultural coaching which can be grouped under macro, meso and micro issues, contextualised the process of cultural self-awareness during intercultural coaching. The findings were interpreted to show that various levels, developmental paths, and applications of cultural self-awareness exist amongst organisational coaches. On the basis of the results obtained from the research study, recommendations were made for future research, coaching education and training programmes, coaching clients, and current or prospective coaches.Thesis (MA (Industrial Psychology))--North-West University, Vaal Triangle Campus, 2013
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Janari, Barbara. "From race to grace : the other J M Coetzee." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8020.
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One of the notable features of JM Coetzee's work is the portrayal in his novels, particularly in his 1999 Booker Prize-winning novel, Disgrace, of worlds that often seem bleak and bereft of redemption. In this dissertation I will argue that there is a resonance in Coetzee's writing that goes beyond the political and historical and that adds another dimension to his work. The focus of my dissertation will be an attempt to account for this other 'dimension' within the broader socio-political-historical nexus that informs much of his work. I will argue that this other dimension represents an ongoing conccrn with the questions of redemption and salvation, particularly as they are manifested in his latcr works, Disgrace and Elizabeth Costello. These concerns, however, are not just a consequence of Coetzee's evolving thought. As I will show, they are present in his earlier texts as well. To this end, I will consider the ways in which the themes of redemption and salvation, in the specifically religious and Christian sense of these words, also resonate in In the Heart of the Country (1977) and Life and Times of Michael K (1983).
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Adiouani, Hicham. "J. M. Coetzee : vers une poétique de la complexité." Paris 8, 2007. http://www.theses.fr/2007PA082758.
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L’œuvre du romancier sud-africain J. M. Coetzee met en scène plusieurs aspects qui caractérisent la condition post-coloniale. Coetzee complexifie les catégories du centre et de périphérie, d’identité et de différence en proposant une lecture radicalement différente de l’altérité. Sa critique du discours identitaire, sa remise en question du concept de représentation, l’indétermination générique qui caractérise certains de ses romans, le décentrement de la subjectivité et de l’écriture sont autant de tentatives pour proposer une lecture originale et singulière de l’altérité. Une lecture qui ne fait pas violence à l’autre, mais qui se fait violence pour accueillir et faire advenir une altérité radicale. Cette thèse démontre comment le choix d’une poétique de la complexité chez Coetzee vise à proposer une écriture et une lecture éthique de l’altéritéJ. M. Coetzee’s œuvre stages many aspects of the post-colonial condition. Coetzee renders complex the categories of centre and periphery, identity and difference by proposing a radically different reading of alterity. His critique of identitarian discourse, his questioning of the concepts of representation, the decentered writing and subjectivity and the generic indeterminacy that characterise many of his novels are all means of proposing an original and inimitable reading of alterity. A reading that does justice instead of doing violence to the other. This thesis demonstrates how Coetzee’s choice of a poetics of complexity aims at proposing an ethical writing and reading of alterity
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Poyner, Jane. "The fictions of J.M. Coetzee : master of his craft?" Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/891/.
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The thesis argues that through the portrayal of a sequence of authors-as-protagonists who write from within the apartheid andpost-apartheid condition, the South African novelist J. M. Coetzee engages with the 'paradox of postcolonial authorship'. Whilst striving symbolically to retrieve the lost and silenced histories of colonised Others, writers of conscience (or conscience-stricken writers) risk re-enacting the very authority they seek to challenge. Taking account of Coetzee's recent material and adding to ongoing debates, the research traces the non-systematic shifts and transitions in the corpus in which Coetzee rehearses and revises his understanding of the ethics of intellectualism in parallel with the emergence of the 'new South Africa'. The thesis identifies three general tendencies in the trajectory of the work. Firstly, the early fiction is read within Coetzee's project of 'demythologising history' as a means of laying bare the 'madness of civilisation' and thereby exposing colonialist history as another ideologically inflected discourse. The middle phase engages with debates about the limits of representing the racial Other. Through the dialectical motifs of speech and silence, Coetzee attempts to bridge the impasse of postcolonial authorship: the racial Others in these novels are both silenced by oppression and silent in resistance. Finally, published on the cusp of regime change, and then postapartheid, the later novels are read as confessions in which the figure of the angstridden and dislocated white writer strives for persoflal nc1 historit tut(' d reconciliation'. The trajectory of the oeuvre crystallises notions of ethical writing practices, sparely portrayed in the sequence of meta-generic 'Costello lectures'. The academic and novelist Elizabeth Costello endorses notions of feeling and sentiment ("heart-speech") over and above the discourses of reason and rationality, thereby developing Coetzee's concern with the formulation of the private speaking to and informing the public sphere. The thesis assesses how successfully, as a member of a white academic elite in South Africa, Coetzee accommodates his various roles as author, public intellectual and citizen (or private individual with both rights, and obligations to society). Overturning Edward Said's formulation of the public intellectual 'speaking truth to power', Coetzee is sceptical about what constitutes 'truth' and refuses to take confrontational positions. Yet, by withdrawing from the public domain as he makes interventions (speaking through Elizabeth Costello, for instance), Coetzee self-consciously problematises his own position (what he might call a 'nonposition'), lending weight to the claim that he is politically evasive.
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Heister, Hilmar. "The sympathetic imagination in the novels of J.M. Coetzee." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2015. http://dx.doi.org/10.18452/17186.
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In dieser Studie wird umfassend untersucht, wie sich die sympathetic imagination im Werk von J.M. Coetzee entwickelt. Zugrunde liegt die Annahme, dass die Art und Weise wie J.M. Coetzee seine sympathetic imagination zum Einsatz bringt die Empathiefähigkeit des Lesers zu steigern vermag. Ausgangspunkt für die Untersuchung und deren zentrale Analysekategorien für die Besprechung der Romane Coetzees ist ein Blick auf Spiegelneuronen als neuronale Grundlage für Empathie, ein relative neues und stetig sich erweiterndes Feld. Geteilte Aufmerksamkeit (shared attention) und Perspektivübernahme (perspective-taking) bilden den Mittelpunkt bei neurowissenschaftlichen Diskussionen über den Zusammenhang zwischen Spiegelneuronen und Empathie. Eine Analyse von Coetzees Romanen zeigt, dass in seiner Literatur vergleichbare Mechanismen zur Wirkung kommen.The following study attempts a comprehensive evaluation of how the sympathetic imagination evolves in the works of J.M. Coetzee. The underlying assumption is that the way Coetzee employs his sympathetic imagination in his fiction enhances the reader’s empathetic capabilities. A starting point for the central categories of analysis and the close readings of his novels will be a brief exploration of the neuronal basis of empathy as discussed in the context of the discovery of and continuously extending research on mirror neurons as the neurological basis for empathy. Shared attention and perspective-taking constitute the focus of neuroscientific discussions of the connection between empathy and mirror neurons. A close look at Coetzee’s fiction will reveal comparable mechanisms in literary representation.
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Grieve, Dawn. "Confrontation and identity in the fiction of J.M. Coetzee." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1246.
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This thesis is an examination of the fictional works of J.M. Coetzee to date. By focusing my gaze upon either the lack of encounter or the encounters between the 'Self' and the 'Other', I explore the relationship between confrontation and the fluid formation and erosion of identity. This exploration takes place against a dual background: the history of the apartheid government in South Africa, the legacy of oppression and the post-apartheid opportunities and challenges; and Coetzee's own acknowledgement of complicity with the past and commitment to a reconciled future. This study not only examines a broad range of criticism on Coetzee but also provides an integrated response to Coetzee's own writing, both fictional and nonfictional. A crack or flaw is revealed in the identity of each of the main characters in the texts. These aporias resist interrogation and establish what I perceive to be a metafictional objective. The limitations of rational engagement are eloquently represented in Coetzee's novels in the presence of the suffering body. It is the aim of this thesis to trace a trajectory which begins in this metalingual space and leads to a metaphysical challenge to Western philosophical tradition. On close textual scrutiny of three of the novels: In the Heart of the Country, Age of Iron and The Master of Petersburg, I have identified widening cracks in the identities of the protagonists. Using a metaphor of leakage, it is my thesis that these gaps offer creative opportunities of sharing which dissolve judgement and allow for imaginative understanding of otherness. This study is then read back into Coetzee's world. It reaffirms the significance of his voice locally and globally, both in the academy and society. I concur with most recent comment that Coetzee's fiction transgresses critical containment and offers metafictional extension to post-colonial theories. This thesis synthesises some of this current debate. The ethical implications of his work are also extended in this thesis, by honouring his commitment to self-scrutiny throughout the novel sequence and in his personal confession in Boyhood: Scenes from Provincial Life. In the specific narratives of his characters and the stories from his own past, he provides fragments of hope which transcend the confines of all discourse. I conclude that his example invites and encourages a brave response.
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Sobral, Pedro Aurélio Tenório. "A vida dos animais, de J. M. Coetzee, na Casa de Espelhos." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8290.
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The purpose of this text is to analyze the novel The lives of animals, by South-African professor and novelist, J. M. Coetzee, having metafiction as a focus. The lives of animals is constructed upon two striking reports resulting from lectures delivered by J. M. Coetzee at Princeton University, in the United States, in 1997; eventually, Coetzee transformed that material into a novel, giving voice to the writer – his seminal character and alter ego – Elizabeth Costello. These are two lectures in which the writer defends the basic rights of non-human animals. Besides this, J. M. Coetzee’s work calls our attention to the metaficcional devices employed in the narratives. For the discussion of metafiction, we use Hutcheon (1980; 1991) and Waugh (1984). We employ metaficcional principles in the analysis of Coetzee’s text, not merely as an illustration, but to verify how important and lasting this arrangement is in contemporary literature. Since The lives of animals is a novel in which both the life and rights of non-human animals are in the foreground, we articulate metareference with theories about power relations, so as to corroborate the cruelty inflicted on non-human animals. The results presented reveal both the relevance and adequacy of metafiction in the relationship between ethics and aesthetics.
Este texto objetiva analisar o livro A Vida dos Animais (2009), do professor universitário e romancista sul-africano J. M. Coetzee, à luz da teoria da metaficção. A Vida dos Animais traz-nos relatos contundentes de duas palestras que J. M. Coetzee proferiu na Universidade de Princeton, nos Estados Unidos, em 1997; posteriormente, Coetzee transformou aquele material em romance, cedendo a voz à escritora – sua personagem seminal e alter ego – Elizabeth Costello. São duas palestras que a romancista apresentou nas quais defende direitos básicos dos animais não-humanos. Além disso, a obra de J. M. Coetzee nos chama a atenção para os recursos metaficcionais empregados nas narrativas. Na leitura desse construto, recorreremos aos teóricos da metarreferência como Hutcheon (1980; 1991) e Waugh (1984). Empregamos os postulados da metaficção na análise do texto coetzeeano não só como ilustração, mas para verificar a importância e perenidade desse arranjo na literatura contemporânea. Por tratar-se de um romance em que a vida e o direito dos animais ganham destaque, aliamos os princípios metarreferentes a teorias que abordam relações de poder, de modo a referendar a crueldade a que os animais não-humanos são submetidos. Os resultados da análise apresentada ratificam a relevância e adequação da metaficção no que diz respeito à articulação entre ética e estética.
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Hasselqvist, Henrik. "Decay and downfall in JM Coetzee´s Age of Iron." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13746.
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Downfall and decay are the two themes which this essay will be focused on, related to bothphysical and political attributes found in the novel. This essay argues that in the novel Age ofIron J.M Coetzee uses imagery of decay and downfall and its main protagonist Mrs Curren asits vehicle, to represent the social and political status of South Africa during the imminentdownfall of Apartheid during the late 20th century.
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Amaral, João Pedro Wizniewsky. "A escrita de si em Boyhood, de J. M. Coetzee." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/12077.
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Boyhood (1997) is the first volume of Scenes from Provincial Life trilogy, written by the South-African J. M. Coetzee. Boyhood’s narrative has peculiar characteristics for an autobiographical novel, as the third person narrator and the use of Present Simple. This research’s hypothesis is that the protagonist, the boy John Coetzee, discovers himself and discovers himself within the apartheid regime; and this self-discovery is not done through the form of teaching or reporting from a conscious and rational narrative. The process of discovering himself within this regime occurs through its infantile conscience, puerile observations and the construction of the general protagonist’s perception. From this hypothesis, we discuss in this dissertation selfwritting narratives and traditional confessional narratives in literature, based on Coetzee’s theoretical studies, to later analyze some of the main features of the narrative in this novel to verify how non-religious confession techniques are present in Boyhood. Coetzee manipulates these confessional techniques avoiding the typical confessional narrative, present in authors like Augustine, J. J. Rousseau and Dostoevsky. In this study, we also observe that the narrative episodes are based on confession, a self-investigating method that highlights painful contents to be confessed. Among these contents, we noticed the feelings of guilt and shame are recurrent in most the protagonist’s experiences. Confessional narrative is a method that Coetzee uses to debug knowledge and to select themes presented in Boyhood, differently from traditional confessional narratives.Boyhood (1997) é o primeiro volume da trilogia autobiográfica Scenes from Provincial Life, do escritor sul-africano J. M. Coetzee. A narrativa de Boyhood tem características peculiares para um romance autobiográfico, como o narrador em terceira pessoa e o uso do tempo presente. A hipótese de pesquisa é que o protagonista, o menino John Coetzee, descobre-se e descobre-se no regime do apartheid, e essa autodescoberta não se dá pela forma de ensinamento ou de relato a partir de uma narrativa consciente e racional. O processo de descobrir-se dentro desse regime dá-se através de sua consciência infantil, de observações pueris e da construção da percepção geral do protagonista. A partir dessa hipótese, discutimos nessa dissertação narrativas da escrita do eu e narrativas confessionais tradicionais na literatura, baseada em estudos teóricos de Coetzee, para, posteriormente, analisamos algumas das principais características da narrativa nessa obra para verificar como a técnicas de confissão não-religiosas estão presentes em Boyhood. Coetzee manipula essas técnicas evitando a típica narrativa confessional presente em autores como Agostinho, J. J. Rousseau e Dostoievski. Neste estudo, observamos também que os episódios da narrativa dão-se a partir da confissão, um método autoinvestigativo que traz à tona conteúdos dolorosos a serem confessados. Dentre esses conteúdos, também notamos que os sentimentos de culpa e de vergonha são recorrentes em boa parte dessas experiências do protagonista. A narrativa confessional é um método que Coetzee utiliza para depurar o conhecimento e selecionar os temas apresentados em Boyhood, diferente de narrativas confessionais tradicionais.
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Tegla, Emanuela. "J. M. Coetzee: writing, morality and the wound of history." Thesis, University of Ulster, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588492.
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The subject of the present PhD thesis consists in an analysis of the fictional treatment of moral concepts and realities in some novels by the contemporary South African writer J. M. Coetzee. The thesis as a whole may be regarded as grounded on the idea that literature bears significant relevance to the contemporary ethical discourse in general, and to an understanding of the postcolonial one in particular. The following analysis will therefore address the moral concepts as context-embedded and it will seek to discuss Coetzee's treatment of them in relation to a broad range of philosophical considerations. Within the framework of Coetzee scholarship, the question of morality has been rarely addressed in a consistent, detailed manner; the present study explores the distinctiveness of Coetzee's depiction of moral issues through a rigorous scrutiny of the individual consciousness of the main characters. Within each chapter, the twofold aim is to address the particularities of the narrative techniques used by the author (through theoretical discussions applied to the text and through close reading of relevant elements and aspects) and to understand the moral concepts depicted in each of the novels discussed: guilt and evil in Waiting for the Barbarians; love and shame in Age of Iron; humility in Life and Times of Michael K; and self-deception, disgrace, humiliation in Disgrace. Contrary to the frequent view that regards Coetzee as politically passive, evasive, uninvolved, the present thesis attempts to show that the specific ways in which Coetzee engages with history and with the social realities of his time and place betray a complexly nuanced perception of his historical context and an intense awareness of moral realities. The novels analysed below can be described as unsettling for the reader, due to their exploration of such themes as (the impossibility of) personal redemption, freedom, and social change. By a careful analysis of the interconnectedness between stylistic and thematic particularities, the thesis aims at disclosing the effectiveness of Coetzee's narrative strategies in engaging the reader morally and in inviting self-questioning and radical revisions of personal and social moral assumptions.
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Gilburt, Iona. "Cinematic and photographic aesthetics in the novels of J.M. Coetzee." The University of the Western Cape, 2017. http://hdl.handle.net/11394/5784.
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Philosophiae Doctor - PhD (English)This thesis will examine the extensive cinematic and photographic visuality inscribed in the fictions of J. M. Coetzee. Coetzee's prose is inflected by a complex intermediality that references media aesthetics, practices, and genres, as well as creating linkages to specific film texts. This study will examine a range of Coetzee's writings but will pay particular attention to his second novel In the Heart of the Country (1977), which will be used as a lens to explore the visuality of Coetzee's earlier and later fictions. In the Heart of the Country, it will be shown, employs innovative film techniques that reflect the influence of 1960s avant-garde cinema, with strong ties to two films in particular: Andrzej Munk's Pasaerka (1963), and Jean-Luc Godard's Alphaville (1965). A comparative analysis of the novel with Coetzee's unrealised screenplay adaptation will be used to show that these cinematic influences extend to narrative experimentation and theoretical engagements with time. This will be followed by an intensive exploration of the cinematographic aesthetic in Life & Times of Michael K (1983). Coetzee's two Karoo novels, it will be shown, employ film effects to a degree that sets them apart from his other fictions, rendering these texts as cinematographic counterparts. The study of photography will then examine how Coetzee's theoretical understanding of the image enables him to utilise and extend the narrative power of the photographic medium in three ways: by inscribing important narratives within individual images, by employing the photograph as a method of characterisation, and by simulating the photographic processes of capture and development during key narrative events. Although this exploration of photography will reference several of Coetzee's fictions, analysis will focus predominantly on Dusklands (1974), In the Heart of the Country, and Slow Man (2005).
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Kosecki, Jan. "Metaphors of the body in the fiction of J.M. Coetzee." Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594113.
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This dissertation investigates the role played by the image of the body that features prominently in Coelzee's novels. In a series of close readings and utilising the tools of cognitive linguistics, it argues that the image creates meaning because of the employment of two conceptual metaphors, TRUTH IS IN A CONTAINER and BODY IS A CONTAINER, which endow the represented body with the attributes of truth. The meaning is then created through the foregrounding of the body (most commonly in the images of mutilation, disability and disease), through the use of the image as a blended space (a signifying body) and through the situating of the image as the narrative foca1 point, an object of scrutinity and interpretation. Such use of the image aids in interpreting the body as a container for truth, a kernel of human identity, a source of thought and morally purposive action. This often leads to interpreting the image of the body allegorically and partly explains the nature of the critical reception of Coetzee's novel s. The dissertation is divided into four chapters. Chapter) presents the history and theory of thinking about the metaphor from Aristotle to cognitive linguistics with an emphasis on the context-based understanding of metaphor and on its cognitive value. The final section of this chapter presents the author's engagement with the ideas expressed in Derek Attridge's J.M. Coetzee and the Ethics of Reading. Chapter 2 presents the problem of reading and interpreting the body on the example of Waiting for the Barbarians and Life and Times of Michael K. Chapter 3 analyses corporeal metaphors and gender symbolism in history through the reading of Dusklands and The Age of Iron. Chapter 4 presents Foe and Master of Petersburg as examples of the representation of literary thinking, creation and interpretation of bodily experience.
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Combarnous, Anne. ""Le Chant du cygne : la voix féminine de J.M. Coetzee"." Pau, 1997. http://www.theses.fr/1997PAUU1005.
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Cette these se veut essentiellement un essai d'interpretation imaginative des trois romans de style autobiographique de l'ecrivain sud-african j. M. Coetzee, in the heart of the country (1977), foe (1986) et age of iron (1990). Le questionnement qui la sous-tend prend pour appui la polarite homme-femme telle qu'elle s'enonce a travers ces oeuvres, mais telle aussi que le choix meme de l'auteur de donner voix a des narratrices tend, en partie, a la deconstruire, du moins a l'interroger. L'approche est a la fois descriptive et analytique, s'attachant a developper les images et les themes presents dans ce triptyque, non seulement en relation aux thematiques mises a jour par la critique feministe, nais egalement tels qu'ils apparaissent de facon autonome dans chacun des romans etudies. Deux angles d'approche ont ete retenus : une prise en compte des personnages tantot en tant que figures independantes, tantot en tant que figures representees, et une reflexion sur la structure des romans, pour ce qu'elle apporte aux thematiques mises a jour, notamment en regard des notions complementaires de temps et d'espace, dimensions essentielles du reel humain comme de la fiction. La problematique d'une voix feminine que l'on pourrait attribuer a l'auteur est le sujet central de la deuxieme partie de cette etude, traite dans sa relation aux questions du pouvoir, du langage et de l'autorite narrative, et sous l'angle de l'inter- et de l'extratextualite propres aux romans selectionnes. C'est dans la troisieme partie que cette problematique est mise en perspective, de facon plus synthetique, par rapport a la poetique et aux strategies d'ecritures propres a coetzee. La sont prises en consideration, a travers un questionnement plus large sur le fait litteraire, les fonctions de la fiction et de l'imaginaire dans leur rapport au reel notamment a la politique et a l'histoire. De ce point de vue, l'etude tendrait a demontrer l'engagement subreptice de l'ecrivain du cote d'une ouverture du champ des possibles, litteraires comme politiques, ou plus exactement ethiques, c'est-a-dire, se rapportant a une morale individuelle que l'on pourrait qualifier de laique, et qui saurait prevaloir aux dogmes de tous bords - une attitude indiscutablement salvatrice en ce qui concerne l'afrique du sud contemporaine, et, au-dela, en regard de la petite histoire des hommesThis thesis constitutes an imaginative yet analytical interpretation of three of the novels written in the first person narrative by the south-african writer j. M. Coetzee, namely, in the heart of the country (1977), foe (1986), and age of iron (1990). Its underlying theme is the binary opposition between woman and man as it is disclosed in these works of fiction, and the choice of the author to give voice to female narrators in these novels, which tends to decontruct this opposition, or at least to call it into question, is placed under examination. The approach is based on a close consideration of the images and themes developed in each of the novels studied, mainly in their relationship to the feminine imagery discussed by feminist criticism but also in their autonomous function as signs. Two major angles have been adopted: an analysis of the characters, as independent figures and as representations, and a reflection on the novels' structures, essentially for the way they shed light on the notions of time and space, the essential dimensions of human reality as well as of fiction. The problematic question of a feminine voice which may be attributed to the author is the central subject of the second part of this thesis. It is dealt with in its relation to questions of power, language, and narrative authority, based on an analysis of the inter- and extratextuality at work in the selected novels. In the third part, this question is more precisely and synthetically put into perspective with coetzee's prose poetics and narrative strategies. Encompassed in an extended reflection on literature at large, the functions of fiction and imagination are here taken into account in their relationships with the concrete world, notably with politics and history. From this point of view, the thesis tends to demonstrate the writer's commitment to an opening up of possibilities with respect to fiction writing as well as politics, or more precisely ethics - an individual moral code which could be qualified as secular, and which could eventually prevail over any type of dogmatism - an unquestionably salutary attitude as concerns not only contemporary south africa, but also the relatively short history of humanity
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Paulo, Fernando de Lima. "Imaginando o inimaginável: linguagem e religião em J. M. Coetzee." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7DSFD6.
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O escopo do presente trabalho relaciona-se à percepção do registro religioso na obra do autor sul-africano J. M. Coetzee, tomando por base os seus três primeiros romances. A função desse registro no âmbito da ficção do escritor tem a ver com a idéia de religião como relego, a palavra latina para cuidado, que acho pode traduzir um exame cuidadoso acerca das possibilidades da linguagem em face da crise de representação no chamado momento pós-moderno, bem como uma procura por alternativas aos impasses advindos dessa crise. Coetzee utiliza-se da ficção como um modo de pensar e, assim, efetua inicialmente uma investigação do próprio meio lingüístico através de uma atitude auto-reflexiva na escrita, chamando atenção para os discursos hegemônicos e das relações de poder deles advindas. Este prática é perceptível nos romances em Dusklands e In the Heart of the Country, que se mostram reflexões não somente sobre textos ideologicamente motivados, mas também sobre as subjetividades que se formam no âmbito desses discursos. Nessa dinâmica, a linguagem volta-se sobre si mesma, gerando o perigo de infinitute e tem de se confrontar com o vazio da significação sempre deferida. Como resultado, o escritor elabora estratégias (a paródia, por exemplo) que tentam driblar essa possibilidade ao imaginar maneiras de expressar o desejo de reciprocidade em relação à alteridade, ou seja, ao elemento obliterado, emudecido, marginalizado dos discursos do poder. Desta forma, já se esboça um apelo ao registro religioso, quer seja através da alusão ao mito, quer seja através de narradores ensandecidos ou em auto-engano. Com isso, as opções discursivas nos livros apontam para um imperativo: imaginar uma maneira em que a escrita possa efetuar um jogo (play) de rearranjo de regras e convenções e, por esse meio, abordar o 'inimaginável', ou seja, o sofrimento, a justiça e a solidariedade - o intraduzível na linguagem. A consolidação desse processo provoca em Waiting for Barbarians, o terceiro romance de Coetzee, uma opção por um realismo 'reconstituído', longe dos arroubos metaficcionais dos livros anteriores e que se contrapõe à infinitude da auto-reflexão quando faz uso da alegoria e, por meio dela, tornar possível o processo kenótico de esvaziamento dos discursos do poder e a construção de algum tipo de relacionamento com o outro; esse relacionamento denomino caritas.
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Nicklasson, Margaretha. "Susan and Friday : Rationality and Othernes in J M Coetzee's Foe." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32240.
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ABSTRACT This essay aims to study rationality and otherness in J.M. Coetzee’s Foe. Susan Barton, the female protagonist in the book, is rational and struggles for power and independence in the society of the Enlightenment where the story is set. She is seen as non-rational, less valuable and as Other of the white, European male due to her gender. Friday is male, but non-white and he is perceived as Other as well because of the colour of his skin. Although Friday is mute he tries to communicate, but his ways of communication are often ignored by others. Through the representation of these characters Coetzee subverts the conventional idea that rationality is linked to the white European male.
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Coetzee, Hanneri. "The transdermal delivery of arginine vasopressin with pheroid technology / H. Coetzee." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1491.
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Rahwan, Yamen Rahmoun. "Constellations of allegory : Gabriel García Márquez, Angela Carter and J.M. Coetzee." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35575/.
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This thesis has two aims. First, it is a study of the idea of allegory and some of its literary manifestations within the context of late modernity. It attempts to disentangle and critically evaluate the multitude of theories and definitions that have been mobilised around this problematic term. Through an analysis of these theories, this study attempts to establish a critical use of allegory that preserves the insight of these varying notions of allegory by advancing the following twofold hypothesis. The first side of this hypothesis posits allegory as a distinct generic trope in which characters are engaged in a quest or a journey that involves the recognition and interpretation of metaphors and metonyms, with an aim to arrive at an "interpretative utopia" in which signifier and signified coincide. This is a definition that Deborah Madsen constructs and that this thesis embraces but revises. The second side of the hypothesis proposes that in the allegories of late modernity the recognition and interpretation thematised are historically variable and must be understood in relation to specific historical contexts. This assumption informs the examination and deployment of, amongst others, Fredric Jameson’s ideas of the national allegory and the postmodern allegory; Walter Benjamin’s theorisation of allegory, melancholia and the dialectical image; Paul de Man’s study of the relation between allegory, irony and subjectivity; and Theodor W. Adorno’s philosophy of ethics and its relation to allegory. The second aim of the thesis is to put these critical insights to work in a dialectical relationship with the fiction of Gabriel García Márquez, Angela Carter, and J.M. Coetzee. All the novels chosen thematise the failure of a utopian coincidence of signifier and signified, sign and meaning, a failure which conditions the understanding of capitalist modernity. The consequences of that failure are dramatised differently, in accordance with the specific experience of modernity in each case. In the context of the uneven development of Latin America, the continental allegories of García Márquez deal with the themes of melancholy and power, the accumulation of allegorical fragments and the potentiality for dialectical images. In the postmodernist allegories of Angela Carter, the failure of interpretation reflects a larger cultural dominant of commodification and fetishisation of the signifier. The postcolonial allegories of J.M. Coetzee deal with the cognitive failures of an identity thinking which underlies the Manichean allegory of coloniser and colonised, a failure that results in ethical melancholia. Overall, while positing their common use of generic allegory to deal with these crises of recognition and interpretation, the thesis emphasises the differences rather than the similarities of these writers. This convergence in one area but divergence in others throw a questioning light on the discussion of Franco Moretti’s idea of conducting a study in "world literature" via the use of "distant reading". Through examining Moretti’s method, the thesis shows that allegory is a dynamic problematic rather than a fixed conceptual term.
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Smit-Marais, Susanna Johanna. "Castaways and colonists from Crusoe to Coetzee / Susanna Johanna Smit-Marais." Thesis, North-West University, 2012. http://hdl.handle.net/10394/8724.
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Generic transformation of the castaway novel is made evident by the various ways in
which the narrative boundaries that separate fiction from reality and history, the past
from the present, and the rational from the irrational, are reconfigured in Umberto
Eco’s The Island of the Day Before (1994), J.M. Coetzee’s Foe (1986) and Yann
Martel’s Life of Pi (2002). The dissolution of boundaries reflects the dominant shift
that has occurred in the castaway novel from the 18th century literary context to the
present postmodern, postcolonial context. In this regard, the narrative utilizes various
narratological strategies, the most significant being intertextuality, metafiction,
historiographical metafiction, allegory, irony, and the carnivalesque. These
narratological strategies rewrite, revise, and recontextualize those generic conventions
that perpetuated the culture of masculinity and conquest that defines colonialism and
the traditional castaway novel epitomized by Daniel Defoe’s Robinson Crusoe (1719).
From a postcolonial perspective, the castaway’s state of being reflects on the
condition of the colonized as well as the colonizer: his/her experience of displacement
is similar to colonized peoples’ separation from their cultural, spiritual and personal
identities; simultaneously, processes of appropriation, adaptation and control of space
resemble colonization, thereby revealing the constructed nature of colonial space. As
such, space is fundamental to individual orientation and social adaptation and
consequently, metaphorically and metonymically linked to identity.
In the selected postmodernist and postcolonial texts, the movement from the position
of castaway to colonist as originally manifested in Robinson Crusoe is therefore
reinterpreted and recontextualized. The postmodernist and postcolonial contexts
resist fixed and one-dimensional representations of identity, as well as the
appropriation and domination of space, that characterize shipwreck literature from
pre-colonial and colonial periods. Rationalist notions of history, reality and truth as
empirically definable concepts are also contested. The castaway identity is often
characterized by feelings of physical and spiritual displacement and estrangement that
can be paralleled to postmodernist themes of existential confusion and anxiety.Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013
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Coetzee, Mercia. "Liggaamlike opvoeding in junior primêre opleiding aan Blanke onderwyskolleges / Mercia Coetzee." Thesis, Potchefstroom University for Christian Higher Education, 1988. http://hdl.handle.net/10394/9366.
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It was the purpose of this study to evaluate teacher training in physical
education in the Junior Primary course in the various teachers training
colleges in the Republic of South Africa and South West Africa.
Such a study required descriptive research. A literature study of the
development of the child in the junior primary school classes (between
the the ages of six and nine years) was conducted. This developmental
scheme is discussed under the headings of the physical,
perceptual-motor, emotional, social and cognitive development of the
child.
Many researchers have pointed out that the importance of movement in
the child's early learning experiences cannot be over emphasized. Lack
of a movement repertoire during childhood can have serious ramifications,
for it is through participation in locomotor skills that much of the social
and emotional development of childhood is shaped. The preliminary stages
of all fundamental motor skills are commonly established before the sixth
year. It has been determined that the progression from level to level
in these patterns depends on ample opportunity for practice under
guidance.
A survey was conducted in which the questionnaire method was mainly
used. This produced the following results. Physical education is
presented as a subject in the junior primary curriculum by all the
teachers training colleges. The syllabuses of physical education as a
subject in the junior primary course vary widely. Also, in some cases
it is a compulsory and in others a specialisation subject. This lack of
uniformity among the various teachers training colleges also applies to
the duration of training, amount of periods allocated, as well as the
content of the course.
It is recommended that physical education be implied as a compulsory
subject of the junior primary course of all teacher training colleges in
the Republic of South Africa and South West Africa. The duration of
training should be three years, with a minimum of forty training hours
per year. A model is proposed of the theoretical and practical contents
of physical education as a compulsory subject of the junior primary
course. It is recommended that institutions which train teachers should
provide opportunities for the understanding of motor development, if
perspective teachers are to utilize this knowledge in their teaching.Thesis (MA (Menslike Bewegingskunde))--PU vir CHO, 1988
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Wade, J.-P. "A comparison of the novels of Peter Abrahams and J.M. Coetzee." Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376742.
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Battersby, Doug. "Knowing and feeling in late modernist fiction : Nabokov, Beckett, Banville, Coetzee." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18950/.
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This thesis explores the relationships between knowing and feeling in the fiction of four late modernist writers: Vladimir Nabokov, Samuel Beckett, John Banville, and J. M. Coetzee. My approach is informed by and builds upon Derek Attridge’s claim that literary works are best understood as ‘events’ performed through acts of reading. The thesis shows how these writers’ works explore knowing and feeling both through the description of characters’ experiences and through the cognitive and affective experiences these descriptions give rise to in readers. Capturing this demands a slower and more textually immersed mode of close reading than is customary in academic criticism, and my chapters therefore focus on a single text by each author: Nabokov’s Ada or Ardor (1969), Beckett’s Ill Seen Ill Said (1982), Banville’s Ancient Light (2012), and Coetzee’s Waiting for the Barbarians (1980). The introduction to this thesis argues that contemporary criticism continues to be shaped by the epistemological bias which has been present in literary studies since the heyday of the New Critics. This bias is conspicuously evident in critical accounts of Nabokov, Beckett, Banville, and Coetzee, and the originality of my readings partly derives from the predisposition of other critics prematurely to resolve the cognitive and affective uncertainties generated by these authors’ works. I argue that these writers stage intensely enigmatic feelings which their subjects try to know, and that these experiences of knowing and not knowing are themselves affective. Each chapter examines an epistemological-affective state which is particularly prominent in the author’s work, namely: ambivalence, undecidability, disorientation, and uncertainty. In a coda to the thesis, I suggest that, beyond contributing to critical understanding of Nabokov, Beckett, Banville, and Coetzee, the larger ambition of this study is to argue for and exemplify a mode of close reading which is better able to capture the singularity of aesthetically difficult literary fictions.
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Kelly, Maria Michelle. "'So I sing for my keep' : J.M. Coetzee and confessional narrative." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11087/.
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Naude, Stephanus Jacobus. "Die uitbeelding van kreatiwiteit in die werk van J. M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71919.
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Thesis (MA)--Stellenbosch University, 2012.AFRIKAANSE OPSOMMING: J. M. Coetzee se werke ondersoek dikwels op intense en ongewone wyse wat kreatiwiteit is en hoe dit werk, wat die bronne en oorspronge daarvan is, en verwonder sig aan die onvoorspelbaarheid van die voorwaardes en katalisators vir, en die aard en uitkomste van, die kreatiewe proses. Hierdie essay ondersoek eerstens die teoretisering van literêre kreatiwiteit deur veral Derek Attridge, wat hy hoofsaaklik baseer op Coetzee se werk. Tweedens word die komplekse uitbeeldings – of performance – van kreatiwiteit en die kreatiewe proses in Coetzee se oeuvre, spesifiek aan die hand van The Master of Petersburg en die post-Disgrace werke, ontleed. Daar word gefokus op skeppende karakters en alter ego’s, veral skrywers, wat toenemend hul verskyning in Coetzee se prosa maak. Kwessies van skrywerlike mag, die etiek van skryf, die konflik tussen werklikheidsvlakke binne fiksie asook tussen werklikheid en fiksie, soos dit uitspeel in die hibriede en eksperimentele laat werke, kom aan bod. Die essay maak dikwels van stipleestegnieke gebruik in die lees van die betrokke werke. Ander strategieë word egter ook ingespan, veral by die lees van die laat werke. Die siening van kreatiewe impuls wat aldus blyk, is ‘n radikale een. Kreatiwiteit is blind vir moraliteit en dalk selfs etiek. Dit word onder andere gelykgestel aan die epileptiese val. Dit gaan oor die oopstelling vir – en die eksklusiewe verantwoordelikheid teenoor – die onverwagse, die Beckettiaanse/Derridiaanse proses van ‘n produktiewe/onproduktiewe gewag. Dit word vergestalt deur ‘n gebeurtenis wat beslag vind in die onverminderbare eiesoortigheid van die literêre werk.
ENGLISH ABSTRACT: J. M. Coetzee’s work often investigates in an intense and unusual manner the nature of creativity and how it works, what the sources and origins of creativity are, and marvels at the unpredictability of the preconditions and catalysts for, and the nature and outcomes of, the creative process. This essay investigates, in the first place, the theorisation of literary creativity by especially Derek Attridge, which he mainly bases on Coetzee’s work. In the second instance, the complex portrayals – or performances – of creativity and the creative process in Coetzee’s oeuvre are analysed, particularly with reference to The Master of Petersburg and the post-Disgrace works. The focus is on creative characters, particularly authors, who are increasingly making an appearance in Coetzee’s prose. Questions of authorial power, the ethics of writing, the conflict of reality levels within fiction as well as between reality and fiction, as it plays out in the hybird and experimental late works, are presented. The essay often uses close reading in the reading of the mentioned works. Other strategies are also used, particularly in the reading of the late works. The view of the creative impulse thus crystallising, is a radical one. Creativity is blind to morality, and perhaps also ethics. It is equated, inter alia, to the epileptic fit. It is about the opening up – and the exclusive responsibility – to the unexpected, to the Beckettian/Derridian process of a productive/unproductive waiting. It is represented by a happening which precipitates in the irreducible singularity of the literary work.
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Cruz, Talita Mochiute. "A ficção australiana de J. M. Coetzee: o romance autorreflexivo contemporâneo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-10092015-160114/.
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Esta dissertação propõe uma leitura da chamada ficção australiana de J. M. Coetzee composta por Elizabeth Costello (2003), Homem lento (2005) e Diário de um ano ruim (2007). Esses romances da fase madura do autor compartilham um núcleo de questões estéticas e éticas, configurando um conjunto significativo marcado pela inflexão autorreflexiva. O trabalho acompanha a constituição e a trajetória dos escritores-personagens Elizabeth Costello e Señor C, discutindo como a inserção do recurso do duplo do escritor desestabiliza as noções de autor, personagem e narrador, além de borrar os limites entre ficção e não ficção. A dramatização do processo criativo no centro das obras é outro foco da análise, com o objetivo de entender a encenação da impossibilidade do romance nos moldes do realismo formal. O estudo ainda tenta sugerir a resposta de Coetzee sobre a validade do romance no mundo contemporâneo.This dissertation presents a reading of J. M. Coetzees so-called Australian fiction comprising the works Elizabeth Costello (2003), Slow Man (2005), and Diary of a Bad Year (2007). These novels, belonging to the authors late prose, share core aesthetic and ethical issues. They are meaningful works characterized by self-reflexive inflection. This study follows Elizabeth Costello and Señor C in their writer-characters constitution and journey to discuss how the presence of the writers double, as literary device, destabilizes the notions of author, character, and narrator, as well as it blurs the boundaries between fiction and non-fiction. The dramatization of the creative process in the center of Coetzees works is another focus of analysis aiming to understand the impossibility of staging the novel in formal realism patterns. This work also attempts to suggest Coetzees response on the validity of the novel in the contemporary world.
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Bruce, Alastair. "Aspects of time and narrative in the novels of J.M. Coetzee." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/21171.
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Building on the approaches of critics such as David Attwell, and starting from the premise that the concepts of time and narrative are inextricably linked, this thesis aims to show how J.M. Coetzee's fictional narratives are concerned with the effects of historical time on both the characters of the novels and on the novels themselves; that is, more generally ,speaking, on literature. The study analyses the novels paying attention to their juxtaposition of literature and history and the tension between these two discourses. Coetzee tries to establish the legitimacy of a fictional, artistic time and space opposed to the violence of historical time and space. In so doing, he reveals the ironic dependence of literature on history as well as the metaphysical and ethical need for the continuing presence of literature in history. The novels are examined in sequence, allowing for illumination of trends and developments in Coetzee' s fiction. The first chapter shows how Dusklands is concerned with breaking down, mainly through parody, the oppressive structures that Coetzee finds in historical time. The second and third, on In the Heart of the Country and Waiting for the Barbarians respectively, discuss how the novels oppose history thematically and formatically. The chapters on Life and Times of Michael K and Foe show characters escaping the restrictive terms of history, and how the novels establish a "fictional realm". The Age of Iron chapter examines more closely the authority of this realm, and notes that the novel issues a plea for the continuation of fictional time and its potential for liberation. The previous five novels all express, ironically enough, reservations about the possible dependence of art or literature on history. The Master of Petersburg, so the chapter argues, takes the trend to its logical conclusion and offers a somewhat ironic look at the ethics of fiction writing.
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Rose, Arthur James. "The poetics of reciprocity in selected fictions by J. M. Coetzee." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8098.
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Includes bibliographical references (leaves 93-96).David Attwell, in the interview that prefaces "The Poetics of Reciprocity" section of Doubling the Point, identifies a recurrent concern with the function of reciprocity in the work of J. M Coetzee. 1 "The I-You relation ... connects with larger things in the whole of [Coetzee's] work, what I would like to call broadly the poetics of reciprocity." (Attwell 1992: 58) This dissertation seeks to examine the poetics of reciprocity as an aesthetic-ethical concern of Coetzee' s fiction. By establishing Coetzee's works as an extended critique of reciprocity in their thematic and structural elements, this dissertation presents a notion of reciprocity that acknowledges both an ethical imperative to engage with others and the aesthetic problems of depicting that ethical engagement in art. The aim of the dissertation is therefore to show the use of a poetics of reciprocity in raising and examining particular ethical and aesthetic issues in Coetzee' s work.
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Chow, Shuk-han. "Opposition and reconciliation in the works of J.M. Coetzee and Nadine Gordimer." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31577441.
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Valenzuela, Ruiz Jose. "Hacia tierras lejanas. Emoción y cognición en la lectura de ficciones literarias: Un análisis de la narrativa de J.M. Coetze." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398136.
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En esta investigación exploramos los procesos cognitivos asociados a las emociones que
engendran los acontecimientos de una obra literaria y los mecanismos narrativos
empleados para inducir esos estados mentales. A partir de un doble enfoque teórico y
crítico-hermenéutico hemos propuesto una teoría inédita basada en las principales
corrientes teóricas y metodológicas que confluyen en los estudios literarios cognitivos,
ámbito de convergencia para la exploración de la frontera de mente y literatura. A partir
de esa propuesta hemos desarrollado un análisis crítico de seis novelas del escritor
sudafricano J.M. Coetzee –Waiting for the Barbarians, Disgrace, Foe, Slow Man, Diary
of a Bad Year y Summertime- con la intención de validar las hipótesis planteadas a
través de ejemplos prácticos que permiten estudiar la forma en que se construye una
obra literaria para lograr ese impacto en el lector.In this research we explore cognitive processes related to emotions prompted by events of a literary work and narrative mechanisms used to induce that mental states. Using a theoretical and critical-hermeneutical double approach we propose an unpublished theory based in the main theoretical and methodological currents that come together in the cognitive literary studies, convergence field for the exploration in the frontier of mind and literature. We have developed from that proposal a critical analysis of six novels by the southafrican writer J. M. Coetzee –Waiting for the Barbarians, Disgrace, Foe, Slow Man, Diary of a Bad Year y Summertime- with the aim of validating the proposed hypothesis through practical demonstrations that allow studying the way a literary work is built to achieve this impact in the reader.
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Rosenqvist, Mathias. "Waiting for “the black flower of civilization to bloom” : Shades of Modernity in J. M. Coetzee’s Waiting for the Barbarians." Thesis, Stockholm University, Department of English, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8233.
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Vanky, Anna-Marie. "The Secret Aria on Shame : An Analysis of Narrative Structure and Theme in Coetzee's "Diary of a Bad Year"." Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4208.
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Coetzee’s last novel Diary of a Bad Year (2007) has an intriguing triple-voiced narrative structure and deals with the grey area of shame. The narrative is divided between a writer, his written contribution to a book called “Strong Opinions”, and his secretary’s thoughts about both the opinions in the manuscript and her employer’s circumstances. This essay explores the relation between form and theme in Diary of a Bad Year; to see in what way these two fundamental elements of the novel intervene and support each other. By doing so the narrative structure is read through Freud’s structural model of personality, whereby each narrator’s voice is related to the notions of the super-ego, the ego and the id. In other words, this essay argues that the specific threefold narrative structure in Diary of a Bad Year, by reflecting the interrelated parts of human identity, helps in creating and developing the theme of shame, which only exists connected to the human psyche. This connection in turn gives special meaning to the entire narratology of the novel.
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Fink, Kathryn. ""Intimations of Freedom" the human condition in four novels by J.M. Coetzee /." Connect to resource, 2006. http://hdl.handle.net/1811/6627.
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Thesis (Honors)--Ohio State University, 2006.Title from first page of PDF file. Document formatted into pages: contains 56 p. Includes bibliographical references (p. 55-56). Available online via Ohio State University's Knowledge Bank.
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Chow, Shuk-han, and 周淑嫻. "Opposition and reconciliation in the works of J.M. Coetzee and Nadine Gordimer." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31577441.
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Coetzee, Stephanus Marthinus. "Bridging the divide in the affordable housing sector / by Stephanus Marthinus Coetzee." Thesis, North-West University, 2003. http://hdl.handle.net/10394/371.
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The road to success is one often paved with obstacles that prevent the top structure developers in
the affordable housing sector from reaching their goal of becoming serious market contenders.
This study has therefore been dedicated to developing a management model that may be applied
by top structure developers to assist them in reaching this goal.
This management model has been developed based by firstly introducing the top structure
developer to the concepts of competitiveness and strategy that will enable them to adopt a mindset
conducive to this. This was followed by developing a model supported by research conducted in
literature to establish a sound foundation from which to conduct empirical research on the topic.
The findings of the empirical research indicated that the affordable housing sector is characterised
by a dynamic environment that lends itself to being susceptible to numerous internal and external
influences. Two factors have been identified as being of paramount importance in their contribution
in creating volatility in this industry. These factors are: access to serviced erven and access to
mortgage finance that top structure developers need to meet the requirements and needs of the
affordable housing consumer.
A methodology has thus been developed based on the insights gained from literature and
respondents that have been interviewed as part of the empirical research component of this study.
This will aid the top structure developer in dealing with this and other issues in becoming able to
bridge the divide in the affordable housing sector. Success is not guaranteed, only a better chance
of being considered a serious market contender.Thesis (M.B.A.)--North-West University, Potchefstroom Campus, 2004.
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Coetzee, Yvette. "Internasionale perspektiewe op kinderarbeid : enkele lesse vir Suid-Afrika / deur Yvette Coetzee." Thesis, North-West University, 2005. http://hdl.handle.net/10394/944.
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This study demonstrates the blatant and persistent violation of children's rights
within the labour market, including their neglect, abuse and exploitation. The
absence of schooling, supportive services and the increase in poverty threatens
the well-being of children. The right of children to be protected from exploitative
labour practices that are age inappropriate and detrimental to the child's wellbeing,
education, physical, mental, spiritual moral or social development
sometimes appear to be neglected.
The study focuses on the problems with regard to child labour as regulated in
international instruments and national legislation and whether the instruments
and legislation is sufficient in prohibiting children to engage in hazardous work
which involves their economic.
The international and national instruments as discussed in this study protect
children from economic exploitation and from work that is hazardous to their
health or which interfere with their education. However, one should be aware of
the overwhelming need among many South African households for children to
work. It is therefore suggested that legislation be implemented more effectively
to eliminate the use of child labour under specific ages. However, these
restrictions should be placed within the scope of the child's right to be heard and
to make his/her own decisions with regard to issues concerning them.
There needs to be an integrated strategy linked to the provision of free basic
education and addressing poverty to combat child labour. It is critical to initiate
emergency measures which will promote the care and protection of children and
harness their potential to meaningfully contribute to society. Child labour should
not jeopardize any of the rights guaranteed by international and/or national
instruments, including the right to education, or the right of the child to be heard.
It makes clear that a basic quality of life should be the right of all children, rather
than a privilege enjoyed by a few.Thesis (LL.M.)--North-West University, Potchefstroom Campus, 2006.
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Coetzee, Siedine Knobloch. "Quality of doctoral education in nursing in South Africa / Siedine Knobloch Coetzee." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4958.
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The number of doctoral programmes in nursing has rapidly multiplied in many countries of the world, with each doctoral programme varying not only between countries, but also between higher education institutions within countries. This has led to a concern about the quality of doctoral education in nursing and the development of quality criteria, standards and indicators (QCSI) for doctoral education in nursing that can be applied globally. This study is part of an international collaborative study to compare the quality of doctoral education in nursing among Australia, Japan, Korea, South Africa, Thailand, United Kingdom (UK) and the United States of America (USA) using the QCSI criteria,
i.e. the nature of the mission, the quality of academic personnel, doctoral students, curriculum, programme administration and infrastructure, the availability of institutional resources and evaluation of the programme. In South Africa, no study has ever been conducted at a national level to evaluate the quality of doctoral education in nursing.
Linking to the global need, this research aimed to explore and describe the quality of doctoral education in nursing in South Africa and to develop a strategy to improve the quality of doctoral education in nursing in South Africa. The aim was achieved through five objectives: exploring and describing the quality of doctoral education in nursing in South Africa from the perspectives of nursing deans, academic personnel, doctoral graduates and doctoral students with regard to the nature of the mission, the quality of academic personnel, doctoral students, curriculum, programme administration and infrastructure, availability of institutional resources, and evaluation of the programme. A further objective was to develop a strategy to improve the quality of doctoral education in nursing in South Africa. The design of the study was quantitative, with exploratory, descriptive and contextual research strategies.
The research followed specific steps that consisted of two phases. Phase one consisted of the first four objectives of the study and entailed a comprehensive literature review and empirical research using four structured (Likert-type) internet-mediated (by
v
email) questionnaires to explore and describe the quality of doctoral education in nursing in South Africa from the perspectives of nursing deans, academic personnel, doctoral graduates and doctoral students. Sixty-two (62) problems were identified from the literature review and the empirical research, which served as the evidence base towards developing a strategy for improving the quality of doctoral education in nursing in South Africa in phase two, which consisted of objective five of the study. The strategy for improving the quality of doctoral education in nursing in South Africa was developed using a strategic process to develop a vision, mission, values, principles, assumptions, strategy objectives, and functional tactics, based on Total Quality Management (TQM) philosophy_ Finally, the research was evaluated, limitations were identified and recommendations were formulated for practice, education, research and policy.Thesis (Ph.D. (Nursing))--North-West University, Potchefstroom Campus, 2010.
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Oliveira, Carlos Augusto Lima de. "Vergonha, SacrifÃcio e Testemunho: 3 Desmedidas para 3 Romances de J.M. Coetzee." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16849.
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nÃo hÃFundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
O presente estudo tem como ponto de partida uma articulaÃÃo entre o discurso literÃrio e o discurso testemunhal, a partir das proposiÃÃes de Giorgio Agamben a respeito da ideia do testemunho como um discurso de Auctor, aquele que à autorizado por outrem a relatar determinados eventos. Esta ideia de testemunho difere do senso comum, como algo que atesta com veracidade e objetividade os acontecimentos, mas està muito mais prÃxima do discurso de invenÃÃo, onde sua veracidade, e sua dimensÃo Ãtica, estÃo mais para aquilo que lhe falta ou mesmo excede, para lembrar a crÃtica portuguesa Silvina Rodrigues Lopes. Desta forma, interessa a este estudo analisar trÃs romances do escritor sul-africano J.M. Coetzee (à Espera dos BÃrbaros, A Idade do Ferro e Desonra) como recortes testemunhais das transformaÃÃes por que passam seus narradores, tanto dentro do contexto da Ãfrica do Sul, quanto em outras dimensÃes simbolizadas ali. Um testemunho onde resvala o peso da Vergonha, como potÃncia de manifestaÃÃo Ãtica, na medida em que aponta a falÃncia de modelos atà entÃo vigentes (colonialismo, Apartheid, o projeto de civilizaÃÃo ocidental), e de uma ordem sacrificial em que mergulham tais narradores-testemunhas. SacrifÃcio dos prÃprios corpos brancos, atà entÃo imunes, legalmente protegidos, sacralizados. SacrifÃcio como profanaÃÃo.
This study has as its starting point an articulation between literary discourse and testimonial speech, from the propositions of Giorgio Agamben about the idea of testimony as an Auctor speech, one who is authorized by others to report certain events. This idea of testimony differs from common sense, as something that testifies truthfully and objectively the events, but is much closer to the speech of the invention, where its veracity, and its ethical dimension, achieve what it lacks or even exceeds, reminding the Portuguese critic Silvina Rodrigues Lopes. Thus, this study is interested in analyzing three novels of the South African writer J.M. Coetzee (Waiting for the Barbarians, The Iron Age and Disgrace) as testimonials clippings of changes that spend their narrators, both inside the South African context as in other dimensions symbolized there. A testimony where slips the burden of Shame, such as an ethical manifestationâ power, in that it points out the failure of models so far established (colonialism, Apartheid, the Western civilization project), and a sacrificial order where such narrators-witnesses dive. Sacrifice of white bodies, hitherto immune, legally protected, sacralized. Sacrifice as profanation.
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Al-Hamed, Hajer Saud. "Becoming nothing, becoming everything : quantum posthumanism and the writing of J.M. Coetzee." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12279/.
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Drawing on both posthumanism and quantum theory, this thesis introduces what I am calling a framework of quantum posthumanism. Based on the epistemic and ontic aspects of entanglement, nonseparability, and becoming, and a reworking of ideas of agency and objectivity, the thesis embarks on an interdisciplinary (entangled) reading of J. M. Coetzee’s texts that seeks to move beyond the current historicist framing of his work. Utilising some of the key concepts and laws from various quantum interpretations, it seeks to show how such concepts effectively deconstruct boundaries between self/other, human/animal, animate/inanimate, body/environment and therefore, by extension to the literary, between fact/fiction, story/history, external/internal, and ultimately author/character/reader/text. The thesis approaches Coetzee’s writing by focussing on the centrality in his fiction of becoming, not only on the level of characters, but also in terms of the agencies of meaning within the literary event (the transactions amongst reader, author, and text). Quantum posthumanism deconstructs the fixed role and positionality of the external observer/Cartesian subject, represented as the reader/author outside the literary event. It proposes the term phenomenon of meaning to address the entanglement of reader/text/author that become part of the meaning they claim to own. The thesis also challenges traditional uses of concepts such as time, linearity, and origin with quantum posthumanist ideas such as multiplicity, emergence, contingency, and parallelism. Finally, through the framework of quantum posthumanism, the thesis hopes to support the argument for the entanglement of human knowledge and the detrimental illusion of the divide between the humanities and the sciences by demonstrating and exemplifying how inevitably entangled human knowledge is.
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Broggi, Alicia. "J.M. Coetzee and the Christian tradition : navigating religious legacies in the novel." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f53e2155-c9e7-4aad-aed8-d8087f92c5f4.
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This thesis examines how J.M. Coetzee's engagement with Christian thinkers and concepts has shaped his fiction. Through a series of close readings, I show how Coetzee, who does not identify as a Christian, reworks and reimagines concepts from key Christian interlocutors across his writings. Each close reading is informed by a consideration of what Coetzee had himself been reading during the writing process, based on evidence in interviews, essays, monographs, and archival materials. Attending to Coetzee's reading and writing, together, illuminates the distinctively self-conscious nature of his engagement with Christianity. Whereas current Coetzee criticism has given attention to specific Christian themes and lexical choices in his fiction, this thesis demonstrates that Coetzee's engagement with Christianity is more profound and pervasive than has been credited hitherto. In addition to the vast body of allusion to Scripture in his writings, Christian thinkers have in fact played a major role in his innovative approach to the novel, a genre predominantly forged in Christian contexts, and in his handling of narrative more generally. Through its explication of Coetzee's extensive dialogue with Christian thinking, and with the Bible, across the full span of his career, this thesis seeks to describe the nuanced and diverse ways in which Coetzee's writings have revised and reimagined this vast and complex religious legacy.
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Graham, Lucy Valerie. "The use of the female voice in three novels by J.M. Coetzee." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002267.
Full textAbstract:
This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.