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Meihuizen, N. C. T. "Beckett and Coetzee: alternative identities". Literator 32, n.º 1 (22 de junio de 2011): 1–20. http://dx.doi.org/10.4102/lit.v32i1.1.
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Coetzee’s scholarly interest in Beckett, and his aesthetic interest in the same (which carries a strong measure of readily acknowledged influence), diverge in the case Coetzee presents in a recent mini-biography cum autobiography, “Samuel Beckett in Cape Town – an imaginary history” (Coetzee, 2006:74-77), where both he and Beckett are imagined as having experienced alternative pasts in South Africa. Considering this acknowledged influence, which Coetzee (1992b) mentions in an interview with David Attwell in “Doubling the point”, one might assume that it followed an initial scholarly interest in Beckett(Coetzee’s Ph.D. was on Beckett, and was completed years before he himself became a creative writer). However, in the case at hand this causal sequence is broken, because the doubled Coetzee, though under the spell of Beckett’s prose, does not wish to do scholarly work on the doubled Beckett. What is it about Coetzee’s imagined Beckett that has this effect on him? And why is it that Coetzee engages in such metafictional blurred doubling when it comes to himself and Beckett? This article attempts to shed light on the problems that surround Coetzee’s crafted interaction between authors who are also (in this rather odd context) characters.
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Chesney, Duncan McColl. "Late Coetzee Revisited". International Journal of English Studies 22, n.º 2 (23 de diciembre de 2022): 73–89. http://dx.doi.org/10.6018/ijes.493341.
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In this paper I reassess the discussion of Coetzee and late style by focusing on the criticism from around the time of Elizabeth Costello in order to observe if these treatments, and the concept of lateness developed by Adorno and Said, help us to understand the late, late Jesus trilogy. After reviewing the crisis in the novel exemplified by the Dairy I turn to an analysis of the Jesus novels and then finally assess the discussion of Coetzee in recent work in World Literature. The late, late works of Coetzee do not fit exactly within the existing critical discussion of late Coetzee; yet, they cannot be easily subsumed within an account of the post-historicist, global novel. These novels, while not Coetzee’s best, must still be understood within the history of Coetzee’s own development as a writer. Precisely, this attention to continuity helps reveal both strengths and weaknesses of late, late Coetzee.
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Cruz, Talita Mochiute. "Coetzee lendo Beckett". Eutomia 1, n.º 20 (19 de febrero de 2018): 92. http://dx.doi.org/10.19134/eutomia-v1i20p92-99.
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Este artigo discute brevemente como J.M. Coetzee em seus textos críticos lê a obra de Samuel Beckett, a fim de refletir a respeito do trânsito entre o trabalho ficcional e acadêmico desse escritor sul-africano. Ao percorrer a visão de Coetzee crítico, pretende-se situar o lugar de Beckett na trilogia coetzeeana Cenas da vida na província, principalmente para a constituição da(s) voz(es) narrativa nesse projeto autobiográfico ficcionalizado.Palavras-chave: J.M. Coetzee; Samuel Beckett; romance contemporâneo; voz narrativa; literatura comparada. Abstract: This article briefly discusses how J. Coetzee in his critical texts reads the work of Samuel Beckett in order to reflect on the relations between the fictional and academic work of this South African writer. In going through the critical vision of Coetzee, it is aimed to situate Beckett's place in Coetzeean trilogy, Scenes from Provincial Life, mainly for the constitution of the narrative voice(s) in this fictionalized autobiographical project.Keywords: J.M. Coetzee; Samuel Beckett; contemporary novel; narrative voice; comparative literature.
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Zhao, Yinqi. "Susan’s Elusive Unreliability and Coetzee’s Existential Thinking in Foe". Randwick International of Social Science Journal 4, n.º 4 (31 de octubre de 2023): 807–17. http://dx.doi.org/10.47175/rissj.v4i4.825.
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This paper explores the portrayal of Susan Barton as an unreliable narrator in J.M. Coetzee’s novel, Foe, and its implications on storytelling, authorial authority, and existential themes. Through a comprehensive analysis of Susan’s narrative, the paper delves into the dual interpretations of her (un)reliability and argues that Coetzee intentionally crafts her as an elusive unreliable narrator. Then this article examines the “re-deconstruction” achieved by Coetzee, which challenges traditional storytelling conventions and emphasises the underlying meaning conveyed by a story. It also tries to explore Coetzee’s philosophical contemplations of existence and contends that aligning with Sartre’s existential thinking, Coetzee discusses many concepts around freedom and existence. By incorporating existential reflections, the paper uncovers the consciousness and existence embedded in the narrative.
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Kusek, Robert y Wojciech Szymański. "An Unlikely Pair: Berlinde De Bruyckere and J.M. Coetzee". Werkwinkel 10, n.º 1 (1 de junio de 2015): 13–32. http://dx.doi.org/10.1515/werk-2015-0002.
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Abstract Despite J.M. Coetzee’s ostensible interest in the issues of - largely speaking - visuality, the links between Coetzee’s oeuvre and ‘images’ have not been sufficiently explored either by art or literary critics. The paper offers a detailed discussion of the cooperation between Coetzee and the Belgian artist Berlinde De Bruyckere which has so far resulted in one installation and two art books co-authored by Coetzee and De Bruyckere. Special attention will be paid to the piece “Cripplewood/Kreupelhout” shown in the Belgian Pavilion of the 2013 Venice Biennial and the catalogue published in its wake. Also, a number of questions related to the nature of Coetzee’s contribution to both projects, the role of a curator and his relationship with the artist, as well as the catalogue’s generic affiliation and its position in Coetzee’s body of works are thoroughly addressed.
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Robinson, Benjamin Lewis. "Passions for Justice: Kleist’s Michael Kohlhaas and Coetzee’s Michael K". Comparative Literature 70, n.º 4 (1 de diciembre de 2018): 426–43. http://dx.doi.org/10.1215/00104124-7215484.
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Abstract J. M. Coetzee conceived of Life & Times of Michael K (1983) as an “interpretive translation” of Heinrich von Kleist’s Michael Kohlhaas (1808/10). Drawing on Coetzee’s notes and drafts, this essay explores his attempt to generate the literary and political “passion + urgency” of Kleist’s text, which Coetzee felt the times called for but his own writing lacked. While Michael Kohlhaas became a guerrilla out of his “passion for justice,” Michael K, despite the incessant provocations of the state, does not join the guerrillas but emerges instead as a very different kind of figure: a gardener who “just lives.” Between the guerrilla and the gardener, Coetzee elaborates an antinomy of justice not only in apartheid South Africa but inherent to the institutionalization of modern political life.
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Tajiri, Yoshiki. "BECKETT'S LEGACY IN THE WORK OF J. M. COETZEE". Samuel Beckett Today / Aujourd'hui 19, n.º 1 (1 de agosto de 2008): 361–70. http://dx.doi.org/10.1163/18757405-019001029.
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Beckett has been one of the most important authors for J. M. Coetzee and his influence is clearly felt in Coetzee's novels. In this paper, I aim to reconsider the relation between modernism and postcolonialism by examining how Beckett's (modernist) legacy is inherited by Coetzee's (postcolonial) novels.
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Dooley, Gillian. "“The Origins of Speech Lie in Song”". Le Simplegadi 18, n.º 20 (noviembre de 2020): 26–34. http://dx.doi.org/10.17456/simple-153.
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In Disgrace, David Lurie finds preposterous the proposition that “Human society has created language in order that we may communicate our thoughts, feelings and intentions to each other”, privately believing that, on the contrary, “the origins of speech lie in song” (Coetzee 2000: 3-4). In my 2010 book J. M. Coetzee and the Power of Narrative, I included a brief survey of references to music as a type of language in Coetzee’s work. In this paper I will examine my claim in greater depth, seeking musical resonances in his novel Age of Iron, both in his prose and in the form and structure of the novel. I will attempt to account for my impression that despite his reputation for spare, academic prose, Coetzee is a lyrical and impassioned writer, and that musical rhythms and structures are an essential element in his work.
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Salih, Suadah Jasim y Lajiman Janoory. "The Voice of the Black Female Other: A Post-Colonial Feminist Perspective in J. M. Coetzee’s Age of Iron". Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, n.º 10 (2 de octubre de 2020): 267–76. http://dx.doi.org/10.47405/mjssh.v5i10.524.
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As a beacon in a storm, John Maxwell Coetzee has established himself through his intellectual contribution to the post-colonial feminism literature in general and South African slavery epoch in particular. Accordingly, this study has been devoted to critically reflect how Coetzee confined his pen to support the oppressed black South Africans against injustice, oppression and deprivation. Moreover, the paper reveals the South African inextricable components and haw the writer has deeply perceived both apartheid and post-apartheid history by his naked eyes. Coetzee’s Age of Iron reveals his unique ability to aptly penetrate his readers based on contradiction where pessimism is shifted to optimism and, therefore, the readers’ mindset is directly shifted from atrocity to love. The study then delves deeply to show how Coetzee provides a solution to bring two parted races, black and white South Africans, together through the role of women characters in his fiction based on both gender and racial schism. Specifically, this study critically scrutinizes Coetzee’s Age of Iron. The study applies the post-colonial feminism theory using discursive strategy based on sociological and anthropological analyses to reveal how colonization destroyed South Africans’ cultures resulting in a crisis of human segregation which is depicted through white women characters in the novel. By drawing the post-colonial black women’s treatment by the colonisers and the forms of resisting their hegemony, the findings of this study are expected to significantly contribute to the researchers whose concern is on black women in Coetzee’s fiction.
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Galvan-Alvarez, Enrique y Fernando Galván. "Coetzee and Borges: the Southern Connections". Atlantis. Journal of the Spanish Association for Anglo-American Studies 45, n.º 1 (29 de junio de 2023): 74–92. http://dx.doi.org/10.28914/atlantis-2023-45.1.05.
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This essay addresses some of the relations that can be traced between, on the one hand, J. M. Coetzee and Jorge Luis Borges and, on the other, the concept of the Global South and Coetzee’s recent approach to Latin America. The development of his ideas about the notion of the South or “real South,” as opposed to the “mythic South,” is discussed and illustrated through a brief analysis of Borges’s tale “El Sur” [“The South”] and Coetzee’s novel Disgrace. These two texts help us in focusing Coetzee’s rejection of the so-called “Northern Gaze,” a Westernised world-view dominated by the English language, and his preference for Spanish as the language for the initial publication of his latest books.
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Biti, Vladimir. "From lectures to lessons and back again:The deterritorialization of transmission in Elizabeth Costello". Frontiers of Narrative Studies 7, n.º 1 (1 de julio de 2021): 21–43. http://dx.doi.org/10.1515/fns-2021-0002.
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Abstract J. M. Coetzee’s Elizabeth Costello consists of eight “lessons,” which in their turn play host to seven lectures as given either by Coetzee himself or his fictional doppelganger. When a fiction consists of lessons that embed lectures, the latter are delivered simultaneously to the present direct addressees and to absent indirect ones. Both Costello and Coetzee refuse to accept the consensual illusion of their lecture halls by preferring to address a scattered and heterogeneous readership. Their lectures break the realist illusion by drawing attention to their unreliable performers who cannot act as unbiased agents of commonality. The best way to provoke dissent is to put emphasis on the consensual reality’s discarded “real,” such as violated children, exterminated peoples, or suffering animals. By responding to its call from an ever-new point of view and establishing a migrating point of view, Costello and Coetzee untiringly distance themselves from the artifice of reality that surrounds them.
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Farrant, Marc. "A Poetics of Embeddedness: J. M. Coetzee’s Dissertation on Beckett". Twentieth-Century Literature 68, n.º 3 (1 de septiembre de 2022): 323–52. http://dx.doi.org/10.1215/0041462x-10028096.
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J. M. Coetzee’s 1969 dissertation on Samuel Beckett, which remains unpublished, has been addressed variously within Coetzee studies, but we have not yet appreciated the close relation between this extraordinary postgraduate work and Coetzee’s later fiction. This is partly because Coetzee later distanced himself both from Beckett and from the mathematics important to his dissertation but seemingly at odds with his later creative practice as a novelist. In this essay I provide an account of the literary-critical and literary-historical context of Coetzee’s postgraduate research. Rarely have we seen an instance where one major writer is both a major influence on another but also the subject of that other’s rigorous academic study. From the infertile soil of the field of stylostatistics, this essay aims to trace the unlikely flowering of Coetzee’s doctoral work in his later writings and in the development of what I term a poetics of embeddedness. Coetzee’s early work as a forerunner in the digital humanities, and his writings on form, style, and linguistic skepticism, also shed light on contemporary debates about postcritique and the possibility of politically committed literature.
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Isom, Rachael. "“Do you think I can’t read between the lines?”: Discourse of the unsaid in J. M. Coetzee’s Diary of a Bad Year". Journal of Commonwealth Literature 53, n.º 1 (29 de febrero de 2016): 7–20. http://dx.doi.org/10.1177/0021989415627314.
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This article examines J. M. Coetzee’s use of intuitive and interpretive exchanges within and across the tripartite structure of Diary of a Bad Year (2007). It argues that Coetzee rejects strict understandings of the novel genre in favour of a more fluid form, enabling him to explore heteroglot exchanges within the two monologues on each page of Diary of a Bad Year and complicate conventional understandings of Bakhtin’s theory of dialogism. Creating multiple layers that begin with unspoken words, pass through an “othered” interpreter, and arrive at the reader via the novel’s narration, meaning is reconfigured and reconsidered in a way that distances it from the author. The essay further argues that Coetzee’s use of dialogic discourse in Diary of a Bad Year privileges the perspective of the Filipina woman whose voice drives much of the novel’s commentary as she wins the interpretive game Coetzee creates.
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Neimneh, Shadi. "The Humanist Discourse in J. M. Coetzee's Waiting for the Barbarians". Crossroads. A Journal of English Studies, n.º 39(4) (2022): 79–95. http://dx.doi.org/10.15290/cr.2022.39.4.05.
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This article interrogates the humanist discourse in J. M. Coetzee's Waiting forthe Barbarians(1980), negotiating the intersections between the novelʼs narrator, the Magistrate, and Coetzee, the public intellectual. The ethical narrator, through the very act of witnessing and describing imperial violence, objects to the practices of torture perpetrated on captured prisoners yet feels guilty for his complicity with the torturers. The articulation of his difficult position as a humanist serving a declining Empire forms the essence of a humanist discourse that corresponds to the difficulties and ambivalences experienced by the postcolonial writer/intellectual. Using the work of Edward Said on the representations of the intellectual and Coetzee's views on ethical authorship and torture, the present article locates the humanist discourse articulated by the Magistrate in the center of Coetzee's conception of the public intellectual. While Coetzee undertakes the task of representing oppression without reinscribing it, his narrator struggles with distanc-ing himself from the oppressors physically and psychologically, and thus achieving the relative autonomy Said called for. In the process, the Magistrate moves from a position of consent to one of dissent.
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Meihuizen, N. "Beckett and Coetzee: The aesthetics of insularity". Literator 17, n.º 1 (30 de abril de 1996): 143–52. http://dx.doi.org/10.4102/lit.v17i1.590.
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The permutations of sentence elements in Beckett's Watt have the impersonality (almost) of mathematics. The variations of combinations of the same elements in certain sections of the book could have been performed by a computer. It is noteworthy that J.M. Coetzee indeed subjects Beckett’s work to computer analysis, as if he responds to aspects of it by mirroring in his approach to it the essence of its automatism/autism/insularity. Coetzee’s own insularity, though, takes its bearing primarily from the socio-political state; Beckett’s, if linked to this, primarily from the individual estranged by the contemporary world. But Beckett shares with Coetzee the informing thrift necessary for the establishment of an aesthetics of insularity.
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Joyson, Roshni y Dr Cynthia Catherine Michael. "Racial Identity in Post-Apartheid South Africa: J.M. Coetzee’s Disgrace". SMART MOVES JOURNAL IJELLH 9, n.º 3 (28 de marzo de 2021): 39–51. http://dx.doi.org/10.24113/ijellh.v9i3.10943.
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J.M. Coetzee is a South African novelist, critic and an active translator of Dutch and Afrikaans literature. His novels are conspicuous for their well- crafted composition, pregnant dialogues and analytical brilliance. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. His major works include Disgrace, Waiting for the Barbarians, Life and Times of Michael K, Boyhood, Age of Iron and The Childhood of Jesus. In 1999, Coetzee has been the recipient of numerous awards throughout his career, although he has a reputation for avoiding award ceremonies. Coetzee became the first author to be twice awarded the Booker Prize, winning it as second time for Disgrace which portrays the post-apartheid society. Coetzee went on to win the Nobel Prize for literature in 2003 for his entire body of works. During the years of apartheid, he was at the forefront of the anti-apartheid movement among writers. Scholar Isadore Dalia labelled J.M Coetzee as one of the most distinguished white writers with an anti-apartheid sentiment. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. Disgrace can be analyzed as a representative work of the new south Africa where the social problems relating binary oppositions such as black- white, white- immigrant, powerless- powerful, are stressed. This paper attempts to show through the protagonist, David Lurie, that the way to adapt to the changes in the country is to make a fresh start, a way to adapt to the new times, where no ideas of the old are retained. Frantz Fanon’s concepts within the field of post colonialism which he articulated in Black Skin, White Masks (1967) and The Wretched of the Earth (1963) have much relevance in Disgrace. The objective of this paper is to stretch his new ideas in a new direction by applying his theories on nation and culture onto a white subject Lurie, a white native South African. In the light of Fanon’s text, The Wretched of the Earth it can be argued that following the revolutionary political changes in South Africa in 1994, the former colonizer can be seen in the same way as the colonized usually is: a powerless native, regardless of racial identity.
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Davies, Benjamin R. "Growing Up Against Allegory: The Late Works of J. M. Coetzee". Novel 53, n.º 3 (1 de noviembre de 2020): 419–35. http://dx.doi.org/10.1215/00295132-8624606.
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Abstract The first two books of J. M. Coetzee's recent trilogy, The Childhood of Jesus (2013) and The Schooldays of Jesus (2016), are extremely strange. Just when “the Australian fiction,” following the works set in South Africa and various international locations, was thought to be the last phase of Coetzee's career, the Nobel laureate changed tack. The Jesus books challenge readers and critics with their sparse tone, lengthy philosophical dialogues, and allegorical obscurity. Their difficulty seems to shed little light on some of the most intriguing questions about Coetzee's writing: namely, its form and its interaction with allegory. Beginning with a reappraisal of a classic work of Coetzee studies, this essay then lays out a theory about the connection between reading and writing allegory within traditions of what constitutes a “novel.” In the second section, examples from Coetzee's earlier fiction are analyzed, with focus on In the Heart of the Country (1977) and Boyhood (1997). Parental roles are found to be vital in the connections between the novel form and allegory. The third section applies these analyses to Childhood and Schooldays. Focus on the books’ references to Plato and Don Quixote helps scrutinize their philosophy and reach the thesis of this essay: that with these books, Coetzee experiments with a form that goes beyond the novel.
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Coetzee, Carli. "Carli Coetzee". Journal of the African Literature Association 12, n.º 2 (4 de mayo de 2018): 215–17. http://dx.doi.org/10.1080/21674736.2018.1510595.
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Deka, Parag Kumar. "Coetzee's Animal Ethics". Journal of Animal Ethics 12, n.º 2 (1 de octubre de 2022): 138–47. http://dx.doi.org/10.5406/21601267.12.2.04.
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Abstract J. M. Coetzee's novels pay equal ethical attention to human and nonhuman animal suffering. By addressing ethical issues about animals through the medium of fiction, Coetzee responds to and investigates both the actual and discursive exploitation of nonhumans. This essay looks at two of Coetzee's important apartheid-period novels and shows how the author uses various literary methods to posit an ethical and ontological equality of all living creatures and to stress the shared embodiedness of humans and animals. In Coetzee's fiction, this embodiedness is often presented as the ground for equal consideration of nonhuman animals.
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Lupton, Christina. "Jacques Rancière, J. M. Coetzee, and Doing Things Oneself". New Literary History 54, n.º 4 (septiembre de 2024): 1595–611. http://dx.doi.org/10.1353/nlh.2024.a922187.
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Abstract: Jacques Rancière and J. M. Coetzee, exact contemporaries, are both interested the worker’s access to aesthetic experience. In Rancière’s case, this involves looking backward to the fact that nineteenth-century workers were able to squeeze time from their working lives for art and literature. In Coetzee’s case, however, this problem of distributing aesthetic sensibility turns out to be a matter of looking forward in history, and of his own practice. How is he to write in a way that does not unfairly exempt him from work?
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ELGARHI, Nabit. "The Gravitational Fields of J.M Coetzee’s Fiction". International Journal of Language and Literary Studies 2, n.º 3 (30 de septiembre de 2021): 168–76. http://dx.doi.org/10.36892/ijlls.v2i3.650.
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The novels of J.M. Coetzee, South African novelist, have always been a source of inspiration for both readers and critics. A distinctive feature of his writing is the ability to converse with a wide range of disciplines amongst which is the scientific field stands distinguishingly appealing. This paper will explore the use of cosmology terminology to see its underpinnings in J.M Coetzee’s fiction as well as in Derek Attridge’s insightful criticisms. The gravitational velocity of J.M Coetzee’s fiction stems from his text’s singularity. Singularity remains Coetzee’s hallmark to engage with ethics and politics of otherness. The deconstruction of the simplistic and the normative comprehensions of post-apartheid establishes Coetzee’s singularity as his ethical defense of the singularity of literature on a large scale.
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Walder, Dennis y Dominic Head. "J. M. Coetzee". Modern Language Review 95, n.º 2 (abril de 2000): 499. http://dx.doi.org/10.2307/3736176.
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Jose, Nicholas. "Coetzee in China". Texas Studies in Literature and Language 58, n.º 4 (diciembre de 2016): 451–72. http://dx.doi.org/10.7560/tsll58407.
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Sheinbaum, Diego. "Defoe y Coetzee". Estudios: filosofía, historia, letras 6, n.º 85 (2008): 89. http://dx.doi.org/10.5347/01856383.0085.000174295.
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Uys, Beorn. "Louis Frederik Coetzee". South African Medical Journal 100, n.º 4 (30 de marzo de 2010): 218. http://dx.doi.org/10.7196/samj.4030.
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Coad, David y Dominic Head. "J. M. Coetzee". World Literature Today 72, n.º 4 (1998): 890. http://dx.doi.org/10.2307/40154435.
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Attridge, Derek y Susan Vanzanten Gallagher. "Coetzee in Context". NOVEL: A Forum on Fiction 26, n.º 3 (1993): 321. http://dx.doi.org/10.2307/1345840.
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Barnard, Rita. "J.M. Coetzee (review)". Research in African Literatures 31, n.º 2 (2000): 214–16. http://dx.doi.org/10.1353/ral.2000.0040.
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Kay, Robert L. "Johannes F. Coetzee". Journal of Solution Chemistry 20, n.º 10 (octubre de 1991): 955–56. http://dx.doi.org/10.1007/bf00663995.
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May, Brian. "Reading Coetzee, Eventually". Contemporary Literature 48, n.º 4 (2007): 629–38. http://dx.doi.org/10.1353/cli.2008.0000.
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Wagener, Frans. "Dr. G.L. Coetzee". Journal of Geochemical Exploration 34, n.º 1 (agosto de 1989): vii—viii. http://dx.doi.org/10.1016/0375-6742(89)90125-8.
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Antón-Pacheco Sánchez, Luisa. "Las memorias ficcionalizadas de J. M. Coetzee: Boyhood, Youth y Summertime". Epos : Revista de filología, n.º 29 (1 de enero de 2013): 337. http://dx.doi.org/10.5944/epos.29.2013.15199.
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El artículo analiza Boyhood, Youth y Summertime, las memorias ficcionalizadas de Coetzee, recogidas en un solo volumen con el título Scenes from Provincial Life. Se estudian las características formales, preocupaciones temáticas y rasgos más significativos de cada obra, así como la manera en que se presentan retratos del artista en distintas etapas y contextos. Se estudia la relación de la trilogía con el conjunto de la obra de Coetzee. También se analiza la forma en que Coetzee diluye las fronteras entre géneros y nos hace reflexionar sobre las convenciones de los géneros autobiográficos y las distintas técnicas para narrar la vida.The article analyses Boyhood, Youth and Summertime, Coetzee´s fictionalized memoirs, later published in one volume entitled Scenes from Provincial Life. The article focusses on the formal characteristics, thematic concerns and significant features of each work and analyses the portraits of the artist which emerge. It traces the way the artist is presented in different contexts at different times. The article also examines the relationship between certain aspects of the trilogy and other works by Coetzee. It analyses the way Coetzee blurs the boundaries between genres and makes us reflect on the conventions of autobiographical narratives and on the different techniques that can be used in life-writing.
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Khaleel, Intisar R. "Re-writing as a postmodern Technique in Coetzee’s Foe behind Daniel Defoe’s Robinson Crusoe". Journal of Tikrit University for Humanities 26, n.º 3 (24 de junio de 2019): 60–78. http://dx.doi.org/10.25130/jtuh.26.3.2019.26.
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Rewriting is a technique used by the writer to retell something old, in a new form. It is a postmodern technique. In this sense, rewriting is built on a readymade text that carries its own thoughts and ideology but by using this technique, the writer exposes his own perspective rather than adopting the writer's vision of the original text. Daniel Defoe’s Robinson Crusoe is an aspiration for many writers. It helps them create their own texts depending on the idea that Defoe has presented. This paper hypothesizes that J.M. Coetzee's Foe as a novel that has been built on Daniel Defoe’s Robinson Crusoe in which Coetzee rewrites the old novel into a new one, nevertheless, he has presented his vision as he intertextualizes the old novel in his. To validate this hypothesis, the paper used the postmodern theory as a guide and tries to apply its features on Coetzee’s Foe. The paper starts with an introduction to the selected novels, the theory of postmodernism and its features will be the methodology that is followed. The paper concludes the findings at the end.
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Suciu, Andreia Irina y Mihaela Culea. "From Defoe to Coetzee’s Foe/Foe through Authorship". Baltic Journal of English Language, Literature and Culture 11 (2021): 121–37. http://dx.doi.org/10.22364/bjellc.11.2021.08.
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The article investigates the concept of authorship in the works of two authors separated by three centuries, namely, Daniel Defoe and J. M. Coetzee, both concerned, in different ways, with aspects regarding the origin and originators of literary works or with the act of artistic creation in general. After a brief literature review, the article focuses on Coetzee’s contemporary revisitation of the question of authorship and leaps back and forth in time from Defoe’s Robinson Crusoe (1719) to Coetzee’s Foe (1986). The purpose is that of highlighting the multiple perspectives (and differences) regarding the subject of authorship, including such notions and aspects as: canonicity related to the act of writing and narrating, metafiction, self-reflexivity and intertextuality, silencing and voicing, doubling, bodily substance and the substance of a story, authenticity, (literary) representation and the truth, authoring, the author’s powers, the relation between author and character or between narrator and story, authorial self-consciousness, agency, or ambiguity. The findings presented in the article show that both works are seminal in their attempts to define and redefine the notion of authorship, one (Defoe) concerned with the first literary endeavours of establishing the roles of professional authorship in England, while the other (Coetzee), intervenes in existing literary discussions of the late twentieth century concerning the postmodern author and (the questioning of or liberation of the text from) his powers.
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McDermott, L. "The coming of the barbarians". Literator 11, n.º 2 (6 de mayo de 1990): 57–63. http://dx.doi.org/10.4102/lit.v11i2.801.
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J.M. Coetzee’s Waiting for the barbarians has, paradoxically, both some of the most sublimely touching images in the Coetzee canon and some of the most convincingly vicious. It remains one of Coetzee’s most thought-provoking novels because it examines the universal phenomenon of man’s belief that his significance can only be validated through his repression of others who are different from him. The apparently historical account of the events occurring in and around a once-strategic fort, reduced to an outpost on the frontier of “the Empire” is belied by the complexity of the presentation of the account by the magistrate. The magistrate’s dilemma is that of a liberal humanist official in an oppressive society. Although he abhors the Empire’s methods and its attempted genocide, his official status and his citizenship deny him escape from moral complicity in his society’s actions. The Empire itself proves to be caught in the Hegelian master/slave syndrome: the oppressive master fears his oppressed servant. Barthes’ codes and Todorov’s propositional moods are all textual signifiers in the inter-textual game which constitutes the reader’s experience of the text as an eternal becoming. The novel reflects Coetzee’s unabated concern with the insidious, perpetual and universal revivification of colonialism and its concomitant, inevitable oppression of its own people and its vassal-status by the imposition of the myth of an infallible ideology. Related to this concern is the effect on a liberal humanist as a man in such an oppressive society: be he a worker, an official or, like Coetzee, an academic who is also a novelist.
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Omagu, Steve U. "BODY FETISHISM: J M COETZEE'S DISGRACE AS A REVELATORY STORY". Ahyu: A Journal of Language and Literature 2 (4 de diciembre de 2018): 151–64. http://dx.doi.org/10.56666/ahyu.v2i.89.
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Every writer fetishises with some themes; that is to say, some writers pay excessive devotion to certain thematic preoccupations and these are seemingly recurrent in the course of an author's writing which eventual becomes his fetish. For a seasoned writer like John Michael Coetzee, in the course of his expansive writing history, one of his dominant discursive fascination amongst others has been with -the body-human and nonhuman. This paper dismantles and deconstructs the body as handled by Coetzee in Disgrace (1999) under binaries like human/animal body in the throes of pain/pleasure; the body as a signification of freedom/oppression;expression/repression; victim/victimizer, power/powerlessness; self/other; black/white; nor malcy/abnormality; desire/love, male/female, consequently revealing certain societal experiences like black racism and corrective rape in the contemporary South African society. The paper uses Coetzee's Disgrace (1999) focally, to demonstrate a comingling of the novelist's fascination or fetishisms to human and animal bodies to accentuate and reveal diverse intimations of human and animal conditions in South Africa and the world.
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Chu, Dinh Kien y Thi Ngoc Han Nguyen. "EXILIC CONSCIOUSNESS IN THE NOVEL BY JOHN MAXWELL COETZEE". UED Journal of Social Sciences, Humanities and Education 10, n.º 2 (1 de julio de 2020): 7–14. http://dx.doi.org/10.47393/jshe.v10i2.907.
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As a South African writer but currently living and working in Australia, so deep down, J.M. Coetzee has a profound sense of exile, which affected his writings. Not only having lost their identity cards and places of living, but the characters in Coetzee's novels also have the consciousness of an exiled soul. Each story he reflected also contains allegories of the politics, the apartheid state institution. The article explains some aspects of political discourse and exilic consciousness, helping us understand the apartheid tragedy that has had a strong impact on the lives of South Africans in particular and of humanity in general.
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Collellmir Morales, Dolores. "J.M. Coetzee’s Diary of a Bad Year: Ethical and Novelistic Awareness". Miscelánea: A Journal of English and American Studies 40 (31 de diciembre de 2009): 43–53. http://dx.doi.org/10.26754/ojs_misc/mj.20099661.
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In Diary of a Bad Year, Coetzee revisits many subjects that had been recurrent in his previous work. Once more, Coetzee is concerned with textual issues and the ethical responsibilities of the writer. From his independent position, he questions and explores the nature of the novel and the craft of the novelist. This article is concerned with how Coetzee in Diary of a Bad Year establishes a correspondence between the macrocosm and the microcosm. Within the frame of the macrocosm, Coetzee, from a critical position, tries to give a response to what is wrong with today’s world. Within the microcosm, the author explores the core and drama of humanness, through the questions, feelings and needs of a seventy-two-year-old writer who is especially aware of his decline and growing limitations. This article studies how three running texts, visually separated on the page, in the last part of the narrative, converge and achieve novelistic unity in the denouement. It proposes that with his literary experimentation Coetzee broadens the scope of the Novel.
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Armah, Miriam Naa Ayeley. "Post-colonial Feminist Representations in Coetzee’s Novels". Technium Social Sciences Journal 32 (9 de junio de 2022): 687–90. http://dx.doi.org/10.47577/tssj.v32i1.6716.
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As a Noble Laureate, John Maxwell Coetzee has been one of the most prominent post-colonial writers in feminist literature. This study reveals significant role of women characters in Coetzee’s novels with much attention to their representation in post-colonial Africa. This article carefully analyzes Coetzee’s selected novels; Waiting for the Barbarians (1980), Foe (1986) Age of Iron (1990) and Disgrace (1999), thus, shedding light on the treatment of African women by the colonizers and how that knowledge will help propagate the message of equality and tolerance by eliminating the evils of injustices and inequality. This study will significantly contribute to a greater awareness of women in post-colonial literature.
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Reef, Anne. "African Words, Academic Choices: Re-Presenting Interviews and Oral Histories". History in Africa 35 (enero de 2008): 419–38. http://dx.doi.org/10.1353/hia.0.0002.
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There are many things that it is like, this storytelling business. One of them (so she says in one of the paragraphs she has not crossed out yet) is a bottle with a genie in it. When the storyteller opens the bottle, the genie is released into the world, and it costs all hell to get him back in again. Her position … better, on the whole, that the genie stay in the bottle.So says the narrator of the protagonist of J.M. Coetzee's novel, Elizabeth Costello. Costello, an aging novelist, philosophizes at a point in the book where Coetzee has conspired to provoke a moment of ethical reflection on the process of telling stories. Irony and paradox cleave to this paragraph's core—clearly, Coetzee, by continuing to write and to publish, does not really believe that the genie should stay bottled. But, while Costello intends to edit this reflection from her written work, both the narrator and Coetzee consider it worthy of inclusion in the novel, thus endorsing its importance.Costello's comment provokes consideration of the nature and effects of narration in other representations. One such site is academic writing that uses interviews and oral histories as source material. Such writing necessitates at least two levels of narration: first, re-presentation of the primary material and second, the author's analysis, synthesis, and commentary on it. As in other genres, this distils into two kinds of material: mimesis and diegesis. Here Elizabeth Tonkin's definitions of these terms are useful. She describes mimesis as “the representation of direct speech” and diegesis as “the description of nonverbal events.”
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Herbillon, Marie. "Rewriting Dostoevsky: J. M. Coetzee’s The Master of Petersburg and the perverted truths of biographical fiction". Journal of Commonwealth Literature 55, n.º 3 (19 de febrero de 2019): 391–405. http://dx.doi.org/10.1177/0021989418823829.
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In The Master of Petersburg, J. M. Coetzee gives pride of place to a tutelary figure of the Western novel, Fyodor Dostoevsky, opening up a dialogue with the latter’s life and work. If many aspects of Dostoevsky’s life are recognizable, Coetzee deliberately departs from biographical fact in important regards. He also engages with well-known Dostoevskian narratives, in particular The Possessed, a censored section of which is reworked in his own novel. This article examines how The Master of Petersburg can be read not only as a reflection on biological and literary filiation, but also as a critique of censorship and as a meditation on writing conceived as a liminal space that tends to erode the boundary line between the private and the public. Intimate though it may be, the act of writing is indeed likely to involve a betrayal of privacy — a necessary perversion of auto/biography seeking to achieve superior forms of truth through imaginative literature. This essay also argues that the conception of history Coetzee deploys may be influenced by his status as a postcolonial writer. Just as The Possessed was intended as an attack on those aiming for the radical destruction of old world orders and other historical legacies, so The Master of Petersburg can be approached as Coetzee’s own manifesto against nihilism and as a plea for a view of history as a transformative process — one that transcends binary oppositions in order to produce integrative discourses and epistemologies, instead of positing fathers against sons as foes in endless generational and colonial conflicts.
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Shi, Fangzhou. "Discourse, Power, and the Body A Study of Postcolonialism in the Works of J.M. Coetzee". Communications in Humanities Research 26, n.º 1 (3 de enero de 2024): 250–55. http://dx.doi.org/10.54254/2753-7064/26/20232076.
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J.M. Coetzee, one of the most esteemed authors in the English-speaking world today, exhibited clear postcolonial tendencies in his early works. In his later writings, he gradually shifted his focus away from the South African context to explore themes such as rewriting classics, marginalized communities, and immigration. This paper, rooted in Foucault's theory of discourse-power and theories of the body, examines Coetzee's reflections and critiques of the discourse-power relationship and social disciplinary practices in his works. Furthermore, drawing from postcolonial scholars like Homi Bhabha, the paper investigates the consistent central-peripheral colonial geometric relationships in Coetzee's works and summarizes the strategies of "appropriation" and "mimicry" as means to challenge and subvert these power dynamics.
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Hossain, Elham. "Re-reading J.M. Coetzee’s Dusklands:". Crossings: A Journal of English Studies 14 (31 de diciembre de 2023): 44–52. http://dx.doi.org/10.59817/cjes.v14i.480.
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J.M. Coetzee’s Dusklands overtly offers more of a novelistic discourse than a political pontification. It presents two narratives – one about Eugene Dawn, working for the US government agency in Vietnam in the twentieth centruy and the other moves around Jacobus Coetzee in the eighteenth century, representing a threat to the cultural integrity and undermining true African culture and traditionalism. In the postcolonial and postmodernist contexts, crony capitalism and neocolonial incursions move in the framework set by the power-structure, mostly controlled by the corporate economy. War, not only military but also psychological, even in the postcolonial situations, turns into a power game for the capitalist countries by exercising imperialist hegemony over the economically backward Third World countries while simultaneously maximizing their monetary interest. This potential disposition of the imperial enterprise questions the versions of historical truth, arbitrarily used for silencing and Othering. In Dusklands, Coetzee presents a critical assessment of historical truth inherent in power relations. In varied degrees, war affects both the target victims and the ethically lived soldiers who are forcibly appointed to cause physical and mental damage. Through the portrayal of America’s war in Vietnam in the first segment of Dusklands and Afrikaner’s colonial incursions in South Africa in the second segment of the same text, Coetzee questions the versions of historical truth. This paper examines how J.M.Coetzee exhibits the dialectical process of the construction of knowledge which works as a counter discourse to the power relations controlled by the capitalist forces assuming the role of the imperialist hegemony and, under the subterfuge of globalization and modernity, turning Africa into an endless source of raw materials for the manufacturing factories of the First World countries.
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Spini, Lucilla. "J.M. Coetzee and Elizabeth Costello: Landscapes and Animals". Humanities 9, n.º 3 (4 de agosto de 2020): 74. http://dx.doi.org/10.3390/h9030074.
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The South African writer John Maxwell Coetzee is well-known for references to animals in his fiction, also given the fact that he and one of his well-known characters, Elizabeth Costello, raise awareness of the cruelty enacted on animals. Many studies have been conducted on Coetzee’s animals, but less attention has been placed on the settings and landscapes in which the animals are situated. Hence, this study aims at understanding the role of the landscapes surrounding the animals via an ecocritical approach. The paper focuses on Coetzee’s fiction featuring Elizabeth Costello, namely, The Lives of Animals (1999), Elizabeth Costello: Eight Lessons (2003), Slow Man (2005), and Moral Tales (2017) by identifying the animals and by discussing the related settings and landscapes. The research concludes that, despite the presence of several animals, there are almost no references to animals in pristine habitats, that most of the animals are in anthropized settings, and that animals’ and humans’ suffering are hidden in a shared landscape. This understanding is discussed as an ecological message about the interlinkages between the human and nonhuman worlds and between animals’ and humans’ wellbeing, also referring to the animal/human interconnectedness within the COVID-19 pandemic.
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Álvarez Sánchez, Patricia. "Limits of Reason in J.M. Coetzee's The Schooldays of Jesus". Miscelánea: A Journal of English and American Studies 60 (28 de noviembre de 2019): 107–26. http://dx.doi.org/10.26754/ojs_misc/mj.20196294.
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This paper explores J.M. Coetzee’s latest novel, The Schooldays of Jesus (2016), and focuses on its intense dialogue with ancient philosophical ideas such as Plato’s Theory of Forms and some of the author’s literary precursors, such as Cervantes’ Don Quixote (1605) and Musil’s The Confusions of Young Törless (1906). It is also a tribute to Johann Sebastian Bach’s brilliant mind and music, which Coetzee has already commented upon on different occasions. The Schooldays is an intertextual story about the magic of numbers, dance and music and tells the story of Davíd, a rebellious child who is sent to Juan Sebastián Arroyo’s Academy of Dance (Arroyo is Bach’s name translated into Spanish), where he learns that music and dance can help us communicate with the universe and discover our true selves. It is the first time Coetzee incorporates magical elements and constant spiritual allusions in one of his plots, and I will argue that these, together with the intertextuality with other novels and texts and the characterization of the main characters, are used to show (once again) his ambivalence towards rationalism, but in a different style. This represents a turning point in his literary career.
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Dukes, Hunter. "Cybernetic Syntax". Samuel Beckett Today / Aujourd’hui 31, n.º 2 (24 de octubre de 2019): 307–24. http://dx.doi.org/10.1163/18757405-03102009.
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Abstract This article unfolds what J.M. Coetzee terms “the rhythm of doubt” in Watt—a procedure that parallels cybernetic ideas about feedback and control. A careful reading of Coetzee’s doctoral dissertation, a stylostatistic analysis of Beckett’s English fiction, reveals what the young scholar and novelist labels the syntax of “A against B,” which he puts to use in his early novels. The rhythm of doubt ultimately takes on a political slant in these works, as it becomes associated with (potentially) violent actions performed in the service of perceived rationality.
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Burger, Bibi. "Nou, hier (Corné Coetzee)". Tydskrif vir Letterkunde 55, n.º 1 (22 de marzo de 2018): 204–7. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i1.4281.
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Pollard, Natalie. "On Rudeness: J.M. Coetzee". Parallax 19, n.º 3 (julio de 2013): 83–103. http://dx.doi.org/10.1080/13534645.2013.808015.
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Nuttall, Sarah. "Reading J.M. Coetzee politically". Journal of Southern African Studies 19, n.º 4 (diciembre de 1993): 731–35. http://dx.doi.org/10.1080/03057079308708381.
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Barnard, Rita. "Coetzee in/and Afrikaans". Journal of Literary Studies 25, n.º 4 (diciembre de 2009): 84–105. http://dx.doi.org/10.1080/02564710903226692.
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