Academic literature on the topic 'Coetzee, J. M.,1940-'
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Journal articles on the topic "Coetzee, J. M.,1940-"
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Frederick, Suresh, and B. Benito Sam. "Aspects of Loco-Description in J. M. Coetzee’s Disgrace." Shanlax International Journal of English 12, S1-Feb (February 12, 2024): 1–4. http://dx.doi.org/10.34293/english.v12is1-feb.7402.
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The term “topography” describes a landscape’s structural elements and how they interact with the surrounding area. It focuses on the connections between the natural and constructed ecosystems and how human activities affect the environment. The history and ecological health of a region can be inferred from its topography. For instance, a location’s topography may reveal whether it has seen erosion, deforestation, or other types of ecological disturbance. Ecologists can better understand how environmental changes affect the landscape and its inhabitants by studying the topography of a certain location. John Maxwell Coetzee was a famous South African writer who tells us about these landscapes, climates, and other ecological aspects flawlessly in his novel Disgrace. John Maxwell Coetzee was popularly known by his initials, J.M. Coetzee. Coetzee was born on February 9, 1940, in Cape Town, South Africa. This paper studies the aspects of loco-description in J.M. Coetzee’s Disgrace.
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Veres, Ottilia. "The Story of Orpheus and Eurydice in Coetzee and Rilke." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 41–48. http://dx.doi.org/10.1515/ausp-2016-0003.
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Abstract J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre.
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Walder, Dennis, and Dominic Head. "J. M. Coetzee." Modern Language Review 95, no. 2 (April 2000): 499. http://dx.doi.org/10.2307/3736176.
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Coad, David, and Dominic Head. "J. M. Coetzee." World Literature Today 72, no. 4 (1998): 890. http://dx.doi.org/10.2307/40154435.
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Clarkson, Carrol. "J. M. Coetzee: ‘n Geskryfde Lewe./J. M. Coetzee: A Life in Writing." Life Writing 11, no. 2 (January 30, 2014): 263–70. http://dx.doi.org/10.1080/14484528.2014.878067.
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Zwi, Sharon. "J. M. Coetzee, Life Portrait." Texas Studies in Literature and Language 58, no. 4 (December 2016): 370–73. http://dx.doi.org/10.7560/tsll58402.
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Benson, Emily J. "Summertime by J. M. Coetzee." Colorado Review 37, no. 3 (2010): 159–62. http://dx.doi.org/10.1353/col.2010.0030.
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Attwell, David. "J M Coetzee and African Studies." Wasafiri 36, no. 3 (July 3, 2021): 21–25. http://dx.doi.org/10.1080/02690055.2021.1918421.
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Rainey, Lawrence, David Attwell, and Benjamin Madden. "An Interview with J. M. Coetzee." Modernism/modernity 18, no. 4 (2011): 847–53. http://dx.doi.org/10.1353/mod.2011.0088.
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Spencer, Robert. "J. M. COETZEE AND COLONIAL VIOLENCE." Interventions 10, no. 2 (July 2008): 173–87. http://dx.doi.org/10.1080/13698010802145085.
Full textDissertations / Theses on the topic "Coetzee, J. M.,1940-"
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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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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.
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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.
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Campos, Lucie. "Fictions contemporaines et conscience historique : J. M. Coetzee, I. Kertész, W. G. Sebald." Poitiers, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-4250-6.
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Les oeuvres de J. M Coetzee, I. Kertész, W. G. Sebald témoignent d'un effort spécifique du littéraire pour répliquer à la violence des évènements qui ont forgé la conscience historique du 20e siècle. A la pression d'un réel historique des évènements inassimilable et destructeur, ces écrivains répondent par un travail d'écriture et de clarification soucieux à la fois de son inscription dans un champ politique et de ses limites philosophiques. .The literary works of J. M Coetzee, I. Kertész and W. G. Sebald confront the violent events that have shaped the historical consciousness of the twentieth century with the specific tools of literature and fiction. In an effort to respond to the pressure of a destructive historical reality that is difficult to assimilate, these writers have sought to clarify their position within a political and philosophical field. .
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Kok, Marina Susan. "An investigation of masculinity in J. M. Coetzee's disgrace (1999)." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/783.
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The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
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Rogez, Mathilde. "La frontière dans les romans de Mark Behr et de J. M. Coetzee." Paris 10, 2008. http://www.theses.fr/2008PA100104.
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Frontière de la colonisation (« frontier ») ou derniers retranchements de l’apartheid avant sa chute (« border »), mais aussi lignes de démarcation sociales, économiques et géographiques : la frontière est omniprésente dans les romans de Mark Behr et de J. M. Coetzee, écho et reflet d’une société obsédée par la division qui, à l’image des Etats-Unis de F. J. Turner, se choisit une identité nationale sur le mode exclusif reposant sur un mythe de la frontière. Le miroir du texte se fait toutefois déformant ; l’écho du discours plurivoque du roman fait subir au discours dogmatique de l’idéologie des modulations qui en sapent les fondements, en réalité labiles. On s’intéressera ainsi à l’élaboration du mythe de la frontière et au panorama historique qu’en dressent les romans, qui font jouer les différents termes renvoyant à la frontière pour souligner l’échec d’une stratégie de confrontation permanente. L’autre de la frontière ne saurait être effacé du territoire ni du texte. Il réapparaît aussi dans le paysage : à un imaginaire du pays qui veut imposer le cadre de la carte ou du tableau, les romans opposent une esthétique du décentrement des points de vue visuel et narratif. Ils font apparaître l’instabilité du sujet lui-même, qui doit se confronter à la « wilderness », désert de la perdition et du salut, contradictions intérieures au sujet. L’acceptation de l’altérité pour éviter l’altération est aussi, enfin, la voie du salut pour l’écriture qui se fait jeu, translation et traduction permanentes entre langues et modes de représentation : invitation au dialogue continué dans la lecture et dans d’autres écritures pour une Afrique du Sud véritablement « nouvelle »Outmost line of an advancing colonial frontier, last border of the apartheid regime under attack from all sides, multifarious lines drawn by the social, economic and geographic segregation: the notion of frontier lies at the core of Mark Behr’s and J. M. Coetzee’s novels. They echo the obsession for division in a society which borrowed from F. J. Turner’s ‘Frontier Theory’ to build an exclusive sense of national identity. The warped mirror of the text, however, gives a distorted image of this myth of the frontier. The fixed, but unstable, discourse of ideology is undermined by the plurivocal discourse of the novel. Playing on the ambivalences between ‘frontier’ and ‘border’, the novels show how the history of permanent confrontation reconstructed by the myth can only lead to failure. The people on the other side of the frontier cannot be erased from either history, territory, imagination or text. They also reappear in the landscape: whereas the myth uses frames, maps, or pictures to exert control, the varying visual and narrative points of view in the novels promote a constant decentring of aesthetic perspective, which actually stems from the instability of the eye/I itself. On the frontier, the subject is indeed confronted to the ‘wilderness’, an ambiguous space of danger and loss, which also holds the promise of salvation—a space which, in fact, lies within the self. To write is therefore to welcome alterity: the text becomes a continual play with metaphors and modes of expression, a permanent translation between spaces and languages—and an invitation to the reader to pursue this dialogue further and to other writers to give voice(s) to a really ‘new’ South Africa
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Oliveira, Carlos Augusto Lima de. "Vergonha, sacrifício e testemunho: 3 desmedidas para 3 romances de J. M. Coetzee." www.teses.ufc.br, 2016. http://www.repositorio.ufc.br/handle/riufc/16673.
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OLIVEIRA, Carlos Augusto Lima de. Vergonha, sacrifício e testemunho: 3 desmedidas para 3 romances de J. M. Coetzee. 2016. 183f. – Tese (Doutorado) – Universidade Federal do Ceará, Departamento de Letras, Programa de Pós-graduação em Letras, Fortaleza, 2016.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-05-06T11:15:21Z No. of bitstreams: 1 2016_tese_caloliveira.pdf: 1076791 bytes, checksum: 6c5e30ac839ffa07f4836d90a7419858 (MD5)
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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 manifestation’ 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.
O presente estudo tem como ponto de partida uma articulação entre o discurso literário e o discurso testemunhal, a partir das proposições de Giorgio Agamben a respeito da ideia do testemunho como um discurso de Auctor, aquele que é 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 está muito mais próxima do discurso de invenção, onde sua veracidade, e sua dimensão ética, estão mais para aquilo que lhe falta ou mesmo excede, para lembrar a crítica portuguesa Silvina Rodrigues Lopes. Desta forma, interessa a este estudo analisar três romances do escritor sul-africano J.M. Coetzee (À Espera dos Bárbaros, A Idade do Ferro e Desonra) como recortes testemunhais das transformações por que passam seus narradores, tanto dentro do contexto da África do Sul, quanto em outras dimensões simbolizadas ali. Um testemunho onde resvala o peso da Vergonha, como potência de manifestação ética, na medida em que aponta a falência de modelos até então vigentes (colonialismo, Apartheid, o projeto de civilização ocidental), e de uma ordem sacrificial em que mergulham tais narradores-testemunhas. Sacrifício dos próprios corpos brancos, até então imunes, legalmente protegidos, sacralizados. Sacrifício como profanação.
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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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Chantot, Anne. "Colonisation et décolonisation des espaces dans les romans de J. M. Coetzee." Dijon, 2004. http://www.theses.fr/2004DIJOL002.
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Parce que la colonisation au sens historique du terme est impensable sans " espaces " à coloniser, la critique postcoloniale ne peut faire l'économie d'une réflexion sur la représentation littéraire de l'espace colonial, à partir notamment des discours coloniaux qui ont précédé et justifié la colonisation des terres. Dans l'œuvre de l'écrivain sud-africain J. M. Coetzee, cette critique passe par la démythification du discours cartographique - qui, tout en étant au service du pouvoir, a longtemps été conçu comme une représentation neutre et objective de l'espace - et la subversion parodique de codes spatiaux attachés à des genres comme le roman pastoral, le roman " libéral " ou le roman d'aventures. Cependant, consciente de la complicité paradoxale qu'elle entretient avec ce qu'elle critique, elle se reconnaît comme fondamentalement ambigue͏̈, décolonisant d'un côté pour mieux recoloniser de l'autre, ou plutôt, (dé)colonisant dans le même geste. Par conséquent, l'ébauche, dans les romans de Coetzee, d'un espace dé-colonisé, " nomade " - espace non strié par des murs et des clôtures, échappant à la structure dichotomique et manichéenne de l'espace colonial - ne pouvait d'avance être qu'un échec, sauf à considérer que ce n'est pas l'espace autre, mais l'espace textuel, qui est le principal enjeu des romans de Coetzee. La représentation y est le support de stratégies qui en préviennent la colonisation par l'entreprise critique, et notamment par le " critique colonial ", motivé par le désir de coloniser les espaces vides du texte et/ou de réduire l'autre (littéraire) au même, oublieux de l'ambigui͏̈té constitutive de l'espace textuel. En ce sens, la critique postcoloniale à l'œuvre dans les romans de Coetzee ne vise pas tant à inventer de nouvelles représentations de l'espace qu'à changer notre conception de l'écriture et nos démarches interprétatives en tant que lecteursSince foreign countries would not have been colonized in the past, had there been no "space" to colonize, the postcolonial critique cannot avoid an analysis of the representation of colonial space in literature, nor its links to the colonial discourse that preceded and legitimized the colonization of land overseas. The postcolonial critique of colonial space in the novels of the South-African writer Coetzee takes mainly two shapes : first of all, it demystifies the discourse of cartography (which has long been thought to be neutral and objective) ; secondly, it subverts through parody spatial codes attached to specific genres. Nevertheless, because of the awareness that any kind of critique is complicit in what it criticizes, postcolonial critique acknowledges its ambivalence, that at best it (de)colonizes representations of space, that is to say decolonizes and recolonizes them at the very same time. As a consequence, Coetzee's attempt to portray a de-colonized landscape that goes beyond the Manichean binary structure of colonial space is doomed to failure, unless we realize that what is at stake is less represented space than textual space. Representation in his novels mainly aims at elaborating strategies that prevent its colonization by what we may call "colonial critics" - critics that are anxious to colonize the empty or indeterminate spaces of the text and/or to reduce the (literary) other to the same, neglectful of the ambiguous quality of literary texts. As a result, the postcolonial critique in Coetzee's novels intends not so much to invent new representations of space as to change our conception of literature and our way of interpreting texts
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Rocha, Lucas Kirschke da. "Ecce animot : um percurso analítico pós-humanista através de Elizabeth Costello e Desonra, de J. M. Coetzee." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172900.
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Esta dissertação trata dos Estudos Animais, área que se desenvolve como um rico campo de interdisciplinaridade já em sua origem. Mas para que não se julgue aprioristicamente um campo em suas particularidades, há que se esclarecer pontos em comum aos teóricos das mais diversas origens acadêmicas que compõem os Estudos animais e traçar planos para um futuro significativo. Após estabelecer os necessários diálogos entre teoria e campo social, passo à análise de certos pontos das obras Desonra e Elizabeth Costello, com o objetivo de evidenciar o potencial deste corpus para o desenvolvimento da crítica das categorias de humanidade e animalidade segundo os aportes do Pós-humanismo e inserindo-a no campo dos Estudos Animais. O teórico fundamental para este trabalho é Jacques Derrida, principalmente em sua obra O animal que logo sou. Após apresentar um panorama dos Estudos Animais, sobretudo sob a abordagem de Paul Waldau, trago ao encontro desses autores a pós-humanista Rosi Braidotti, de cuja obra The Post-human retiro as categorias do devir-planetário e devir-animal, as quais dão consequência às análises do corpus literário deste trabalho. Dialogo, ainda, com a Mitleidsethik, a ética da compaixão de Schopenhauer. Concluo que as tarefas dos Estudos Animais e do Pós-humanismo se assemelham no que toca à maior compreensão das interações interespecíficas, para a proposição consequente de novas formas de conviver num mundo mais-que-humano.This dissertation deals with the Animal Studies, an area that develops as a rich field of interdisciplinarity already in its origin.. But in order not to make an aprioristic judgement of a field in its particularities, it is necessary to clarify points in common to the theoreticians of the most diverse academic origins that compose the Animal Studies and to draw up plans for a significant future. After establishing the necessary dialogues between theory and social field, I proceed to the analysis of certain points of the works Disgrace and Elizabeth Costello, with the objective of highlighting the potential of this corpus for the development of the critique of the categories of humanity and animality according to the contributions of Posthumanism and inserting it in the field of Animal Studies. The fundamental theorist for this work is Jacques Derrida, mainly in his work O animal que logo sou. After presenting an overview of the Animal Studies, especially under the approach of Paul Waldau, I bring to the meeting the post-humanist Rosi Braidotti, whose work The post-human retreat the categories of becoming-earth and becoming-animal, which give consequence to the analysis of the literary corpus of this work. I also dialogue with the Mitleidsethik, the ethic of compassion of Schopenhauer. I conclude that the tasks of Animal Studies and Post-humanism are similar in relation to the greater understanding of the inter-species interactions, for the consequent proposition of new ways of living in a more-than-human world.
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Roux, Christine Ann. "South African memoirs in a decade of transition: Athol Fugard's Cousins (1994), J.M. Coetzee's Boyhood (1997), and Breyten Breytenbach's Dog Heart (1999)." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1002233.
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This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.
Books on the topic "Coetzee, J. M.,1940-"
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1958-, Huggan Graham, and Watson Stephen, eds. Critical perspectives on J.M. Coetzee. London: Macmillan Press, 1996.
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1947-, Leist Anton, and Singer Peter 1946-, eds. J. M. Coetzee and ethics: Philosophical perspectives on literature. New York: Columbia University Press, 2010.
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Kern, Susanne. Das Unsagbare erzählen: J.M. Coetzees ästhetische Strategien zur Darstellung von Gewalt. Frankfurt am Main: Lang, 2010.
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Zimbler, Jarad. J. M. Coetzee and the Politics of Language. Cambridge University Press, 2014.
Find full textBook chapters on the topic "Coetzee, J. M.,1940-"
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Gohrisch, Jana. "Coetzee, J. M." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1066-1.
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Ward, David. "J. M. Coetzee." In Chronicles of Darkness, 154–73. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003477860-15.
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Rüggemeier, Anne. "Coetzee, J. M.: Summertime." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8247-1.
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Davis, Geoffrey V. "Coetzee, J. M.: Dusklands." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1067-1.
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Gohrisch, Jana. "Coetzee, J. M.: Foe." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1070-1.
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Gohrisch, Jana. "Coetzee, J. M.: Disgrace." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1073-1.
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Reckwitz, Erhard. "Coetzee, J[ohn] M[ichael]." In Englischsprachige Autoren, 56–58. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_27.
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Arndt, Susan. "Coetzee, J. M.: Elizabeth Costello." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1074-1.
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Arndt, Susan. "Coetzee, J. M.: Slow Man." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1075-1.
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Hallemeier, Katherine. "J. M. Coetzee and Nonhuman Cosmopolitanism." In J.M. Coetzee and the Limits of Cosmopolitanism, 123–52. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137346537_6.
Full textConference papers on the topic "Coetzee, J. M.,1940-"
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Fuentes, O., and G. Pincon. "PARIETAL AND MOBILE ART OF ROC-AUX-SORCIERS ROCK SHELTER (MIDDLE MAGDALENIAN, VIENNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.15-16.
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The rock shelter of the Roc-aux-Sorciers at Angles-sur-lAnglin (Vienne, France) is one of the archaeological reference sites for the Upper Paleolithic. The sculpted, painted and engraved frieze was gradually brought to light in its archaeological context by Susanne Cassou de Saint-Mathurin and Dorothy Garrod from 1949 onwards (Saint-Mathurin, Garrod, 1950). A wealth of archaeological material was discovered alongside the parietal art, comprising numerous works of portable art, tools made of animal bone, jewellery, etc. It was very rapidly observed that the portable art and the parietal art shared the same graphic and thematic conventions. For example, images of female bodies are rendered in high relief, in a monumental way, but also in the form of small statuettes. Our research has demonstrated the undeniable intra-site links between the portable art and the parietal art (Pinon, 2012). Here we propose to broaden this analysis within a well-identified culture of the Middle Magdalenian known as the Magdalenian of Lussac-Angles spearpoints. At the time of the discovery of the Magdalenian site of La Marche in 1937 (Vienne) (Lwoff, Pricard, 1940), some similarities had been identified between this site and that of Le Roc-aux-Sorciers, where the discoveries dated back to 1927 (Rousseau, 1933). These similarities are also perceptible in shared techniques (Chehmana, Beyries, 2010), as well as in the production of objects in hard organic materials such as the Lussac-Angles spearpoints (Pinon, 1988), the jewellery in fossil mammoth ivory (Dujardin, Pinon, 2000), the engraved horse incisors (Mazire, 2009) and the figurative art (Bourdier et al., 2016 Fuentes, 2016). We propose to further explore the links between these two sites through the analysis of the dynamic processes of reworking images. In particular we examine the engraved plaquettes of La Marche and the parietal art of Le Roc-aux-Sorciers to bring these links into perspective. This could shed light on some common ways of seeing the world in this Magdalenian group. Bourdier, C., Pinon, G., Bosselin, B. (2016). Norme et individualit au Rocaux-Sorciers (Vienne, France): approches des mains du registre animalier au travers de la forme. In M. Groenen, M.-Ch. Groenen (Eds.), Style, Techniques and Graphic expression in Rock Art (pp. 1735). BAR S2787. Chehmana, L., Beyries, S. (2010). Lindustrie lithique du Roc-aux-Sorciers (collection Rousseau). In J. Buisson-Catil, J. Primault (Eds.), Prhistoire entre Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 16 Vienne et Charente. Hommes et socit du Palolithique (pp. 453460). Association des publications Chauvinoises, mmoire XXXVIII. Dujardin, V., Pinon, G. (2000). Le Magdalnien dans la Vienne et la Charente. In G. Pion (Dir.), Le Palolithique suprieur rcent: nouvelles donnes sur le peuplement et lenvironnement (pp. 213222). Actes de la table ronde de Chambry, 12-13 mars 1999, Mmoire de la Socit prhistorique franaise 28. Fuentes, O. (2016). The social dimension of human depiction in Magdalenian rock art (16,500 cal. BP 12.000 Cal. BP): the case of the Roc-aux-Sorciers rockshelter. Quaternary International, 430, 97113. https://doi.org/10.1016/ j.quaint.2016.06.023 Pericard, L., Lwoff, S. (1940). La Marche. Commune de Lussac-les-Chteaux (Vienne). Premier atelier de Magdalnien III dalles graves mobiles. Bulletin de la Socit Prhistorique franaise, 37(79), 155180. Pinon, G. (1988). Fiche sagaie de Lussac-Angles. In H. Camps Fabrer (Dir.), Fiches typologiques de lindustrie osseuse prhistorique. Commission de nomenclature sur lindustrie de los prhistorique. Cahier I: sagaies (fiche 3bis). Universit de Provence. Pinon, G. (2012). Art mobilier et art parital du Roc-aux-Sorciers (Angles-surlAnglin, Vienne, France): disparits ou sens communs In J. Clottes (Ed.), Lart plistocne dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo (pp. 15491558). Bulletin Socit Prhistorique Arige-Pyrnes. Mazire, G. (2009). Les incisives de chevaux graves. In G. Pinon (Dir.), Le Roc-aux-Sorciers: art et parure du Magdalnien. Runion des Muses Nationaux. http://www.catalogue-roc-aux-sorciers.fr Rousseau, L. (1933). Le Magdalnien dans la Vienne. Dcouverte et fouille dun gisement du Magdalnien, Angles-sur-lAnglin (Vienne). Bulletin de la Socit Prhistorique franaise, 30, 239256. Saint-Mathurin (de), S., Garrod, D. (1950). Une frise sculpte du Magdalnien ancien dcouverte Angles-sur-lAnglin, dans la Vienne. Acadmie des Inscriptions et Belles Lettres, 94(2), 123128.