Journal articles: 'J.M Coetzee'

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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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Tajiri, Yoshiki. "BECKETT'S LEGACY IN THE WORK OF J. M. COETZEE." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 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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Farrant, Marc. "A Poetics of Embeddedness: J. M. Coetzee’s Dissertation on Beckett." Twentieth-Century Literature 68, no. 3 (September 1, 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J. M. Coetzee’s 1969 dissertation on Samuel Beckett, which remains unpublished, has been addressed variously within Coetzee studies, but we have not yet appreciated the close relation between this extraordinary postgraduate work and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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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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Davies, Benjamin R. "Growing Up Against Allegory: The Late Works of J. M. Coetzee." Novel 53, no. 3 (November 1, 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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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.

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Coetzee, J. M. "An Interview with J. M. Coetzee." World Literature Today 70, no. 1 (1996): 107. http://dx.doi.org/10.2307/40151863.

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Begam, Richard, and J. M. Coetzee. "An Interview with J. M. Coetzee." Contemporary Literature 33, no. 3 (1992): 419. http://dx.doi.org/10.2307/1208476.

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Sanders, Mark, and Nancy Ruttenburg. "J. M. Coetzee and His Doubles." Journal of Literary Studies 25, no. 4 (December 2009): 1–6. http://dx.doi.org/10.1080/02564710903226668.

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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 (December 4, 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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Antón-Pacheco Sánchez, Luisa. "Las memorias ficcionalizadas de J. M. Coetzee: Boyhood, Youth y Summertime." Epos : Revista de filología, no. 29 (January 1, 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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Salih, Suadah Jasim, and 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, no. 10 (October 2, 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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Robinson, Benjamin Lewis. "Passions for Justice: Kleist’s Michael Kohlhaas and Coetzee’s Michael K." Comparative Literature 70, no. 4 (December 1, 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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Clarkson, C. "J. M. Coetzee: Ethics, Politics, and Writing." NOVEL A Forum on Fiction 46, no. 1 (March 1, 2013): 147–52. http://dx.doi.org/10.1215/00295132-2019182.

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Falcato, Ana. "The Ethics of Reading J. M. Coetzee." Studies in the Novel 49, no. 2 (2017): 250–75. http://dx.doi.org/10.1353/sdn.2017.0019.

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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, no. 1 (February 29, 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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22

Dooley, Gillian. "“The Origins of Speech Lie in Song”." Le Simplegadi 18, no. 20 (November 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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Herbillon, Marie. "Rewriting Dostoevsky: J. M. Coetzee’s The Master of Petersburg and the perverted truths of biographical fiction." Journal of Commonwealth Literature 55, no. 3 (February 19, 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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Sharma, Khum Prasad. "Contradiction and Paradoxes in J. M. Coetzee’s Disgrace." Literary Studies 29, no. 01 (December 1, 2016): 33–37. http://dx.doi.org/10.3126/litstud.v29i01.39599.

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J.M Coetzee’s Disgrace is a portrayal of characters in a social context of South Africa where the writer himself was brought up. It throws light on the new social milieu of post apartheid society where Lucy, a white is raped by a black African. She seems to accept this heinous deed with an ease by giving it a historical blend. She understands her rape as a black’s way of taking revenge for what whites have treated the blacks in the past. She considers it different from the universal concept of rape as a forceful sex. By making the blacks raping the white woman, Coetzee seems to be rewriting the African history and in this he dismantles the black/white dichotomy. So, I contend to carry out that Disgrace being a highly paradoxical and contradictory novel presents a world dying without hope and fear. It exposes the intellectual insecurity in South Africa which proves to be a threat to white man’s stability and culture.

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Effe, Alexandra. "J. M. Coetzee and the Politics of Style." English Studies 97, no. 6 (June 13, 2016): 681–82. http://dx.doi.org/10.1080/0013838x.2016.1183966.

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Post, Robert M. "Oppression in the Fiction of J. M. Coetzee." Critique: Studies in Contemporary Fiction 27, no. 2 (January 1986): 67–77. http://dx.doi.org/10.1080/00111619.1986.9937810.

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Barnard, Rita. "ON PUBLIC AND PRIVATE IN J. M. COETZEE." Cultural Studies 27, no. 3 (May 2013): 438–61. http://dx.doi.org/10.1080/09502386.2013.769149.

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Graham, Lucy Valerie. "J. M. Coetzee and His South African Contemporaries." Cambridge Quarterly 45, no. 4 (December 2016): 372–76. http://dx.doi.org/10.1093/camqtly/bfw025.

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Broida, Michael. "The Childhood of Jesus by J. M. Coetzee." Prairie Schooner 88, no. 2 (2014): 172–74. http://dx.doi.org/10.1353/psg.2014.0036.

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Newman, Judie. "Desperately seeking Susan: J M Coetzee,Robinson CrusoeandRoxana." Current Writing 6, no. 1 (January 1994): 1–12. http://dx.doi.org/10.1080/1013929x.1994.9677915.

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Falcato, Ana. "Fantasmas de Realismo na Obra de J. M. Coetzee." Trans/Form/Ação 39, no. 4 (December 2016): 219–50. http://dx.doi.org/10.1590/s0101-317320160004000011.

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RESUMO: Com um estilo sóbrio e minimalista, a prosa literária de J. M. Coetzee é um espaço criativo onde diferentes identidades literárias são constantemente baralhadas e uma perigosa sobreposição de alter-egos é sistematicamente ensaiada. Pensando sobre todas essas nuances, filósofos contemporâneos a trabalhar sobre a obra do escritor sul-africano têm descrito o seu trabalho como "realista-modernista'. Neste artigo, discuto uma obra específica de Coetzee (Diário de um Mau Ano) - focando sobretudo a estranha técnica gráfica da tripartição da página em três vozes literárias e a respectiva relação com a ideia de "pensamento ético de substituição" -, confrontando-a com a sua obra como um todo. Num segundo momento, apresento um modelo filosófico para explicar o seu "realismo modernista" e termino traçando o impacto desse modelo filosófico sobre a própria filosofia que o apresenta.

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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, no. 1 (July 1, 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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Deka, Parag Kumar. "Coetzee's Animal Ethics." Journal of Animal Ethics 12, no. 2 (October 1, 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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Petersen, Mariana Chaves. "Rape in J. M. Coetzee’s Fiction: Disgrace, Diary of a bad year and Elizabeth Costello." Letrônica 10, no. 1 (December 27, 2017): 484. http://dx.doi.org/10.15448/1984-4301.2017.1.24086.

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*O estupro na ficção de J. M. Coetzee: Desonra, Diário de um ano ruim e Elizabeth Costello*O estupro é um tema recorrente na ficção de J. M. Coetzee, estando presente em romances como Desonra (1999), Diário de um ano ruim (2007) e Elizabeth Costello (2004). O objetivo deste trabalho é analisar cada representação de estupro desses romances para discutir as visões de violência e de desgraça apresentadas, relacionando-as às visões do próprio Coetzee, como a do quê – apesar de ele negar a censura – talvez seja melhor não ser dito. Em Desonra, David Lurie se vê caindo em desgraça após ser acusado pela aluna com quem teve um caso abrupto. Mais tarde, sua filha, Lucy, é brutalmente estuprada e prefere manter o incidente como privado. Ela acaba questionando a sexualidade masculina como um todo. Em Diário de um ano ruim, Anya acredita que a desonra recai sobre aqueles que a estupraram, e não sobre ela. Entretanto, Señor C discorda, vendo a desonra como miasma. Finalmente, em Elizabeth Costello, a protagonista relembra uma experiência com o mal pela qual passou com um homem. Ela então defende que algumas coisas não deveriam ser lidas ou escritas e discute o risco pelo qual escritores passam ao explorar áreas mais sombrias da experiência humana, visão que ecoa a de Coetzee.

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May, Brian. "J. M. Coetzee and the Question of the Body." MFS Modern Fiction Studies 47, no. 2 (2001): 391–420. http://dx.doi.org/10.1353/mfs.2001.0044.

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Marais, Mike. "J. M. Coetzee and the Ethics of Reading (review)." MFS Modern Fiction Studies 53, no. 4 (2007): 910–12. http://dx.doi.org/10.1353/mfs.2008.0000.

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Smuts, Eckard. "Book Review: J. M. Coetzee: Two Screenplays." English in Africa 43, no. 1 (June 24, 2016): 149. http://dx.doi.org/10.4314/eia.v43i1.8.

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Robinson, Forrest G. "Writing as Penance: National Guilt and J. M. Coetzee." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 68, no. 1 (2012): 1–54. http://dx.doi.org/10.1353/arq.2012.0005.

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Sheinbaum, Diego. "J. M. Coetzee: en el callejón de Samuel Beckett." Acta Poética 36, no. 1 (January 2015): 71–85. http://dx.doi.org/10.1016/j.apoet.2015.03.004.

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Paulo, Fernando De Lima. "O TEMA DA VERDADE EM FOE, DE J. M. COETZEE." Em Tese 7 (December 31, 2003): 27. http://dx.doi.org/10.17851/1982-0739.7.0.27-34.

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Este ensaio pretende estabelecer que Foe, de J. M. Coetzee, ao rejeitar o culto do relativismo fácil, executa um movimento além do ceticismo das práticas ficcionais marcadamente pós-modernas, e elabora estratégias vislumbrando uma posição diferente, na qual a idéia da verdade é examinada.

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Neimneh, Shadi S. "Imperialism and Gender in J. M. Coetzee's Waiting for the Barbarian." Language Teaching 2, no. 2 (February 8, 2023): p1. http://dx.doi.org/10.30560/lt.v2n2p1.

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Considering how power relations govern the construction of race and gender, this article looks at the ambivalent relationship between the Magistrate and the "barbarian" girl in J. M. Coetzee's novel Waiting for the Barbarians (1980), exploring intersections between imperialism and gender and negotiating how issues of representation are implicated in questions of identity construction. It highlights how identities inflicted by gender are constructed in imperial discourse: first by the colonizer who speaks the language of power and inscribes on the colonized meanings serving imperialism; second by the humanist colonizer who fails to relate to the other on equal terms except for a position of "feminized" weakness; and third by the resistant colonial subject eluding imperial constructions yet still manipulated in language. Between the discourses of pain and humanism, the colonized body remains a malleable yet impenetrable object of colonial discourses. Coetzee subverts dominant gender boundaries, aligning oppressive patriarchal practices with imperialism while undermining hegemonic ideologies that construct gender through the figure of the enigmatic other.

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Mózes, Dorottya. "Racial Identity, Black and White Performance in J. M. Coetzee’s "Disgrace"." Język. Komunikacja. Informacja, no. 13 (May 12, 2019): 128–44. http://dx.doi.org/10.14746/jki.2018.13.9.

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(Tożsamość rasowa, zachowania czarnych i białych w Hańbie J. M. Coetzee).Poprzez analizę jakościową – na podstawie ram teoretycznych i metodologii trzeciej fali socjolingwistyki – w artykule przeanalizowano, w jaki sposób interpretowane są tożsamość, styl i zachowanie w wybranych dialogach i wypowiedziach w Hańbie J. M. Coetzee. Artykuł ten analizuje dominację językową i opór ze szczególnym uwzględnieniem budowania tożsamości, stylizacji oraz zachowań czarnych i białych konstytuujących akty polityczne. Wykorzystując koncepcję językowego habitusu Pierre’a Bourdieu, pokazuje on, w jaki sposób ponadstandardowo wysokie (kulturalne) zachowania kulturowe białych postaci zachowują rasowe hierarchie i odtwarzają rasową społeczno-semantyczną wersję dyskursu kolonialnego. Z jednej strony czarne postacie wykorzystują socjolingwistyczne zasoby zachowań, stylizacji i naśladowania do kwestionowanie (językowej) dominacji i dyskursu rasowego. Z drugiej strony białe postacie używają antyrasistowskiego języka do krytykowania rasizmu i wyrażania swojej solidarności z grupami zmarginalizowanymi. Artykuł pokazuje więc, w jaki sposób zachowanie jest ucieleśnioną i osadzoną, złożoną i zwyczajną, wysoką i codzienną, spektakularną i nieprzejrzystą praktyką o głębokich konsekwencjach rasowych, politycznych i etycznych.

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Hemangi, Hemangi, and Tanya D’souza. "Can the “Mutelated” Subaltern be Free? Reading Friday’s Subversion in J. M. Coetzee’s Foe." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 73–84. http://dx.doi.org/10.22492/ijah.9.1.06.

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J. M. Coetzee’s 1986 novel Foe tells the story of Susan Barton, who has boarded a ship bound for Lisbon in her search for her kidnapped daughter. After a mutiny on the ship she is set adrift, washing ashore on the island inhabited by “Cruso” and Friday and intruding into their ongoing adventure. Her account is then inserted into the original Robinson Crusoe story line, which is redrawn following Susan Barton’s perspective. The original text’s recontextualization illustrates the effort by Coetzee to render the story in categories that are relevant to a contemporary cultural context. Like Robinson Crusoe, it is a frame story, developed while Barton is in England attempting to convince writer Daniel Foe to help transform her tale into popular fiction. Friday is a character whose marginality – as it first appears in Daniel Defoe’s Robinson Crusoe – is carried forward in J. M. Coetzee’s Foe, as this new version of Friday is that of a more disempowered and dysfunctional subject, one doubly mutilated – orally and sexually. This paper aims to study Friday’s subversive subalternity in Coetzee’s work by using postcolonial methodology with a view to uncover his unique, rebellious behaviour and his capacity to define his own modes of freedom.

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Dagamseh, Abdullah M. "J. M. Coetzee’s Waiting for the Barbarians Revisited: From Apartheid to Neoliberalism." SAGE Open 12, no. 4 (October 2022): 215824402211298. http://dx.doi.org/10.1177/21582440221129848.

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This article re-reads Coetzee’s Waiting for the Barbarians as a representation of Coetzee’s effort to inform the broader world of the actual terrors and crimes against humanity that existed in South Africa in the 1970s and early 1980s by extending the narrative into the later 20th and early 21st centuries. I claim that the representations in the narrative allow readers to see the novel as a critique of a global historical process that started to emerge in the late 1970s and dominate the 1980s and 1990s in South Africa and much of the rest of the world. This historical process, which has come to be called neoliberalism, is part of the larger process of colonialism, Coetzee’s novel examines various manifestations of colonialism, and it makes it clear that there is no apparent point when colonialism in South Africa, or around the world, mutated into neoliberalism. Rather, neoliberalism is an extension of the process of colonialism heading into the late 20th and early 21st centuries. To expose this continuous process of colonization, Coetzee symbolically examines colonial discourse, the contradiction inherent in the discourse of Empire, and the failure of a liberal humanist to maneuver successfully with or against the neoliberal tide.

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Charbel Teixeira, Felipe. "Coetzee, Nooteboom, e o “ilusionismo realista”." Viso: Cadernos de estética aplicada 4, no. 9 (June 4, 2011): 76–84. http://dx.doi.org/10.22409/1981-4062/v9i/102.

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Valenzuela Ruiz, José. "La ficción confesional en la obra de J. M. Coetzee." Castilla. Estudios de Literatura, no. 8 (July 17, 2017): 393. http://dx.doi.org/10.24197/cel.8.2017.393-435.

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Por su naturaleza de alterbiografía –o autobiografía del otro- y su original premisa –el autor está muerto-, Summertime presenta una contradicción ontológica que como resultado puede llegar a causar un importante desasosiego en sus lectores, incapaces de discernir entre la verdad empírica y la Verdad de la obra de Coetzee. En este artículo se analizan los mecanismos narrativos empleados por el autor para inducir esa incertidumbre en el lector y que se relacionan con distintos conceptos cognitivos asociados como la teoría de la mente, la empatía o las diferencias en el procesado de una obra ficcional y otra de carácter factual.

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Jackson, Tommie L., and Dick Penner. "Countries of the Mind: The Fiction of J. M. Coetzee." African Studies Review 34, no. 3 (December 1991): 108. http://dx.doi.org/10.2307/524123.

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Walkowitz, Rebecca L. "For Translation: Virginia Woolf, J. M. Coetzee, and Transnational Comparison." English Language Notes 51, no. 1 (March 1, 2013): 35–50. http://dx.doi.org/10.1215/00138282-51.1.35.

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Desblaches, Claudia. "Les Tentatives Beckettiennes du Style dans de J. M. Coetzee." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 183–96. http://dx.doi.org/10.1163/18757405-023001013.

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In “Homage,” J. M. Coetzee acknowledges the influence if Beckett on his writing style: “The deepest lesssons one learns from other writers, are, [...] matter of rhythm, broadly conveived [...] it is not 'ideas' that one picks up from other writers, but [...] a style, an attitude to the world” (1973, 53). It is precisely this style or “attitude to the world” that we would like to focus on by a parallel reading of (1999, 2 ed. 2000). and .

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BROWN, STEWART. "J M Coetzee: South Africa and the politics of writing." African Affairs 94, no. 374 (January 1995): 146–47. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098796.

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Journal articles on the topic 'J.M Coetzee'

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