J.M. Coetzee: South Africa and the Politics of WritingUniversity of California Press, 1993 - 147 pagina's David Attwell defends the literary and political integrity of the South African novelist J.M. Coetzee, arguing that he has absorbed the textual turn of postmodern culture while still addressing his nation's ethical crisis. As a form of "situational metafiction," Coetzee's novels are shown to reconstruct and critique some of the key discourses in the history of colonialism and apartheid from the eighteenth century to the present. While self-conscious about fiction-making, Coetzee's work takes seriously the condition of the society in which it is produced. Attwell begins by describing the intellectual and political contexts of Coetzee's fiction. He proceeds with a developmental analysis of the corpus of six novels, drawing on Coetzee's other writings in stylistics, literary criticism, translation, political journalism, and popular culture. Attwell's elegantly written analysis deals both with Coetzee's subversion of the dominant culture around him and with his ability to grasp the complexities of giving voice to the anguish of South Africa. |
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Pagina 57
... narrator as oppressive , as fatherlike , as Jacobus Coetzee . Later such figures are the antagonists of the narrators : Magda's father in In the Heart of the Country , or Colonel Joll in Waiting for the Barbarians . Such a narrator has ...
... narrator as oppressive , as fatherlike , as Jacobus Coetzee . Later such figures are the antagonists of the narrators : Magda's father in In the Heart of the Country , or Colonel Joll in Waiting for the Barbarians . Such a narrator has ...
Pagina 98
... narrator , there is a sense in which the narrator interpolates in this moment in such a way as to dramatize narration's own limitations , that is , its own willed limitations . It is an image of aporia , or stalled meaning . This image ...
... narrator , there is a sense in which the narrator interpolates in this moment in such a way as to dramatize narration's own limitations , that is , its own willed limitations . It is an image of aporia , or stalled meaning . This image ...
Pagina 115
... narration that is staged from beginning to end . The unnamed narrator enters Foe's house twice , producing two encounters with the scene of authorship . In the first sequence he passes the daughter on the landing ; Susan and Foe lie ...
... narration that is staged from beginning to end . The unnamed narrator enters Foe's house twice , producing two encounters with the scene of authorship . In the first sequence he passes the daughter on the landing ; Susan and Foe lie ...
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Afrikaner Age of Iron allegory apartheid argues assertion attempt authority Barbarians Beckett Black Consciousness Bouvard et Pécuchet calls Cape Town Coetzee's novels context critical critique Cruso culture daughter Dawn Dawn's death debate developed Dovey Dovey's Dusklands emerges emphasis Empire essay ethical fact father final Foe's Friday Friday's Gordimer Guma Hendrik imperialism intellectual Interviews involves J. M. Coetzee Jacobus Coetzee Johannesburg Joll Kafka language liberal linguistic literary literature Magda Magistrate Magistrate's means ment metafiction Michael Michael K Michael Vaughan mother Nadine Gordimer Namaquas narrative narrator nouveau roman Novels of J. M. Pale Fire parody political position postcolonial postmodernism problem question reading realism reflexive relations relationship represents Roxana says Schreiner seems self-consciousness semiotic sense sequence situation social South Africa speak story structure struggle Susan textuality theory tion tradition Trans Vietnam Waiting white South African words writing