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Metafiction in J.M. Coetzee's 'Foe' by Verena Schörkhuber Pdf
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Vienna (Institut für Anglistik und Amerikanistik), course: Introductory Seminar Literature (year 2), 32 entries in the bibliography, language: English, abstract: The main aim of this paper is to discuss metafiction in J. M. Coetzee's Foe (1986), which is a rewriting of Daniel Defoe's literary classic Robinson Crusoe (1719). I shall deal with the intersection of postcolonialism and postmodernism in Coetzee's works, give (a) brief definition(s) of metafiction and consider the origins of this term and its general functions. I will finally take a rather detailed look at metafiction and the discourse of power in Coetzee's deconstruction of the Crusoe myth.
Forms and functions in J.M. Coetzee’s “Foe” by Christina Binter Pdf
Seminar paper from the year 2017 in the subject English Language and Literature Studies - Literature, grade: 2, , language: English, abstract: The main aim of this seminar paper is to introduce the novel “Foe” by J. M. Coetzee and to give an overview about the forms and functions of it. Therefore, a closer look at metafiction, historiographic metafiction and meta-narrative techniques is necessary, due to the fact that the novel is “meta-narrative”. Since the story of the island, narrated by the protagonist Susan Barton, is important for an analysis, it is not enough just to focus on that. Susan’s island story serves as a kind of framework because the novel is about “the art of writing and story-telling”. Firstly, the author, J. M. Coetzee, his biography and his many works will be presented. Secondly, the term metafiction, its definition and different forms will be discussed. After that there will be a short overview of the novel, including plot, characters and narrative techniques, which are important to understand the meaning of the book. This will be followed by the chapter “metafiction”, in which some forms of metafiction as well as some elements of the story, supported by some examples, will be presented. The final section will give an overall picture of Coetzee’s story “Foe”.
Daniel Defoe's 'Robinson Crusoe' and J.M. Coetzee's 'Foe': Characters in Comparison by Luise A. Finke Pdf
Seminar paper from the year 1998 in the subject English Language and Literature Studies - Literature, grade: 1,3 (A), University of Leipzig (Institute for Anglistics), course: Postcolonial Literatures, language: English, abstract: J. M. Coetzee's 1986 novel Foe leaves its reader in a tumble of a multi-layered reality, confused about literary original and copy, and, maybe most grave, confronted with the question: what is historical truth and how can it be recognised. The veils that unfold and reveal the facets of fiction and reality through the novel are many, and they are intricately woven into each other. We, the readers, however educated and experienced with fictional texts, may find ourselves slightly confused after a first reading. Coetzee has written a parody1 of a classic of world literature: Daniel Defoe's Robinson Crusoe, first published in 17192. The simple fact that Coetzee's work of fiction was first published in 19863 makes it evident that it was based on the older classic. Yet the content of the novel claims the very opposite when the female protagonist Susan Barton tells how the story really was before Mr Foe sat down to turn it into a novel of his own intentions, altering and falsifying it. She tells her own story in the Iperspective, in terms of the 'plot' even before the writer Mr Foe would have completed his 'Robinson Crusoe'. Through this, Coetzee creates the illusion that Susan Barton's report might have indeed been the antecessor of the literary classic Robinson Crusoe. Nevertheless, we are talking of a work of fiction here, so there is no doubt that Coetzee marvellously plays with the means of storytelling instead of telling the world 'how it all really was'. There is no such Robinson Crusoe as depicted both in Defoe's and Coetzee's novel - there is merely fiction, and one should not confuse fiction and reality, however many layers of both seem to be mingled into each other in Coetzee's novel. 1 A parody according to Linda Hutcheon is an: "imitation characterised by ironic inversion", or "repetition with critical distance, which marks difference rather than simularity"; in: Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York and London: Methuen, 1985, p.6 2 See: Bibliographical Note; in: Daniel Defoe, Robinson Crusoe. London: Dent, 1975, p. xiii 3 First published in Great Britain by Martin Secker & Warburg 1986; here it will be referred to the Penguin paperback edition of 1987 when quoting passages from the text.
Robinson Crusoe explores Defoe's story, the legend it captured, the universal desire which underlies the myth and a range of modern re-writings which reveal a continued fascination with the problematic character of this narrative. Whether envisaged as an heroic rejection of the old world order, a piece of pre-colonialist propaganda or a tale raising archetypal problems of 'otherness' and 'inequality', the mythic value of Crusoe has become a pretext over many centuries for an examination of some of the fundamental problems of existence. This collection of essays examines, from a wide range of critical and philosophical perspectives, the cultural manifestations of Robinson Crusoe in different centuries, in different media, in different genres.
With the same electrical intensity of language and insight that he brought to Waiting for the Barbarians, J.M. Coetzee reinvents the story of Robinson Crusoe—and in so doing, directs our attention to the seduction and tyranny of storytelling itself. J.M. Coetzee's latest novel, The Schooldays of Jesus, is now available from Viking. Late Essays: 2006-2016 will be available January 2018. In 1720 the eminent man of letters Daniel Foe is approached by Susan Barton, lately a castaway on a desert island. She wants him to tell her story, and that of the enigmatic man who has become her rescuer, companion, master and sometimes lover: Cruso. Cruso is dead, and his manservant, Friday, is incapable of speech. As she tries to relate the truth about him, the ambitious Barton cannot help turning Cruso into her invention. For as narrated by Foe—as by Coetzee himself—the stories we thought we knew acquire depths that are at once treacherous, elegant, and unexpectedly moving.
David Attwell defends the literary and political integrity of South African novelist J.M. Coetzee by arguing that Coetzee has absorbed the textual turn of postmodern culture while still addressing the ethical tensions of the South African crisis. As a form of "situational metafiction," Coetzee's writing reconstructs and critiques 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, it takes seriously the condition of the society in which it is produced. Attwell begins by describing the intellectual and political contexts surrounding Coetzee's fiction and then provides a developmental analysis of his six novels, drawing on Coetzee's other writings in stylistics, literary criticism, translation, political journalism and popular culture. Elegantly written, Attwell's analysis deals with both Coetzee's subversion of the dominant culture around him and his ability to see the complexities of giving voice to the anguish of South Africa.
Metafiction and the Postwar Novel by Andrew Dean Pdf
Metafiction and the Postwar Novel is a full-length reassessment of one of the definitive literary forms of the postwar period, sometimes known as 'postmodern metafiction'. In the place of large-scale theorizing, this book centres on the intimacies of writing situations - metafiction as it responds to readers, literary reception, and earlier works in a career. The emergence of archival materials and posthumously published works helps to bring into view the stakes of different moments of writing. It develops new terms for discussing literary self-reflexivity, derived from a reading of Don Quixote and its reception by J.L. Borges - the 'self of writing' and the 'public author as signature'. Across three comprehensive chapters, Metafiction and Postwar Fiction shows how some of the most highly-regarded postwar writers were motivated to incorporate reflexive elements into their writing - and to what ends. The first chapter, on South African novelist J. M. Coetzee, shows with a new clarity how his fictions drew from and relativized academic literary theory and the conditions of writing in apartheid South Africa. The second chapter, on New Zealand writer Janet Frame, draws widely from her fictions, autobiographies, and posthumously published materials. It demonstrates the terms in which her writing addresses a readership seemingly convinced that her work expressed the interior experience of 'madness'. The final chapter, on American writer Philip Roth, shows how his early reception led to his later, and often explosive, reconsiderations of identity and literary value in postwar America.
Of History and Herstory: Story-Telling in Coetzees 'Foe' by Daniel Milne Pdf
Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 1,0, Bielefeld University (Linguistik und Literaturwissenschaft), course: A Survey of British Literature, language: English, abstract: The South African J.M. Coetzee's novel Foe, written in 1986, serves as an example of how established narrative conventions can be altered and twisted by adopting elements from different narrative approaches, which are combined into an interesting, unique and well-rounded novel. In this term paper I would like to analyse the unconventional way in which the many stories of Coetzee's Foe are told. I will begin by closely examining the narrative situation, which - although it might appear so during the first reading - does not stay constant throughout the novel's discourse. In the second part of my analysis, I will concentrate on the level of the characters and the story, in which both a variety of stories are told as well as the perspectives are alternated perpetually. Finally, I will have a look at what I would call one of the novel's major storylines - the story about story telling itself. This 'meta-storytelling' (or 'meta-narration') is what binds all elements of Foe together to one cohesive piece of literature.
J. M. Coetzee and the Ethics of Narrative Transgression by Alexandra Effe Pdf
This book is about the metanarrative and metafictional elements of J. M. Coetzee’s novels. It draws together authorship, readership, ethics, and formal analysis into one overarching argument about how narratives work the boundary between art and life. On the basis of Coetzee’s writing, it reconsiders the concept of metalepsis, challenges common understandings of self-reflexive discourse, and invites us to rethink our practice as critics and readers. This study analyzes Coetzee’s novels in three chapters organized thematically around the author’s relation with character, reader, and self. Author and character are discussed on the basis of Foe, Slow Man, and Coetzee’s Nobel lecture, 'He and His Man'. Stories featuring the character Elizabeth Costello, or the figuration Elizabeth Curren, serve to elaborate the relation of author and reader. The study ends on a reading of Summertime, Diary of a Bad Year, and Dusklands as Coetzee’s engagement with autobiographical writing, analyzing the relation of author and self. It will appeal to readers with an interest in literary and narrative theory as much as to Coetzee scholars and advanced students.
Author : María José Chivite de León Publisher : Peter Lang Page : 264 pages File Size : 40,5 Mb Release : 2010 Category : History in literature ISBN : 3034300700
Echoes of History, Shadowed Identities by María José Chivite de León Pdf
This book addresses the recovery of submerged memories, loss and trauma in self-avowed intertextual fiction, while simultaneously exposing the tensions and untenability of any stable figuration of alterity. Otherness thus posits a liminal and largely transversal site of resistance to monological representations of Western identity, history and canon, which are now displayed inherently crossbred and built on the occulting and alienating of difference. With this in view, the author carries out a close reading of the works and scholarly statements of J. M. Coetzee and Marina Warner by taking as the point of departure the intertextualist approaches that most attend to the phenomenon of alterity against the critical discourses of modern representation. Fully installed in the revision of canon policies, Foe and Indigo re-read Eurocentric institutionalised forms of othering at the same time they posit new and suggestive rehearsals of identity languages via literature. Intertextual fiction thus turns out to be a powerful instrument to render alterity visible and agential in the discourses of reality. Ultimately, alterity is enabled to speak and invite social change and ethical awareness without denying the history of its alienation.
The Theory of Meta-Narrative on J. M. Coetzee's Foe by Aalaa Almajnouni Pdf
J. M. Coetzee, a postmodern South African author, contributed to the standardization of postmodern fiction with his fifth novel, Foe (1986), which it is a re-writing of Daniel Defoe's novel Robinson Crusoe (1719). However, Coetzee's novel Foe treats the mechanism of narrative writing through re-writing; it is a mode of writing that is known to be postcolonial aspect is considered postmodern narratological technique. Therefore, I intend to explicate Coetzee's narratological methods in the narrative writing by examining the narrational attitudes of Foe's first-person female narrator, Susan Barton, who self-consciously reflects upon her story of Cruso's island as a recollected history by making her role in telling her island story, a part of a larger framed story.
A Companion to the Works of J. M. Coetzee by Tim Mehigan Pdf
New essays providing critical views of Coetzee's major works for the scholar and the general reader. J. M. Coetzee is perhaps the most critically acclaimed bestselling author of imaginative fiction writing in English today. He received the Nobel Prize for Literature in 2003 and is the first writer to have been awarded two BookerPrizes. The present volume makes critical views of this important writer accessible to the general reader as well as the scholar, discussing Coetzee's main works in chronological order and introducing the dominant themes in the academic discussion of his oeuvre. The volume highlights Coetzee's exceptionally nuanced approach to writing as both an exacting craft and a challenging moral-ethical undertaking. It discusses Coetzee's complex relation to apartheid and post-apartheid South Africa, the land of his birth, and evaluates his complicated responses to the literary canon. Coetzee emerges as both a modernist and a highly self-aware postmodernist - a champion of the truths of aliterary enterprise conducted unrelentingly in the mode of self-confession. Contributors: Chris Ackerley, Derek Attridge, Carrol Clarkson, Simone Drichel, Johan Geertsema, David James, Michelle Kelly, Sue Kossew, MikeMarais, James Meffan, Tim Mehigan, Chris Prentice, Engelhard Weigl, Kim L. Worthington. Tim Mehigan is Professor of Languages in the Department of Languages and Cultures at the University of Otago, New Zealand and Honorary Professor in the Department of Languages and Comparative Cultural Studies at the University of Queensland, Australia.
50 Literature Ideas You Really Need to Know by John Sutherland Pdf
In a series of 50 accessible essays, John Sutherland introduces and explains the important forms, concepts, themes and movements in literature, drawing on insights and examples from both classic and popular works. From postmodernism to postcolonialism, William Shakespeare to Jane Austen , 50 Literature Ideas You Really Need to Know is a complete introduction to the most important literary concepts in history.