Coetzee's own experience of living in apartheid South Africa provides the backdrop for novels infused with sardonic irony and rich metaphoric systems. In modes of metafiction that emphasize the destructive and violent nature of language, he optimizes his unique oeuvre to interrogate global, national and domestic power relations. This dissertation relies on psychoanalytical theories that examine microstructures of power within the individual, and in his domestic domain. Each of Coetzee's chief protagonists carries a secret related to a dysfunctional mother/son relationship. This hampers their psychosocial dynamics, their masculinity and sexuality. As they respectively strive toward an elusive new life they confront patriarchal power structures that speak on behalf of individuals, '[whose] descent into powerlessness [is] voluntary' (Coetzee 2007: 4-5). Coetzee's constructed white males perform their several identity roles in milieux that span divergent phases of colonial history. His critique points to white patriarchal hegemonic ideological discourses that bespeak the self/other dichotomy in a postcolonial world where the language of dominance supports an oppressive status quo. / English Studies / M.A. (English)

Thesis (MA (English Literature))--University of Stellenbosch, 2005. / In this thesis I examine the presentations of masculinity in several novels published in the post-apartheid period in South Africa, that is, the period after 1994. The novels under discussion are all male-authored texts and include novels by J M Coetzee (1999), André Brink (2000), Phaswane Mpe (2001), K Sello Duiker (2001), Zakes Mda (2002) and Damon Galgut (2003). In the introduction theoretical issues regarding masculinity are discussed on the basis of Morrell (2001) and a broad framework for the thesis is outlined. Subsequently the presentation of masculinity is analysed in each of the respective novels under discussion. Issues such as a definition of masculinity (or rather, masculinities), the interaction between men as friends, as colleagues; as well as issues such as heterosexuality and homosexuality are discussed. What perspectives does the author provide on masculinity? How do the male characters experience the new South Africa? What is the nature of their interaction with the female characters in the novels? Another aspect dealt with is the repression of homosexual desire for another man and the way in which it is suppressed beneath a macho façade. In the conclusion the different perspectives are compared and similarities and differences are briefly pointed out. In the end, an important question that comes to mind is: Do these men present a different type of masculinity emerging in the period after liberation, or do they merely (as depicted by their authors) perpetuate the patriarchal masculinities associated with the period before 1994?

Coetzee's own experience of living in apartheid South Africa provides the backdrop for novels infused with sardonic irony and rich metaphoric systems. In modes of metafiction that emphasize the destructive and violent nature of language, he optimizes his unique oeuvre to interrogate global, national and domestic power relations. This dissertation relies on psychoanalytical theories that examine microstructures of power within the individual, and in his domestic domain. Each of Coetzee's chief protagonists carries a secret related to a dysfunctional mother/son relationship. This hampers their psychosocial dynamics, their masculinity and sexuality. As they respectively strive toward an elusive new life they confront patriarchal power structures that speak on behalf of individuals, '[whose] descent into powerlessness [is] voluntary' (Coetzee 2007: 4-5). Coetzee's constructed white males perform their several identity roles in milieux that span divergent phases of colonial history. His critique points to white patriarchal hegemonic ideological discourses that bespeak the self/other dichotomy in a postcolonial world where the language of dominance supports an oppressive status quo. / English Studies / M.A. (English)

x, 208 p. / In this dissertation "literariness" is defined not merely as a quality of form by which texts are evaluated as literary, but as an immanent and critical sensibility by which reading, writing, speaking, learning, and teaching subjects within the literary humanities engage language in its immediate aesthetic (and thus also historical and ethical) aspect. This reorientation seeks to address the literary academy's overwhelming archival focus, which risks eliding literary endeavor as an embodied undertaking that inevitably reflects the historical contingency of its enactment. Literary endeavor in higher education is thus understood as a performance by which subjects enact not only the effect of literary texts upon themselves but also the contingencies of their socio-economic, national, cultural, and personal contexts. Subjects' responses to literature are seen as implicit identity claims that, inevitably constituted of biases, can be evaluated through the lens of post-positivist realism in terms of their ethical and pragmatic usefulness. Framing this reoriented literariness in terms of its enactment in higher education literature classrooms, this dissertation addresses its pedagogical, methodological, and personal implications. The events of the South African Truth and Reconciliation Commission (TRC) and the literature arising from it serve as a pivotal case study. The TRC Hearings, publically broadcast and pervasive in the national discourse of the time, enacted a scenario in which South Africans confronted the implications for personal and national identities of apartheid's racial abuses. The dissertation demonstrates through close reading and anecdotal evidence how J.M. Coetzee's Disgrace and Antjie Krog's Country of My Skull formally reactivate this scenario in the subject in the event of reading, while surveys of critical responses to these texts show how readers often resisted the texts' destabilizing effects. A critical account of the process that resulted in Telling, Eugene - a stage production in which U.S. military veterans tell their stories to their civilian communities - analyzes the idea of literariness in the U.S. and assesses its potential for socially engaged literary praxis. / Committee in charge: Linda Kintz, Chairperson; Suzanne Clark, Member; Michael Hames-Garcia, Member; John Schmor, Outside Member