Submitted by Bruno Andrade de Sampaio Neto (brunociso@yahoo.com.br) on 2017-11-07T21:17:40Z No. of bitstreams: 1 Ideologia e Absurdo na Obra de Kafka_BSampaio.pdf: 1765791 bytes, checksum: 7b977df516da2e1c22475fa56eaac72d (MD5) / Approved for entry into archive by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-11-08T12:21:14Z (GMT) No. of bitstreams: 1 Ideologia e Absurdo na Obra de Kafka_BSampaio.pdf: 1765791 bytes, checksum: 7b977df516da2e1c22475fa56eaac72d (MD5) / Made available in DSpace on 2017-11-08T12:21:14Z (GMT). No. of bitstreams: 1 Ideologia e Absurdo na Obra de Kafka_BSampaio.pdf: 1765791 bytes, checksum: 7b977df516da2e1c22475fa56eaac72d (MD5) / FAPEB / A presente pesquisa propõe estabelecer um diálogo entre a literatura de Franz Kafka e o conceito de ideologia, como formulado no âmbito do pensamento de Karl Marx e de alguns autores marxistas. O principal objetivo é investigar de que maneira este debate nos ajuda a compreender aspectos que consideramos fundamentais da obra deste escritor (em especial o uso que ele faz do absurdo e a famosa passividade das suas figuras dramáticas) e como podemos relacioná-los com os dias atuais. Nossa análise lançará mão de diversas obras deste autor, com ênfase em seus três romances (Amerika, O Processo e O Castelo) e na novela A Metamorfose. No primeiro capítulo, veremos as características do estilo kafkiano e a sua relação com o desenvolvimento formal do romance europeu. Os capítulos dois e três são dedicados ao estudo de como a literatura deste escritor dialoga com os conceitos de alienação e de desumanização em Marx. No último capítulo abordamos definitivamente o debate sobre a ideologia e a maneira como Kafka a representa literariamente. Deste modo, podemos afirmar que Kafka trata de uma problemática crucial para o marxismo contemporâneo: a capacidade, muitas vezes subestimada, do capitalismo desenvolvido em reproduzir as suas deterioradas relações sociais, ao promover um estado de alienação generalizado. A resposta para a emancipação dos sujeitos históricos das gigantescas estruturas deste tipo de organização social passa pela resolução dos impasses referentes aos processos de controle ideológico. / The present research proposes to establish a dialogue between the literature of Franz Kafka and the concept of ideology, as formulated in the context of the thought of Karl Marx and some Marxist authors. The main objective is to investigate how this debate helps us to understand aspects that we consider fundamental of this writer's work (especially his use of the absurd and the famous passivity of his dramatic figures) and how we can relate them to the days current. Our analysis will draw on several works by this author, with emphasis on his four main novels: Amerika, The Process, The Castle and The Metamorphosis. In the first chapter, we will see the characteristics of the Kafkaesque style and its relation to the formal development of the European novel. Chapters two and three are devoted to the study of how this writer's literature dialogues with the concepts of alienation and dehumanization in Marx. In the last chapter we definitely address the debate about ideology and the way Kafka represents it literarily. In this way, we can say that Kafka addresses a crucial problem for contemporary Marxism: the often underestimated capacity of developed capitalism to reproduce its deteriorating social relations by promoting a state of generalized alienation. The answer to the emancipation of the historical subjects of the gigantic structures of this type of social organization passes through the resolution of the impasses referring to the processes of ideological control.

This diploma thesis deals with the subject of Czech motives in the works of Enrique Vila-Matas, the famous Spanish writer. At the beginning, this work introduces the author to his readers and it also presents all his life´s work. The style of the author is defined on the grounds of this information. The thesis follows with the analysis of possible Czech motives appearing in his books. The motives are analysed individually and there is great emphasis put on the motive of Franz Kafka, Gustav Mayerink, the city of Prague and one of the Kafka´s main character ? Odradek. At the end, the thesis summarises the results of the studies and provides a comprehensive view of the Czech motives subject. Those motives which haven´ t been studied before.

Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo / A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial

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Made available in DSpace on 2015-09-17T15:24:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2015. Added 1 bitstream(s) on 2015-09-17T15:46:58Z : No. of bitstreams: 1 000845992.pdf: 837651 bytes, checksum: 3da57d49a08217363f3f037d3b8043b4 (MD5) / A presente pesquisa é um estudo sobre a recepção, pelos leitores do século XXI, representados, aqui, pelos alunos do terceiro ano do Ensino Médio de duas escolas públicas do Estado de São Paulo, de A Metamorfose, de Franz Kafka, a fim de se compreender, em um contexto sócio histórico-cultural mediado pelos mass media, a relação dialógica entre esses leitores contemporâneos e a obra literária impressa. Para tanto, fundamentamo-nos na Estética da Recepção de Jauss (1994) e Iser (1996), objetivando a análise dos mecanismos - vazios do texto, mudança de horizonte de expectativa, efeito estético e mundivivencial -, que estruturam tal relação. Além desse referencial, utilizamos os estudos de pesquisadores a respeito do fenômeno massmediático como, por exemplo, Sá (2010), Lucas (2011), Zilberman (1984), Avervuck (1984), dentre outros, visando à compreensão do fenômeno citado e a sua possível influência na constituição de um sujeito leitor que tem por meta o preenchimento dos vazios do texto. Cumpridas essas etapas, procuramos elucidar a influência dos mass media - mais precisamente a televisão, o rádio, o celular e a internet - sobre a recepção do texto literário impresso, assinalando as possíveis convergências e divergências entre as duas vertentes teóricas que alicerçam esta pesquisa. / The present research is a study about the reception of The Metamorphosis by Franz Kafka, by the readers from the 21st century, represented here by high school seniors belonged to two public schools of São Paulo State. This study aims to understand the dialogical relation between these contemporary readers and the written literary work within a social, historicalcultural context mediated by the mass media. For this purpose, we based on Reception Aesthetics by Jauss (1994) and Iser (1996) aiming the analysis of mechanisms such as gaps of text, change of horizon of expectation, aesthetic effect and life-world, which structure the dialogical relation. Besides this theoretical reference, we used the researchers'studies concerning the massmediatico phenomenon, for example, Sá (2010), Lucas (2011), Zilberman (1984), Avervuck (1984) among others in order to comprehend this phenomenon and its possible influence on the formation of a reader individual who aims the fulfillment of the gaps of text. Once these stages were complete, we tried to elucidate the mass media influence more precisely the television, radio, cell phone and internet on the reception of the written literary text, pointing out the convergences and divergences between the two theoretical lines which this research is founded on.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-18T14:38:48Z No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-08-23T19:56:20Z (GMT) No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Made available in DSpace on 2016-08-23T19:56:20Z (GMT). No. of bitstreams: 1 2016_SâmellaMichellyFreitasRusso.pdf: 1952313 bytes, checksum: 12075d1b0d54482c3da2efa0d772e8e8 (MD5) / Tendo a fragmentação e a elipse como métodos estruturantes no modo de contar histórias, a literatura de Franz Kafka e o cinema de Michael Haneke instauram narrativas enigmáticas. Eleito o romance O Castelo como ponto de partida, o filme homônimo dirigido por Haneke busca a materialização imagética da linguagem protocolar kafkiana, convergindo para o seu cinema literário. Propomos então realizar uma reflexão crítica e analítica da transposição midiática orquestrada pelo diretor alemão do romance inacabado de Kafka. Respondendo à imensa crítica do escritor, intentamos estabelecer uma leitura literal do texto romanesco, evitando as exegeses que tendem a condicionar a tônica de sua literatura. Em seguida, acessando toda a filmografia do diretor, foi possível conjeturar panoramas, a fim de investigar de que maneira a prosa kafkiana serve de substrato na edificação de sua controversa estética. Walter Benjamin, Theodor Adorno, Roberto Calasso e Milan Kundera conduziram a trajetória analítica da obra literária, especialmente por se tratar de teóricos que teceram importantes contribuições para a compreensão da prosa do autor tcheco. Com o intuito de delinear as vicissitudes desse encontro interartístico entre escritor e diretor e a tônica dialógica daquilo que chamamos de “cinema de liberdade”, recorremos essencialmente a Mikhail Bakhtin e à Estética da Recepção, além de Roland Barthes e Robert Stam. Nessa arena dialógica das artes, ao absterem-se de decretar a palavra final sobre aquilo que é escrito ou mostrado, escritor e diretor se encontram na edificação de linguagens verbais e imagéticas que provocam o ativismo de leitores e espectadores. _________________________________________________________________________________________________ ABSTRACT / Having the fragmentation and the ellipse as structuring methods in the way of storytelling, both Franz Kafka’s literature and Michael Haneke’s cinema manage to set enigmatic narratives. With the novel The Castle elected as starting point, the homonymous movie directed by Haneke aims an imagetic materialization of the solemn Kafkaesque writing, converging to his literary cinema. This proposal intends to set forth a critical and analytical reflection on the mediatic transposition of the unfinished Kafka’s novel orchestrated by the German director. Responding to the overwhelming criticism of the writer, we seek to establish a literal reading of his novelistic text while avoiding the exegesis that tend to constrain his literature’s keynote. After accessing the entire filmography of the director, it was possible to conjecture viewpoints in order to investigate in which way the Kafkaesque prose serves as substrate to his contentious aesthetics. Walter Benjamin, Theodor Adorno, Roberto Calasso and Milan Kundera conducted the literary work’s analytic path, mainly for being scholars responsible for offering important contributions for the comprehension of the Czech author’s prose. Seeking to outline the vicissitudes of this interartistic meeting between writer and director, and the dialogic keynote of that which we call “freedom cinema”, we turn essentially to Mikhail Bakhtin and the Reception Aesthetics, besides Roland Barthes and Robert Stam. In this artistic dialogical arena, by refusing to state the final meaning of what is written or shown, both writer and director work together to build verbal and imagetic languages that provoke the activism of readers and viewers.

Submitted by Hugo Giazzi Senhorini null (hugogiazzi@hotmail.com) on 2017-09-04T17:38:34Z No. of bitstreams: 1 Dissertação - versão final.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-09-06T14:34:28Z (GMT) No. of bitstreams: 1 senhorini_hg_me_sjrp.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) / Made available in DSpace on 2017-09-06T14:34:28Z (GMT). No. of bitstreams: 1 senhorini_hg_me_sjrp.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) Previous issue date: 2017-08-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation aims to discuss expressions of modernity in In the Penal Colony by Franz Kafka. More precisely, it discusses how this literary work explores and critically represents worldly elements such as extreme rationalization, and disorientation of the modern individual. This work is the result of an investigation which works with the hypothesis that it is possible to read Kafka’s narrative as an allegorical representation of modernity itself. The first chapter of this text discusses, based on philosophical and sociological sources, some of the most characteristic phenomena of that which is understood as modernity, in order to eventually formulate a sufficiently stable concept of modernity that may support the subsequent literary analysis. Within this discussion, a concept such as the Disenchantment of the world receives special attention. In addition, modern literature and Modernism are exposed in the first chapter. The second chapter introduces, firstly, a brief critical revision on Kafka’s oeuvre. Subsequently, it presents the reading of In the Penal Colony, which is separated in two parts, or two “levels”. The first level exposes an immanent analysis of the narrative, and its meaningful, more formal elements are outlined, thus creating, through this close-reading process, an array of interpretative elements that are supported by the literary text; in the reading’s second level, the elements outlined by the previous analysis are related and studied in relation to the modern world elements as these have been previously defined. Thus, the second chapter tries to build an interpretation of the narrative that can outline and comprehend, in a cohesive reading, the exploration, expression, and criticism of those modern characteristics made by the literary work. This process verifies that Kafka’s work can, on an interpretative level, express modernity critically, and rebuild it within a complex allegorical construction. / A presente dissertação discute expressões da modernidade em Na colônia penal, de Franz Kafka. Mais precisamente, discute a maneira como essa obra literária explora e representa criticamente elementos de mundo como a racionalização extrema e a desorientação do indivíduo moderno. Este trabalho é fruto de uma investigação que considera a hipótese de que é possível ler a narrativa de Kafka como uma figuração alegórica da própria modernidade. O primeiro capítulo do texto discute, a partir de fontes filosóficas e sociológicas, alguns dos fenômenos mais característicos daquilo que se entende como modernidade, para eventualmente formular um conceito de modernidade suficientemente estável, que possa embasar a análise literária posterior. Nesse caminho, um conceito como o de desencantamento do mundo recebe especial atenção. O segundo capítulo introduz uma breve revisão crítica sobre a obra de Kafka; depois disso, constrói-se a leitura de Na colônia penal, que está dividida em duas partes, ou dois “níveis”. No primeiro nível, apresenta-se uma análise imanentista da narrativa, e são ressaltados os seus elementos significativos mais formais, criando-se, a partir desse processo de close-reading, uma rede de elementos interpretativos que se fundam no próprio texto; no segundo nível da leitura, relacionam-se os elementos que a análise literária traz à tona àqueles fenômenos de mundo reconhecidamente modernos, isto é, busca-se construir uma interpretação da obra que ressalte e compreenda, numa rede coesa de sentido, a exploração, exposição e crítica, por parte da obra literária, das características da modernidade conforme as reconhecemos e definimos no primeiro capítulo. Nesse processo, verifica-se que a obra de Kafka pode expressar criticamente a modernidade e representá-la em uma construção alegórica complexa.

Made available in DSpace on 2013-08-07T19:00:36Z (GMT). No. of bitstreams: 1 000436726-Texto+Completo-0.pdf: 815928 bytes, checksum: 36d58dbf487e7dc6f4d2ba39aa1d94eb (MD5) Previous issue date: 2011 / The relationship between theater and literature can be studied through intertextuality, more specifically, the"anxiety of influence" of the american critic Harold Bloom. According to this theory of poetry, every reading is a “misreading”, an interpretation that departs from the text's meaning. Those who are strong readers can create their own meanings in the texts they read. In this view the procedure should be a twist of the literary text. The director must create their own meanings in the staging and free himself from the purely literary aspect of the work. To prove this, was given to three young directors a tale to be staged. The text of Franz Kafka"Those who pass us by running" requires creative force from the reader who should swerve it to be able to bring it on stage. The distance between the different scenes shows how the personal interpretation influences the scenic realization and, despite they are autonomous art forms, there is a threshold between them. / O relacionamento entre teatro e literatura pode ser estudado através da intertextualidade, mais especificadamente, a “angústia da influência” do crítico norteamericano Harold Bloom. De acordo com esta teoria da poesia, toda leitura é uma desleitura, uma interpretação que desvia-se do sentido do texto. Leitores fortes são aqueles que conseguem criar seus próprios significados nos textos que leem. Conforme esta visão o procedimento teatral deve ser um desvio do texto literário. O encenador deve criar seus próprios significados na encenação e libertar-se do aspecto puramente literário da obra. Para comprovar isso, foi entregue a três jovens diretores um conto para ser encenado. O texto de Franz Kafka “Os que passam por nós correndo” exige força criativa por parte do leitor que deve desviar-se dele para poder concretizá-lo no palco. A distância entre as diferentes encenações comprova como a interpretação pessoal influi na realização cênica e, apesar de serem artes autônomas, há uma limiaridade entre elas.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2011. / Submitted by alcianira lima persch (alcyrpl@yahoo.com.br) on 2011-06-28T23:07:39Z No. of bitstreams: 1 2011_RitadeCássiaSilvaDionísio.pdf: 2564047 bytes, checksum: 97b9b2a9bf641f22916bd222874a0c57 (MD5) / Approved for entry into archive by Elna Araújo(elna@bce.unb.br) on 2011-06-29T18:58:48Z (GMT) No. of bitstreams: 1 2011_RitadeCássiaSilvaDionísio.pdf: 2564047 bytes, checksum: 97b9b2a9bf641f22916bd222874a0c57 (MD5) / Made available in DSpace on 2011-06-29T18:58:48Z (GMT). No. of bitstreams: 1 2011_RitadeCássiaSilvaDionísio.pdf: 2564047 bytes, checksum: 97b9b2a9bf641f22916bd222874a0c57 (MD5) / Franz Kafka (1883 - 1924, Áustria), escritor tcheco de língua alemã, conforme críticos diversos, autor da mais importante obra literária do século XX, escreveu, entre outros livros, A Metamorfose (1915) e O Processo (1925) - considerado a sua obra-prima. Modesto Carone (1937 - Sorocaba, São Paulo), crítico literário, tradutor, contista, escritor conhecido e elogiado pela crítica, publicou dois livros de crítica literária, um livro de ensaios e cinco livros de ficção, entre os quais estão As marcas do real (1979), Resumo de Ana (1998) e Por trás dos vidros (2007). Trata-se de dois autores cujas prosas colocam-se no "entrelugar" das identidades linguísticas e culturais: Kafka, um homem judeu exilado em seu próprio país, não podendo se expressar em sua própria língua, mas que aprendeu a organizar as suas narrativas na língua alemã, com a qual não se identificava; Carone, conhecedor da língua e cultura alemãs, cria uma prosa em português - sua língua materna - mas efetivamente marcada pelos textos do escritor tcheco, que forjam a sua formação como escritor. Para Carone, que concluiu recentemente a tradução de toda a ficção de Kafka diretamente do alemão para o português, a sua tarefa de ficcionista está completamente relacionada à sua atividade de tradutor e crítico literário e o conjunto da sua vida literária só se completa com as obras de Kafka, de quem teria assimilado a linguagem enxuta, burocrática, protocolar. Esta tese objetiva ser uma análise crítica das obras, sobre o arcabouço teórico das seguintes disciplinas: a literatura comparada e os estudos da tradução. É importante ressaltar que, considerando os novos paradigmas da literatura comparada, o presente trabalho não se propõe a identificar laços diretos ou de influência entre os dois autores, mas sim paralelos e afinidades de caráter textual. A partir das teorias sobre as intersecções textuais e, mais especialmente, sobre o conceito de transtextualidade, de Gérard Genette, pretende-se refletir sobre as ressonâncias kafkianas presentes na obra Por trás dos vidros, de Carone - a partir de uma perspectiva comparatista entre essa e a obra Narrativas do espólio, de Kafka - considerando a influência da experiência tradutora deste autor, entre outros fenômenos, como uma forma de atualizar e renovar a obra literária do escritor tcheco. Após a apresentação das teorias sobre a impregnação dos textos, a apresentação das teorias da tradução e da análise das obras ficcionais dos autores que compõem o corpus desta investigação, como resultado final, a pesquisa apresenta uma proposta conceptual - a transversalidade literária - para nomear o procedimento de absorção do kafkiano por Modesto Carone. _________________________________________________________________________________ ABSTRACT / Franz Kafka (1883 – 1924, Austria), Czech writer of German language, according to diverse critics he is the author of the most important literary work of the XX century, wrote, among others, A Metamorfose (1915) and O Processo (1925) - that is considered his masterpiece. Modesto Carone (1937 – Sorocaba, São Paulo), a literary critical, translator, story teller, known and commended writer by critical, published two literary critical books. one book of essays and five fiction books, among them are As marcas do real (1979), Resumo de Ana (1998) and Por trás dos vidros (2007). It is about two authors whose prose put themselves in "between-place" of linguistic and cultural identities: Kafka, a Jew man exiled in his own country, unable to express in their own language, but that learned to organize their narratives in the German language, with which he himself did not identify; Carone, who knew the German language and culture, create an prose in Portuguese - his mother tongue - but effectively marked by texts of the Czech writer, which forges his training as a writer. To Carone, who recently completed the translation of all the fiction of Kafka directly from German into Portuguese, his job as fictionist is entirely related to his activities as a translator and literary critic, and the whole of his literary life is only complete with the works of Kafka, whom he had assimilated the dry , bureaucratic and protocol language. This thesis aims to be a critical analysis of the works on the theoretical framework of the following disciplines: comparative literature and translation studies. It is important to point out that, considering the new paradigms of comparative literature; this present paper does not purport to identify direct links or influence between the two authors, but parallels and affinities of textual character. From the theories about the textual intersections, and more particularly on the concept of transtextuality, by Gérard Genette, we intend to reflect about the resonances Kafkaesque present in the work Por trás dos vidros, by Carone - from a comparative perspective between that and the work Narrativas do espólio, by Kafka - considering the influence of translated experience of this author, among other phenomena, as a way to upgrade and renovate the literary work of Czech writer. After the presentation of the theories about the impregnation of the texts, the presentation of the theories of translation and analysis of fictional works of authors who make up the corpus of this research, as a final result, the research presents a conceptual proposal - the transversality literary - to name the procedure for absorption of the Kafkaesque by Modesto Carone.

The thesis relates Coetzee’s focus on animals to his more familiar themes of the possibility of fiction as a vehicle for serious ethical issues, the interrogation of power and authority, a concern for the voiceless and the marginalised, a keen sense of justice and the question of secular salvation. The concepts developed in substantial analyses of The Lives of Animals and Disgrace are thereafter applied to several other works of Coetzee. The thesis attempts to position J.M. Coetzee within the animal rights debate and to assess his use of his problematic persona, Elizabeth Costello, who controversially uses reason to attack the rationalism of the Western philosophical tradition and who espouses the sympathetic imagination as a means of developing respect for animals. Costello’s challenge to the philosophers is problematised by being traced back to Plato’s original formulation of the opposition between philosophers and poets. It is argued that Costello represents a fallible Socratic figure who critiques not reason per se but an unqualified rationalism. This characterisation of Costello explains her preoccupation with raising the ethical awareness of her audience, as midwife to the birth of ideas, and perceptions of her as a wise fool, a characterisation that is confirmed by the use of Bakhtin’s notion of the Socratic dialogue as one of the precursors of the modern novel. Along with the Platonic/Socratic binary, Bakhtin’s concepts of polyphony, dialogism and monologism are applied to analyses of Coetzee’s fiction, which, in keeping with his anti-authoritarianism, is shown to be polyphonic. Costello’s apparently insensitive and repeated comparison of industrialised animal farms to Nazi concentration camps is likewise scrutinised. It is argued that the point of the comparison is to question the normality and humanity of societies that choose to ignore the suffering of animals in the animal exploitation industries. Her raising the question of this willed ignorance is related to Socrates’ maxim that evil is a result of ignorance, and Coetzee’s concern with the psychic cost to their humanity of those complicit in these industries is considered. David Lurie’s evocation of Holocaust imagery in Disgrace is also examined, as is the role of art and the sympathetic imagination in attaining a degree of grace. Platonic ideas on eros, beauty, art and immortality are found to be central to Coetzee’s fiction, not only to that relating to Costello but also to Disgrace and much of his other work. While acknowledging the importance of Plato, Coetzee continuously extends, tests and subverts his ideas, frequently subjecting them to carnivalistic play. Unexpected connections are made between Coetzee’s conception of the parent-child relationship, both biological and intellectual, and his notions of creativity, power and justice. Ideas of eating and fasting are explored in his fiction and related to the hunger-artistry of Franz Kafka. Coetzee’s ideas on animals, writing and diet are found to be essential to his notions of secular salvation and an ethical way of life. / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted