Thesis (MA)--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: This thesis is the result of an immersion in the work of J.M. Coetzee. I have taken various of Coetzee’s novels, namely Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K and Slow Man, and constructed readings of these novels from the inside out. The overarching concern of the dissertation is the notion of subjectivity and Coetzee’s methods of representing subjectivity. It is my contestation that the experience of authentic subjective awareness arises from the process of reading itself. It is not a state of being that is described by the text, but rather a layered constellation of substitutive exchanges that emerges from the process of textual relation. The notion of embeddedness serves as a description of the way in which the text materializes this experience of subjectivity. The structure of exploration in each chapter has taken as its paradigm a conceptual concern arising from the text itself. In the first chapter (Elizabeth Costello) the concern is with structure itself. The character of Elizabeth struggles against the limitation inherent in the process of representation; this struggle is read as an indication of authentic subjective experience in the face of reduction to a system of codes. The second chapter (Disgrace) attempts to formulate the dynamic of subjective awareness in romantic terms. I construct a reading of Lurie’s predicament in terms that arise from his conceptual environment, in order to indicate the primacy of textual materiality as the locus of subjective awareness. The notion of the classic informs the third chapter (The Master of Petersburg). I use an essay by Coetzee to delineate a conception of the classic, which is then applied as a theoretical framework for an exploration of Dostoevsky’s pursuit of his stepson. The fourth and last chapter (Foe, Life & Times of Michael K and Slow Man) focuses on Coetzee’s use of the body as a figure for embedded subjectivity. It emerges that the body as a trope of embeddedness forms an important aspect of Coetzee’s work throughout his career. As such it is a very suitable figure for describing the dynamics of embeddedness as a mode of representation that aligns itself with the textual materiality of subjective being. / AFRIKAANSE OPSOMMING: Hierdie tesis het ontstaan as die gevolg van ‘n noukeurige ondersoek na die werk van J.M. Coetzee. Ek het myself laat begelei deur die inhoud van verskeie van Coetzee se boeke, naamlik Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K en Slow Man, om intensiewe lesings van hierdie boeke te konstrueer. Die oorkoepelende bemoeienis van die verhandeling is die konsep van subjektiwiteit en Coetzee se metodes van subjektiewe voorstelling. Ek beweer dat die ervaring van outentieke subjektiewe gewaarwording gesetel is in die leesproses. Dit is nie ‘n toestand van wese wat deur die teks beskryf word nie, maar eerder ‘n verweefde raamwerk van substituwe wisseling wat kom uit die proses van tekstuele relasie. Die konsep van inlywing (“embeddedness”) dien as 'n beskrywing van die manier waarop die teks hierdie ervaring van subjektiwiteit konkretiseer. Die struktuur van ondersoek in elke hoofstuk neem as paradigma 'n konsepsuele vraagstuk wat reeds gesetel is in die teks. In die eerste hoofstuk (Elizabeth Costello) is die bemoeienis met struktuur as sodanig. Elizabeth se karakter stry teen die inperking wat noodwending saamgaan met die proses van voorstelling; hierdie stryd word gelees as 'n aanduiding van outentieke subjektiewe ervaring teenoor die druk van vermindering tot 'n stel kodes. Die tweede hoofstuk (Disgrace) poog om die dinamiek van subjektiewe bewustheid te formuleer in terme wat afkomstig is van die romantiek. Ek konstrueer 'n lees van Lurie se toestand in terme wat kom van sy konsepsuele omgewing, om sodoende die voorrang van tekstuele materialiteit as die lokus van outentieke subjektiwiteit aan te dui. Die konsep van die klassieke belig die derde hoofstuk (The Master of Petersburg). Ek gebruik 'n essay van Coetzee om 'n begrip van die klassieke te formuleer, wat dan toegepas word as 'n teoretiese raamwerk waarbinne Dostoevsky se soeke na sy stiefseun ondersoek word. Die vierde en laaste hoofstuk (Foe, Life & Times of Michael K en Slow Man) fokus op Coetzee se gebruik van die liggaam as 'n figuur vir ingelyfde subjektiwiteit. Dit blyk dat die liggaam as 'n figuur van inlywing 'n prominente aspek van Coetzee se werk vorm deur sy loopbaan. As sodaning is dit 'n baie handige figuur om die dinamiek van inlywing te beskryf as 'n modus van voorstelling wat sigself koppel aan die materialiteit van die teks.

This dissertation treats the subject of temporality in Ovid’s exile poetry. I argue that the post-exile texts feature a systematic distortion of time that cannot be conveyed by conventional chronometry. I read this phenomenon as a testament to the condition of the displaced person: the trauma of exile fosters a dissonance between interior (subjective) and exterior (objective) temporality, whereby time becomes stagnant, retrospective, or compulsively circular. The object of this thesis is to chart the evolution of this relationship between dual temporal schemata—and the schism in representations of time that occurs between Ovid’s pre- and post-exilic works. The distinct temporal aesthetic that emerges is a constitutive element of a textual portrait of exilic consciousness. This unique temporality, moreover, is consistently defined against the temporal prescriptions of the Augustan regime. The ordering of the Augustan subject’s existence through temporal regulations—such as the Caesarian calendar and the myth-enshrined teleology of the Julian imperial line—codified imperial ideology. Although Ovid was, in one sense, a prime participant in this program as author of the Metamorphoses and Fasti, much of Ovid’s elegy ran afoul of Augustan moral codes due to its erotic content and celebration of an individualistic ethos, the emblems of which—such as inborn poetic ingenium and the private and subjective experience of the individual—feature so prominently in his poetry. In the context of Augustan-age incursions of public mores into private life, Ovid put himself at odds with the Augustan value system in his art and actions, which likely occasioned (or was a catalyst for) his exile. He thus had a vested interest in (i) resisting the dominant teleology of the Augustan regime and the self-legitimating semiotic system of which it was a part and (ii) mounting opprobrium against the regime that ousted him. The poet’s alternative vistas of temporality militate against the Augustan program by (a) reclaiming time as a subjective experience that cannot be delimited by the parameters of an official time scheme, and (b) evacuating Augustan time of its meaning within the fictional world of the poetry, thereby exposing it as a socially-constructed, rather than an absolute, reality.

Lo Man-wa. / "December 2000." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (p. 207-253). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

One of the most salient features of contemporary Spanish fiction is the solid participation of women in literary creation, particularly that of novels. While in the 1970s there were isolated figures, in the 80s and with the consolidation of democracy, the number grew sharply; in the 90s, they multiplied their presence and their quality continues to be outstanding. In spite of the prejudices of sexist power, a good segment of the critics accepts that today a wider and more valuable group of female novelists has been capable of constructing themes, techniques and discourses differing from the predominant one. It is not about claiming that there exists an incompatibility between male and female literature, nor that there are two literatures; rather, it is about the development of individual strategies of permanence and about the persistence of different perspectives within the same human activity. In order to understand the argument raised, chapter I of the present work is set historically in Spain following the fall of the Franco dictatorship, the context of literature and the birth of the new narrative. It is not only within the local national frame that postmodern narrators are involved. It becomes just as important to consider the fall of old regimes throughout the world, the end of the Cold War and the death of communism, on one side; on the other, the phenomenon of economic globalization and the unavoidable transnational vision of cultural movements, which elements travel across the oceans and meet in a discourse about "the end of utopias." Within this framework, female writers have had the incentive of the advent of democracy in Spain, its social consequences, the social acquiescence of "la Movida" and the progress of the conquers of women. The process of cultural change in Spain is being analyzed from the field of cultural studies. However, and serving as a portrait of postmodern fragmentary thought, it is now possible to inscribe a generation of writers that have incorporated elements of audiovisual language and rock music, as well as other elements of popular culture as fundamental substance for fiction, which demands for a new critical reflection. This group has been convened under the label of Generation X. Within this emerging generation, emphasis will be made on the consolidation of female writers in the Spanish cultural setting of the XXI century. Chapter II will delve into the new literary spaces in Spain, their recent legacy, clashing points of views of literary critics and the referential frame of postmodern philosophical thought, all which is conjugated with the appearance of third-wave feminism. Chapter III analyzes the novel Veo Veo, by Gabriela Bustelo, and how it relates to the theoretical postulates of new feminism. The study of the text finds a relationship between the various perspectives taken by the narrator-protagonist in the process of searching for her identity and constructing the female subject according to difference feminism. Finally, this approach to one of the texts and one of the authors of the wide spectrum of contemporary Spanish female writers, attempts to expose that through their innovating fiction and the preponderant role and attention given to their female characters, a contribution is made from literature towards the reflections on the multiple ways in which the female subject paves its way across patriarchal society.

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: This dissertation studies the depiction of character subjectivity in two text series of Alexander Strachan and Breyten Breytenbach. Strachan’s first three prose works are dealt with as a trilogy wherein one main character, Lenka, traverses three texts. Breytenbach’s five autobiographical prose works about visits to South Africa are also dealt with as a text series wherein one main character, Breytenbach, is depicted. In both instances the subjectivity, as portrayed by these authors, is read as a nomadic subjectivity, a term borrowed from the French thinkers Gilles Deleuze and Félix Guattari. The study assumes the form of a Deleuze-Guattarian reading of Strachan and Breytenbach’s work with a sustained focus on the depiction of the nomadic subject in the works of both authors. During the course of the study many philosophical concepts, developed in the work of Deleuze and Guattari, are explained and implemented as thinking and reading instruments whereby the prose texts are read in a new perspective. Although a Deleuze-Guattarian reading of prose texts is a relatively uncharted territory in circles of Afrikaans literary theory, this study purports to indicate that when a schizo-analytical view of subjectivity is used to analyse the functioning of character subjectivity within literary works, the texts gain new life in interesting ways. Using the concept of the nomadic subject empowers me to establish a useful reading strategy for the reading of a character who refuses to become wholly subjected to the text and the world within which he lives and who rather experiences an existence of perpetual becomings. Eventually it is suggested that the creation of a nomadic character is not only dependent upon a different grasp of subjectivity as indicated in the text, but that the writing of a particular, revolutionary form of literature, a minor literature, is implied. The nomadic subject’s being implies perpetual becomings, and a successful literary portrayal of this subject must depict such becomings at stylistic and formal levels. This study moves systematically from an analysis of nomadic subjects in literary texts to the more general question of how a minor literature functions so that the nomadic being of the character is also kept alive in the form and style of the text.

Thesis supervisor: Alvin Snider. Includes bibliographic references (p. 214-227).

No description available.

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2011 Aug 15

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis investigates the ways in which white subjectivity is shaped by colonial and imperial spaces. Jean Rhys’s Voyage in the Dark (1934), Marguerite Duras’s The Sea Wall (1952/1967) and Marlene van Niekerk’s Agaat (2004/2006) are vastly different novels from multifarious literary traditions, yet they join each other through their protagonists: white creole women. In this study, I engage most prominently with white creole female subjectivity, framing my study with theories of the subject proposed by Homi Bhabha and Judith Butler. In order to interrogate creolité, I draw on Bhabha’s concept of “thirdness” – a category signifying a position in-between binary categories of representation – and Butler’s conceptualisation of subjectivity/subjection, through which she highlights the ambivalences of the process of interpellation. I also read through lenses proposed by whiteness studies in the United States and South Africa, approaching creolité not as an indication of racial hybridity, but rather a term connoting cultural and political in-betweenness. As my discussions of the novels illustrate, white creole femininity in the (post)colony is a subject position through which intricate webs of “complicity and resistance” (Whitlock 349) have to be negotiated. Looking at the white creole women as textual constructs embedded in genres which advance a particular set of politics, I explore the ways in which the authors, through their novels and protagonists, navigate various political and cultural ambiguities and inconsistencies. Establishing the theoretical framework in the introductory first chapter, in Chapter 2 I read Rhys’s novel as a modernist text that elicits a particular postcolonial politics. I link the protagonist’s social alienation in London and the Caribbean to the experience of the middle passage; this is followed by an exploration of her sexuality with reference to the figures of the European prostitute and the ‘Hottentot’ Venus. In Chapter 3 I investigate Duras’s novel and trace the ways in which a family of impoverished “Colonial natives” (Duras 138) continually fail to establish themselves as ‘legitimate’ white colonials in (French colonial) Southeast Asia. Lastly, in Chapter 4, I approach Van Niekerk’s novel not only as a feminist re-writing of the plaasroman, but also as a “complicitous critique” (Warnes 121) that reflects nostalgically – yet critically – on Afrikaner nationalism. I show how the novel registers a vision of the quotidian that is uncomfortable and unhomely. Together, the three novels speak in highly comparable and complex ways about how white creole women experience (un)homeliness in the (post)colony. This thesis probes the extent to which the novels negotiate ‘home’ (or the lack thereof): displaced, alienated and often expressing forms of nostalgia, the protagonists struggle to establish forms of belonging in spaces within which they oscillate between opposed cultures, ideologies and politics. Ultimately, my study is crucially underscored by the question of displacement and estrangement (in various guises), and the way in which they inflect the establishment and performance of femininity. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die wyses waarop koloniale en imperiale ruimtes wit subjektiwiteit beïnvloed. Jean Rhys se Voyage in the Dark (1934), Marguerite Duras se The Sea Wall (1952/1967) en Marlene van Niekerk se Agaat (2004/2006) is uiteenlopende romans uit verskeie literêre tradisies: nietemin sluit hulle by mekaar aan deur hul hoofkarakters – wit kreoolse vroue. ‘n Bespreking van wit kreoolse vroulike subjektiwiteit vorm die grondslag van my studie, en ek struktureer dit rondom Homi Bhabha en Judith Butler se teorieë van subjektiwiteit. Ek benader kreoolsheid deur middel van Bhabha se konsep van “thirdness” – a kategorie wat ‘n plek tussen binêre opposisies aandui – asook Butler se teorie van “subjectivity/subjection” waarin sy the ambivalente proses van interpellasie belig. Verder lees ek die tekste met behulp van benaderings soos uiteengelê deur blankheid studies in die Verenigde State en Suid-Afrika. Ek beskou (wit) kreoolsheid dus nie as ‘n aanduiding van ras-hibrideit nie, maar eerder kulturele en politieke ambivalensie. My bespreking van die drie romans illustreer postkoloniale wit kreoolse vroulikheid as ‘n subjek-kategorie wat verwikkeld is in vorms van medepligtigheid én opstandigheid (Whitlock 349). Ek beskou die karakters as literêre konstrukte wat ingebed is in genres met spesifieke politieke standpunte. As sodanig, dink ek ook na oor die wyses waarop the outeurs, deur middel van hul romans en hoofkarakters, uiteenlopende politieke en kulturele teenstrydighede uitbeeld. In Hoofstuk 1 lê ek ‘n teoretiese raamwerk uiteen, en in Hoofstuk 2 beskou ek Rhys se roman as ‘n modernistiese teks wat terselfdertyd opvallende postkoloniale politieke temas bevat. Ek vergelyk die hoofkarakter se posisie as sosiale verstoteling in Londen en die Karibiese Eilande met die ervaring van die “middle passage”; daarna vergelyk ek haar seksualiteit met dié van die wit Europese prostituut en die ‘Hottentot’ Venus. In Hoofstuk 3 bespreek ek Duras se roman, en verken die wyses waarop ‘n gesin van “Koloniale inboorlinge” (Duras 138) in Suidoos Asië deurentyd misluk om rykdom en sosiale aansien te bekom. Laastens, in Hoofstuk 4, interpreteer ek Van Niekerk se roman nie net as ‘n feministiese herskrywing van die plaasroman nie, maar ook as ‘n “complicitous critique” (Warnes 121) wat nostalgies, maar ook op ‘n kritiese wyse, oor Afrikaner-nasionalisme nadink. Ek argumenteer verder dat die teks ‘n ongemaklike beeld van die alledaagse, asook die identifisering met die eie, skets. Wanneer die drie romans tesame beskou word, is dit duidelik dat hulle op hoogs vergelykbare en komplekse maniere nadink oor hoe wit kreoolse vroue hul sosiale en politieke posisies in (post)koloniale ruimtes ervaar. Hierdie tesis ondersoek die wyses waarop die romans tuisheid (of die gebrek daaraan) te bowe kom: die hoofkarakters is dikwels misplaas, vervreem en nostalgies, en is dikwels verwikkeld in ‘n stryd om te behoort, midde-in teenoorgestelde kulture, ideologieë en politieke standpunte. Ek baseer my tesis op die groter oorkoepelende problematiek van ontheemdheid en verveemding (in verskeie gedaantes), en hoe dit vorm gee aan die vestiging en beoefening van vroulike subjektiwiteit.

Thesis (MA (English))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis interrogates the relationship between body, subjectivity and space in three antipastoral novels. The texts which I will be discussing, Karel Schoeman’s This Life, Anne Landsman’s The Devil’s Chimney and J.M. Coetzee’s In the Heart of the Country, all foreground the female protagonist’s relationship to a specifically South African landscape in a colonial time-frame. The inter-relatedness between the body, subjectivity and space is explored in order to show that there is a shifting interaction between these registers in the novels. Arising from this interaction, the importance of perspective as a way of being in the world is foregrounded. The approach adopted in this study is based on the assumption that our experience depends upon how we make meaning of the world through our bodies as we encounter people, places and objects. The lived, embodied experience is always a subjective experience. The conceptual framework is derived broadly from psychoanalysis and phenomenology. My primary concern in this study is how marginal subject positions are explored in the space of the South African farm, which, traditionally, is an ideologically fraught locus of Afrikaner patriarchy and oppression. The novels are narrated by distinctive female voices, each speaking differently, but all having the effect of undermining and exposing the hegemony of the patriarchal farm space. In all three novels the question of genre is involved as forming the space of the text itself. The novels speak to the tradition of the plaasroman and the pastoral and, in doing so, open up a conversation with the past. / AFRIKAANSE OPSOMMING: In hierdie tesis word die verhouding tussen die liggaam, subjektiwiteit en ruimte ondersoek in drie romans wat teen die pastorale literêre tradisie spreek. Die betrokke romans is This Life deur Karel Schoeman, The Devil’s Chimney deur Anne Landsman en In the Heart of the Country deur J.M. Coetzee. Die romans speel af in ‘n koloniale tydperk waar die vroulike protagonis se verhouding met die Suid-Afrikaanse landskap op die voorgrond gestel word. Die verwantskap tussen die liggaam, subjektiwiteit en ruimte word ondersoek om die interaksie tussen hierdie drie konsepte ten toon te stel. Wat vanuit hierdie interaksie voortspruit is die ontologiese rol wat perspektief speel as wyse om met die wêreld te verkeer. Hierdie studie benader die romans vanuit die siening dat die mens se ervaring afhang van hoe hy/sy die wêreld verstaan deur die interaksie tussen die liggaam en ander mense, ruimtes en objekte. Die beliggaamde ervaring is dus ‘n subjektiewe ervaring. Die konsepsuele raamwerk van hierdie ondersoek is afgelei van psigoanalise en fenomenologie. Die kern van hierdie studie is om te ondersoek hoe die posisie van die randfiguur in die ruimte van die Suid-Afrikaanse plaas ten toon gestel word. Die plaas is tradisioneel ‘n ideologiese bestrede ruimte van Afrikaner patriargie en onderdrukking. Die romans word verhaal deur drie kenmerkende en verskillende vroulike stemme wat dien om die hegemonie van die patriargale opset op die plase te ondermyn en ontbloot. Die vraagstuk van genre is in al drie romans betrokke aangesien genre die ruimte van die teks self uitmaak. Die romans spreek teen die tradisie van die plaasroman en die pastorale roman en tree sodoende in gesprek met die verlede.