scholarly journals The Paranoia of Colonialism in Coetzee's Waiting for Barbarians

2019 ◽  
Vol 2 (3) ◽  
pp. 10-13
Author(s):  
Jihad Jaafar Waham ◽  
Wan Mazlini Othoman
Keyword(s):  
State Building ◽  
The Body ◽  
Cutting Edge ◽  
The Other ◽  
The Novel ◽  
Points Of Interest ◽  
The Boondocks ◽  
Waiting For The Barbarians

In Waiting for the Barbarians (1980), J. M. Coetzee cross examines the points of interest of grand states by significance the distinctions from the savages that the strange Empire keeps up. The Empire characterizes itself and strengthens its personality by developing a separation from the brutes on numerous grounds. It keeps up state foundations and keeps records, since itself as a cutting edge express, an advanced story of "crude" brutes. Coetzee's tale uncovered the Empire's tricky endeavors at setting up the other and its confounded ideas of state building. In spite of the fact that the basic elucidations of the novel spotlight on mistreat and the body, this article breaks down the novel's inclusion with royal state building and patriotism. Torment and the body are significant to the extent that they uncover the Empire's endeavors to distinguish it and construct a country. The Empire's disappointment in the greater part of these compliments―as suggested by the end with the Empire down its hang on the boondocks settlement and the settlement's kin sitting tight for the landing of the barbarians―makes us question the bogus presumptions on which numerous magnificent ventures are based. The Empire's inability to safeguard its outskirts, its disadvantage to its heartland, and its breakdown to protect cultivated conduct in its treatment of its subjects and savage detainees are appearances of a confused, beginning organization as opposed to a recognizable and acculturated royal country. In hair-raising the temperamental refinements capturing countries use to pardon their continuance, Coetzee's work affirms an elective ethic of commitment with the other established on the possibility of basic humankind and tolerant acknowledgment of contrast.

scholarly journals The Unruly, the Mut(ilat)ed, the Ailing: Corporeality as a Space of Subversion in J. M. Coetzee’s Fiction

2017 ◽  
Author(s):  
AWEJ for Translation & Literary Studies ◽  
Kamel Abdaoui
Keyword(s):  
Active Site ◽  
The Body ◽  
The Self ◽  
The Other ◽  
Self And Other ◽  
Dominant Discourse ◽  
Clear Cut ◽  
Textual Construction ◽  
Waiting For The Barbarians

This paper addresses corporeality as a space of subversion to hegemonic discourses in J. M. Coetzee’s fiction. The body is not only elusive to representation but it is also entrusted with a certain degree of authority that allows it to contravene the systems of normalization imposed by dominant discourse. The paper tends to appropriate poststructuralism and postcolonialism as its main theoretical grid to argue that corporeality in Coetzee’s novels is deployed as a fluid construct that offers a space of interaction between subjectivities beyond the rigid contours of discursive representation. In Dusklands, the clear-cut demarcations erect between the Self and the Other often blur and disintegrate while facing the permeability and extensiveness of the body. In Waiting for the Barbarians and Foe, however, the mutilated and silenced body of the Other is presented as a space of resistance to the Empire’s attempts to inscribe its statement of powerviolently. It is only the diseased body of Mrs. Curren, in Age of Iron, which transforms into an intersubjective space of reciprocity between Self and Other that is capable of overcoming the fixed barriers between subjects. Being an active site of contestation between subjectivities, the textual construction of corporeality in Coetzee's aforementioned novels offers creative opportunities of becoming and grants an imaginative understanding of otherness outside the limits of the logic of binarism encapsulated in colonial and imperialist discourses.

scholarly journals Reading The Road with Paul Ricoeur and Julia Kristeva: The Human Body as a Sacred Connection

Text Matters ◽  
2014 ◽  
pp. 99-115
Author(s):  
Stephanie Arel
Keyword(s):  
Human Body ◽  
Contemporary Problem ◽  
Julia Kristeva ◽  
The Body ◽  
The Other ◽  
The Novel ◽  
The Road ◽  
The World ◽  
Psychoanalytic Approach ◽  
Present Site

Cormac McCarthy’s novel The Road confronts readers with a question: what is there to live towards after apocalypse? McCarthy locates his protagonists in the aftermath of the world’s fiery destruction, dramatizing a relationship between a father and a son, who are, as McCarthy puts it, “carrying the fire.” This essay asserts that the body carrying the fire is a sacred, incandescent body that connects to and with the world and the other, unifying the human and the divine. This essay will consider the body as a sacred connection in The Road. Paul Ricoeur’s hermeneutics and Julia Kristeva’s psychoanalytic approach will help to explore what is sacred. In addition, their works elucidate the body as a present site of human connection and sacredness while calling attention to what is glaringly absent yet hauntingly present in McCarthy’s text: the mother. In the aftermath of destruction, primitive, sacred connections become available through the sensual body, highlighting what is at stake in the novel: the connection of body and spirit. The essay will attempt to show that McCarthy’s rejection of a redemptive framework, or hope in an otherworldly reality, shrouds spirit in physicality symbolized by the fire carried by the body. This spirit offers another kind of hope, one based on the body’s potential to feel and connect to the other. The thought and works of Ricoeur and Kristeva will broaden a reading of McCarthy’s novel, especially as a statement about the unification of body and spirit, contributing a multidimensional view of a contemporary problem regarding what sustains life after a cataclysmic event.

scholarly journals A poet on the other bank: processual writing in the prose by Bohdan Ihor Antonych

2021 ◽  
pp. 56-71
Author(s):  
Olena Haleta
Keyword(s):  
Interwar Period ◽  
Interpersonal Relations ◽  
The Body ◽  
The Other ◽  
The Novel ◽  
Genetic Criticism ◽  
Transpersonal Experience ◽  
Literary Character ◽  
The World ◽  
The Voice

The study examines the ‘unwritten novel’ “On the Other Bank” by Bohdan Ihor Antonych, a notable Western Ukrainian writer of the interwar period. Known primarily for his poetry, Antonych did not finish this novel-in-progress, leaving behind only draft notes, which offer a glimpse into the very process of his writing. Analyzed from the perspective of genetic criticism, Antonych’s manuscripts are treated as an avant-text, demonstrating a ‘scenario of writing’ in the transition from the novel of action to the novel of state. In contrast to his image-based poetry, Antonych’s prose is based on the technique of description. Depicting nature or the urban environment, the author conveys a certain emotional and psychological condition; and paying special attention to qualitative adjectives, he appeals to the sensory experience of the reader. Despite the fact that the plan of the novel indicates the main events of the plot, the author mainly captures the emotions of the characters. Dialogues also play an unusual role in the text as their function is an expressive rather than a communicative one. Since the dynamics of the text are based on emotional and psychological movement, and not on the succession of events or judgments, it is considered to be an example of affective poetics in Ukrainian modern literature. The affect appears in Antonych’s text as a force and tension. It shapes the human personality and at the same time challenges it. The affect goes beyond discursiveness and captures the body while its intensity is expressed through the voice and speed. Antonych’s characters share a common transpersonal experience in their childhood and a common object of desire after becoming adults. Moreover, the transfer of emotions into the sphere of interpersonal relations gives to the affect not only a psychological but also an ethical dimension. The researcher analyzes Antonych’s manuscript focusing on the dynamics of writing and not on the dynamics of the plot, and this approach gives reason for the conclusion about the affective nature of Antonych’s prose. It is evident that in the ‘unwritten novel’ “On the Other Bank” Antonych depicts the modernist type of literary character as ‘homo sentiens’, who perceives the world in a subtle way and experiences it deeply.

scholarly journals Women's principle and the issue of universal guilt in the novel 'Petruša i Miluša' by Petar Sarić

2020 ◽  
Vol 50 (4) ◽  
pp. 41-56
Author(s):  
Marija Jeftimijević-Mihajlović
Keyword(s):  
Human Nature ◽  
The Body ◽  
The Other ◽  
Creative Work ◽  
The Novel ◽  
Human Soul ◽  
Self Renewal ◽  
Artistic Creation ◽  
The Family ◽  
Philosophical Assumption

The main characteristic of the novel Petruša i Miluša by Petar Sarić is an elaborate narrative scheme in the form of two voices, mother's and daughter's, two stories that flow and intertwine, and build a third-a story about a story. With this novel and its specific structure, Sarić, on one hand, continued the formal refinement that begun in his previous novels. On the other hand-on the issue of basic poetic-philosophical assumption connected to the question of personal and general (metaphysical) human guilt-he went further concerning both his creative work and the entire Serbian prose with similar thematic preoccupations. The Dionysian principle is represented by the imperatives of the body, the laws of blood, and Petruša's instinctive reaction, through her unrestrained nature that, at the same time, strives for self-renewal and self-destruction. It is a form of the female principle-creative and destructive at the same time, dark, chthonic as opposed to Miluša's Apollonian orientation, worshiping of light, and her mental illumination. Petruša i Miluša is not a model of a family novel (although it can be assumed). Still, in Sarić's novel, the family is just a focus into which the courses of overall existence converge and in which things are condensed and reflected by their true dimensions. This fact is not at all surprising bearing in mind his previous novels (Sutra stiže Gospodar, and especially Dečak iz Lastve), Sarić has already proved himself as a writer who searches for the deepest secrets of human nature, introducing a reader to the dark realm of the human soul, which is shaped according to his artistic creation and creative intuition.

‘What has Christ to do with Apollo?’: evangelicalism and the novel, 1800–30

1977 ◽  
Vol 14 ◽  
pp. 301-311
Author(s):  
Doreen M. Rosman
Keyword(s):  
Everyday Life ◽  
The Body ◽  
The Other ◽  
The Novel ◽  
Wide Interval ◽  
The World ◽  
Novel Reading

In December 1800 theEvangelical Magazinepublished a ‘Spiritual barometer; or, a scale of the progress of sin and of grace’. Towards the positive pole it was calibrated with the attributes and practices thought to characterise those destined for ‘glory’ and ‘dismission from the body’; at the other extreme, graded in degrees of depravity, were the activities of those assumed to be heading heedlessly to ‘death’ and ‘perdition’. Among the most heinous of sins, even more damning than attendance at the theatre, was ‘love of novels’.Novel-reading was condemned as a hallmark of worldliness. Evangelicals believed that church and world were diametrically opposed and that the safest route to sanctity lay in separation from the world, its contaminating company and perverting practices: ‘If we are not to think, to feel, to act, and to perish with the world, let a deep and wide interval yet exist between the habits of pleasure of the two parties.’ Ignorance of evil was deemed bliss: to read novels was to become familiar with just such beliefs and behaviour as were avoided in everyday life. Moreover, it was argued that novelists rarely upheld Christian values: they depicted wickedness sympathetically and effectively denied that sin, an affront to God, had dire consequences. They therefore misled their readers in matters of ultimate importance. Evangelicals maintained that the worthiness of characters should be evaluated according to criteria which God might be assumed to adopt. Failure to reflect a biblical outlook on life was a culpable misrepresentation of reality.

scholarly journals „Ucieleśnienie” traumy w powieści historycznej Hägring 38 Kjella Westö

2017 ◽  
pp. 64-78
Author(s):  
Agata Teperek
Keyword(s):  
Social Relations ◽  
Human Body ◽  
The Body ◽  
The Other ◽  
Close Reading ◽  
Literary Representations ◽  
The Novel ◽  
Main Character ◽  
Body Memory ◽  
Traumatic Memories

Applying close-reading the transdisciplinary article investigates the way in which trauma experienced by women during the Finnish civil war (1918) is presented in Kjell Westö’s novel Mirage 38. Focusing on the female body and working with the term “body memory”, it discusses symbolical literary representations of traumatic memories, which cannot be described verbally and are often hided from the other members of the community, as well as their destructive impact on the psyche and social relations of the traumatised person – in this case the main character of the novel Milja Matilda Wiik. The human body is perceived here as a place of embodiment of suppressed memories. Consequently, the body can be also seen as a medium of memory.

scholarly journals A POET ON THE OTHER BANK: POETICS OF AFFECT IN THE PROSE BY BOHDAN IHOR ANTONYCH

2021 ◽  
pp. 53-67
Author(s):  
Olena Haleta
Keyword(s):  
Interpersonal Relations ◽  
The Body ◽  
The Other ◽  
The Novel ◽  
Genetic Criticism ◽  
Transpersonal Experience ◽  
Sequence Of Events ◽  
Literary Character ◽  
The One ◽  
The Voice

The is the second paper of the two-part study examining the ‘unwritten novel’ “On the Other Bank” by Bohdan Ihor Antonych, a notable Western Ukrainian writer of the interwar period. Known primarily for his poetry, Antonych did not finish this novel-in-progress, leaving behind only draft notes, that offer a glimpse into the very process of his writing. Analyzed from the perspective of genetic criticism, Antonych’s manuscripts are treated as an avant-text, demonstrating a ‘scenario of writing’ in the transition from the novel of action to the novel of state. In contrast to his image-based poetry Antonych’s prose rests on the technique of description. Depicting nature or the urban environment, the author conveys a certain emotional and psychological condition. Paying special attention to qualitative adjectives, he appeals to the sensory experience of the reader. Despite the fact that the plan of the novel indicates the main events of the plot, the author mainly captures the emotions of the characters. Dialogues also play an unusual role in the text, as their function is expressive rather than a communicative one. Since the dynamics of the text is based on emotional and psychological movement, and not on the sequence of events or judgments, it is considered to be an example of affective poetics in Ukrainian modern literature. Affect appears in Antonych’s text as force and tension. It shapes the human personality and at the same time challenges it. Affect goes beyond discursiveness and captures the body; its intensity is expressed through the voice and speed. Antonych’s characters share a common transpersonal experience in their childhood and a common object of desire after becoming adults. Moreover, the transfer of emotions into the sphere of interpersonal relations gives the affect not only a psychological but also an ethical dimension. Analyzing Antonych’s manuscript, the author of the paper focuses on the dynamics of writing, not on the one of the plot, and finds grounds for conclusions about the affective nature of Antonych’s prose. It is evident that in the ‘unwritten novel’ “On the Other Bank” Antonych depicts the modernist type of literary character as homo sentiens, who perceives the world in a subtle way and experiences it deeply.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Margaret Mahy: An Adlerian Reading

2008 ◽  
Vol 1 (2) ◽  
pp. 187-199
Author(s):  
KATHRYN WALLS
Keyword(s):  
Young Female ◽  
The Other ◽  
Individual Psychology ◽  
The Novel ◽  
Alfred Adler ◽  
Female Protagonists ◽  
Magical Power ◽  
Margaret Mahy ◽  
The Individual

According to the ‘Individual Psychology’ of Alfred Adler (1870–1937), Freud's contemporary and rival, everyone seeks superiority. But only those who can adapt their aspirations to meet the needs of others find fulfilment. Children who are rejected or pampered are so desperate for superiority that they fail to develop social feeling, and endanger themselves and society. This article argues that Mahy's realistic novels invite Adlerian interpretation. It examines the character of Hero, the elective mute who is the narrator-protagonist of The Other Side of Silence (1995) , in terms of her experience of rejection. The novel as a whole, it is suggested, stresses the destructiveness of the neurotically driven quest for superiority. Turning to Mahy's supernatural romances, the article considers novels that might seem to resist the Adlerian template. Focusing, in particular, on the young female protagonists of The Haunting (1982) and The Changeover (1984), it points to the ways in which their magical power is utilised for the sake of others. It concludes with the suggestion that the triumph of Mahy's protagonists lies not so much in their generally celebrated ‘empowerment’, as in their transcendence of the goal of superiority for its own sake.

High Heels sebagai Agensi bagi Tubuh Wanita

2020 ◽  
Vol 5 (2) ◽  
pp. 196
Author(s):  
Sunandar Macpal ◽  
Fathianabilla Azhar
Keyword(s):  
Body Image ◽  
Literature Review ◽  
The Body ◽  
The Other ◽  
Body Image Disturbance ◽  
Other Hand ◽  
High Heels ◽  
Experience Pain ◽  
Woman's Body

The aims of this paper is to explain the use of high heels as an agency for a woman's body. Agency context refers to pain in the body but pain is perceived as something positive. In this paper, the method used is a literature review by reviewing writings related to the use of high heels. The findings in this paper that women experience body image disturbance or anxiety because they feel themselves are not beautiful or not attractive. The use of high heels, makes women more attractive and more confident, on the other hand the use of high heels actually makes women feel pain and discomfort. However, for the achievement of beauty standards, women voluntarily allow their bodies to experience pain. However, the agency's willingness to beauty standards here is meaningless without filtering and directly accepted. Instead women keep negotiating with themselves so as to make a decision why use high heels.

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