Title
Personal writing in the works of John Maxwell Coetzee: Boyhood, Youth, Summertime, Elizabeth Costello and Slow Man: Doctoral Dissertation
Creator
Mišić, Marija S., 1987-
CONOR:
32668263
Copyright date
2022
Object Links
Select license
Autorstvo-Nekomercijalno-Bez prerade 3.0 Srbija (CC BY-NC-ND 3.0)
License description
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Language
Serbian
Cobiss-ID
Theses Type
Doktorska disertacija
description
Datum odbrane: 09.06.2022.
Other responsibilities
Academic Expertise
Društveno-humanističke nauke
University
Univerzitet u Beogradu
Faculty
Filološki fakultet
Alternative title
Лична проза у делима Џона Максвела Куција: Дечаштво, Младост, Летње доба, Елизабет Костело и Спор човек
Личная проза в произведениях Джона Максвелла Кутзее: Детство, Мoлoдoсtь, Летнее время, Элизабет Костелло и Медленный человек
Publisher
[M. Mišić]
Format
257 str.
description
Literary Studies, Social Sciences and Humanities - Literary Theory / Студије књижевности, друштвено-хуманистичке науке - књижевна теорија
Abstract (en)
The poetics of postmodernism exudes elasticity of genre, and the Nobel-winning author John
Maxwell Coetzee embodies the concept of the author at play with the boundaries of genre so much
so that in his pen, they seem non-existent at times. Famous for transcending genre when its constraints
become too tight, he mashes autobiographical discourse and autofiction into an original genre for his
trilogy of life-based works summed up under the umbrella of the originally-named genre – autrebiography,
or biography about the “Other.” This dissertation chimes in the vibrant conversation in
the social sciences about autre-biography, but also accounts for what theory has neglected to highlight
in an author dedicated to hiding his private life, which is that modern autobiographical discourse
mainly discovers the public persona of the author as a carefully controlled and publicized construct.
By using Coetzee’s autre-biography (Scenes from Provincial Life) and the intensely metafictional
selected novels Elizabeth Costello and Slow Man, I argue that the author’s authentic voice and, by
extension, true self appears rather in fiction than in carefully constructed fictionalizations of the truth
aimed at public consummation. By first providing a theoretical revision of personal writing in the
author’s own words and in comparison to relevant theory, I move on to a close reading of the autrebiography
and selected novels with a particular turn towards their respective converging and
diverging subjects and narratological methods, only to conclude with a discussion on how texts both
supposedly fictional and non-fictional share a narrative of the self in motion. Through a series of
methods such as close reading and deconstruction of the author’s interviews and essays, as well as
autre-biography and novels, the conclusions inform that Coetzee simultaneously engages in writing
all these genres for years on end. This procedure implies that the subjects intriguing the author become
reworked in one piece of writing or another, as his topics of interest have a tendency of repeating
themselves, even if characters do not. The theory of dialogism, if applied to one’s self, proves the
identities in Coetzee converse with one another, and fiction only represents the truth of that moment.
My dissertation expands the range of understanding Coetzee’s work by applying the logic of
dialogism to the reading of both fiction and non-fiction as truths provided at the moment of their
creation, narratives, and storytelling engagement within the self that all collectively provide insight
into the author’s voice – Coetzee represents the embodiment of all his protagonist and characters not
only of the select few, and especially not only of the one in his quasi-autobiographies.
Abstract (sr)
Поетика постмодернизма одише еластичношћу жанра, а нобеловац Џон Максвел Куци јесте
отелотворење аутора који се поиграва границама жанра толико да у његовом перу оне понекад
изгледају непостојеће. Познат по превазилажењу чврстих ограничења жанра, он спаја
аутобиографски дискурс и аутофикцију у оригинални жанр за своју трилогију животно
заснованих дела сажетих под кишобран жанра који он назива „аутобиографија о другоме”.
Ова дисертација допринос је живописном разговору који се у друштвеним наукама води о
„аутобиографији о другоме”, али такође покушава да укаже на оно што је теорија занемарила
да истакне код аутора посвећеног скривању свог приватног живота, а то је да савремени
аутобиографски дискурс углавном открива јавну личност аутора као пажљиво контролисан
конструкт у јавности. Користећи Куцијева дела из „аутобиографије о другоме” (Сцене из
провинцијског живота) и посебно метафикционалне одабране романе Елизабет Костело и
Спор човек, доносим претпоставку да се прави ауторов глас и самим тим истинско сопство
појављује пре у фикцији него у пажљиво конструисаној фикционализацији истине усмереној
на потребе јавности. У раду сам прво покушала да укажем на оквире релевантних теорија о
личној прози и представим ауторове личне ставове на ту тему. Потом сам се упустила у помно
читање одабраних „аутобиографија о другоме”, посебно упућујући пажњу ка њиховим
тачкама слагања и неслагања и наратолошким методама, како бих дошла до закључка да
текстови, и наводно измишљени и истинити, деле наратив о сопству које се стално мења.
Коришћењем метода попут пажљивог читања и деконструкције ауторових интервјуа и есеја,
као и личне прозе и романа, долазимо до закључка да се Куци истовремено бави писањем свих
ових жанрова. Овим поступаком се уочава да теме које интригирају аутора јесу прерађене у
једном или другом делу, јер његове теме од интереса имају тенденцију да се понављају, чак и
ако се ликови не понављају. Теорија дијалогизма, ако се примени на сопство, доказује да
идентитети код Куција разговарају један са другим, а фикција само представља истину тог
тренутка. Дисертацијом смо покушали да проширимо опсег разумевања Куцијевих дела
применом логике дијалогизма на читање фикције и нефикције као истинe којa се пружа у
тренутку стварања, наратива и приповедачког ангажовања унутар сопства, а која заједнички
пружа увид у ауторски глас – Куци представља оличење свих његових протагониста и ликова
не само неколицине одабраних, а посебно не само једног у његовим квази-аутобиографијама.
Authors Key words
personal writing, J. M. Coetzee, autre-biography, otherness, dialogism, metafiction, the
self, truth, Slow Man, Elizabeth Costello
Authors Key words
лична проза, Џ. М. Куци, “аутобиографија о другоме”, другост, дијалогизам,
метафикција, сопство, истина, Спор човек, Елизабет Костело
Classification
821.111.09-3:82.01 Coetzee J. M.(043.3)
Type
Tekst
Abstract (en)
The poetics of postmodernism exudes elasticity of genre, and the Nobel-winning author John
Maxwell Coetzee embodies the concept of the author at play with the boundaries of genre so much
so that in his pen, they seem non-existent at times. Famous for transcending genre when its constraints
become too tight, he mashes autobiographical discourse and autofiction into an original genre for his
trilogy of life-based works summed up under the umbrella of the originally-named genre – autrebiography,
or biography about the “Other.” This dissertation chimes in the vibrant conversation in
the social sciences about autre-biography, but also accounts for what theory has neglected to highlight
in an author dedicated to hiding his private life, which is that modern autobiographical discourse
mainly discovers the public persona of the author as a carefully controlled and publicized construct.
By using Coetzee’s autre-biography (Scenes from Provincial Life) and the intensely metafictional
selected novels Elizabeth Costello and Slow Man, I argue that the author’s authentic voice and, by
extension, true self appears rather in fiction than in carefully constructed fictionalizations of the truth
aimed at public consummation. By first providing a theoretical revision of personal writing in the
author’s own words and in comparison to relevant theory, I move on to a close reading of the autrebiography
and selected novels with a particular turn towards their respective converging and
diverging subjects and narratological methods, only to conclude with a discussion on how texts both
supposedly fictional and non-fictional share a narrative of the self in motion. Through a series of
methods such as close reading and deconstruction of the author’s interviews and essays, as well as
autre-biography and novels, the conclusions inform that Coetzee simultaneously engages in writing
all these genres for years on end. This procedure implies that the subjects intriguing the author become
reworked in one piece of writing or another, as his topics of interest have a tendency of repeating
themselves, even if characters do not. The theory of dialogism, if applied to one’s self, proves the
identities in Coetzee converse with one another, and fiction only represents the truth of that moment.
My dissertation expands the range of understanding Coetzee’s work by applying the logic of
dialogism to the reading of both fiction and non-fiction as truths provided at the moment of their
creation, narratives, and storytelling engagement within the self that all collectively provide insight
into the author’s voice – Coetzee represents the embodiment of all his protagonist and characters not
only of the select few, and especially not only of the one in his quasi-autobiographies.
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