David Lurie's learning and the meaning of J.M. Coetzee's Disgrace
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7063 , http://hdl.handle.net/10962/d1007428 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , One of the teasing characteristics of novels soused in literariness, like J.M. Coetzee’s, is their tendency to leak, to bleed, into vast inchoate terrains of intertextuality.The reader is constantly challenged to measure and assess their implications within or against the frail containing form of the story, much as Russian formalism taught us to keep sujet and fable in perpetual dialogue. However, it has become apparent that in the dense thickets of commentary occasioned by Coetzee’s most controversial novel, Disgrace (1999), insufficient attention has been paid to the intertextual implications of David Lurie’s learning, his scholarly preoccupations. Unless the reader attempts this kind of exploration, two of the most vexed issues freighting the novel’s central fabulation: Lucy’s curiously stoical, impassive response to her rape, together with her decision to stay on in South Africa; and David Lurie’s sudden, seemingly inexplicable care for the doomed dogs, from their last moments at the animal shelter until he lovingly consigns their corpses to the incinerator, must remain opaque. In particular, the final words of the novel, “Yes, I am giving him up” (220), uttered in relation to the immanent “Lösung” of the little dog Bev Shaw calls Driepoot, will tend to taunt the reader, rather than illuminate.
- Full Text:
- Date Issued: 2010
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7063 , http://hdl.handle.net/10962/d1007428 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , One of the teasing characteristics of novels soused in literariness, like J.M. Coetzee’s, is their tendency to leak, to bleed, into vast inchoate terrains of intertextuality.The reader is constantly challenged to measure and assess their implications within or against the frail containing form of the story, much as Russian formalism taught us to keep sujet and fable in perpetual dialogue. However, it has become apparent that in the dense thickets of commentary occasioned by Coetzee’s most controversial novel, Disgrace (1999), insufficient attention has been paid to the intertextual implications of David Lurie’s learning, his scholarly preoccupations. Unless the reader attempts this kind of exploration, two of the most vexed issues freighting the novel’s central fabulation: Lucy’s curiously stoical, impassive response to her rape, together with her decision to stay on in South Africa; and David Lurie’s sudden, seemingly inexplicable care for the doomed dogs, from their last moments at the animal shelter until he lovingly consigns their corpses to the incinerator, must remain opaque. In particular, the final words of the novel, “Yes, I am giving him up” (220), uttered in relation to the immanent “Lösung” of the little dog Bev Shaw calls Driepoot, will tend to taunt the reader, rather than illuminate.
- Full Text:
- Date Issued: 2010
Learning to be original
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7065 , http://hdl.handle.net/10962/d1007431
- Description: preprint , My topic suggested itself in response to a point made at a seminar on University autonomy. Someone observed that many people, even shack dwellers, are interested in the cosmos and they always would be. The remark came in the course of a debate concerning the cost of the SKA project, the massively expensive square kilometer array telescope for which South Africa is bidding against Australia, viewed in relation to the country’s huge list of social backlogs: Big science versus food and decent housing; a false opposition, or a grim choice? You can imagine the debate. The nugget that stayed with me was the tangential comment that ordinary people are always interested in the cosmos. If so, is this true merely because human cultures traditionally incorporate such an interest, or because humans themselves actually need a relation to the cosmos? What might this need be?
- Full Text:
- Date Issued: 2010
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7065 , http://hdl.handle.net/10962/d1007431
- Description: preprint , My topic suggested itself in response to a point made at a seminar on University autonomy. Someone observed that many people, even shack dwellers, are interested in the cosmos and they always would be. The remark came in the course of a debate concerning the cost of the SKA project, the massively expensive square kilometer array telescope for which South Africa is bidding against Australia, viewed in relation to the country’s huge list of social backlogs: Big science versus food and decent housing; a false opposition, or a grim choice? You can imagine the debate. The nugget that stayed with me was the tangential comment that ordinary people are always interested in the cosmos. If so, is this true merely because human cultures traditionally incorporate such an interest, or because humans themselves actually need a relation to the cosmos? What might this need be?
- Full Text:
- Date Issued: 2010
Third World Express: trains and “revolution” in Southern African poetry
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7066 , http://hdl.handle.net/10962/d1007453 , https://doi.org/10.4102/lit.v31i1.34
- Description: preprint , This article examines political dimensions of the train metaphor in selected southern African poems, some of them in English translation. Exploring work by Mongane Serote, B.W. Vilakazi, Demetrius Segooa, Phedi Tlhobolo, Thami Mseleku, Jeremy Cronin, Alan Lennox-Short, Anthony Farmer, Freedom T.V. Nyamubaya, Abduraghiem Johnstone and Mondli Gwala, the argument shows some of the ways in which the technological character of trains and railways is made to carry a message of political insurrection and revolution. The author shows that the political potential of the railway metaphor builds on the general response to railways evident in poems indebted to traditional African praise poetry. The piece also demonstrates that political contention within different strands of the southern African liberation movement could also find expression using the railway metaphor.
- Full Text:
- Date Issued: 2010
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7066 , http://hdl.handle.net/10962/d1007453 , https://doi.org/10.4102/lit.v31i1.34
- Description: preprint , This article examines political dimensions of the train metaphor in selected southern African poems, some of them in English translation. Exploring work by Mongane Serote, B.W. Vilakazi, Demetrius Segooa, Phedi Tlhobolo, Thami Mseleku, Jeremy Cronin, Alan Lennox-Short, Anthony Farmer, Freedom T.V. Nyamubaya, Abduraghiem Johnstone and Mondli Gwala, the argument shows some of the ways in which the technological character of trains and railways is made to carry a message of political insurrection and revolution. The author shows that the political potential of the railway metaphor builds on the general response to railways evident in poems indebted to traditional African praise poetry. The piece also demonstrates that political contention within different strands of the southern African liberation movement could also find expression using the railway metaphor.
- Full Text:
- Date Issued: 2010
Irony and transcendence on the Renaissance stage
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
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