2001
DOI: 10.1353/mfs.2001.0044
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J. M. Coetzee and the Question of the Body

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Cited by 12 publications
(4 citation statements)
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“…Yet, to all appearances, Coetzee's barbarian girl leaves Waiting for the Barbarian just as she enters it, devoid of discernible history, not just anonymous, but anonymously piecemeal, a mere list of body parts, attitudes, and gestures that might belong to any "stocky girl with a broad mouth and hair cut in a fringe across her forehead staring over [the Magistrate's] shoulder" (May, 2001, p. 391-392) May's concession to the Magistrate's representation of the barbarian girl affirms what Spivak highlights in any acts of epistemic violence -that such an act will signify a deeper level of subjugation of the subject "Other" and the perpetuation of their subaltern status. In a way, May's readily embrace of this metaphorical effacement of the barbarian girl's body renders such a subject truly anonymous and ahistorical, thus signifying the discourse -or the "heterogeneous project" -that only further subjugates the "Other(ed)" subject.…”
Section: Why Can't the Subaltern (Woman) Speak?mentioning
confidence: 99%
“…Yet, to all appearances, Coetzee's barbarian girl leaves Waiting for the Barbarian just as she enters it, devoid of discernible history, not just anonymous, but anonymously piecemeal, a mere list of body parts, attitudes, and gestures that might belong to any "stocky girl with a broad mouth and hair cut in a fringe across her forehead staring over [the Magistrate's] shoulder" (May, 2001, p. 391-392) May's concession to the Magistrate's representation of the barbarian girl affirms what Spivak highlights in any acts of epistemic violence -that such an act will signify a deeper level of subjugation of the subject "Other" and the perpetuation of their subaltern status. In a way, May's readily embrace of this metaphorical effacement of the barbarian girl's body renders such a subject truly anonymous and ahistorical, thus signifying the discourse -or the "heterogeneous project" -that only further subjugates the "Other(ed)" subject.…”
Section: Why Can't the Subaltern (Woman) Speak?mentioning
confidence: 99%
“…Particularly with the publication of Waiting for the Barbarians (2000), Coetzee tries to deconstruct falsified knowledge of African epistemologies as barbarous. While the novel has received a substantial amount of critical attention (Asempasah, 2013;May, 2001), the parallel between narrative perspective, female vulnerability and feminine barbarism are yet to be explored. Dominant literature on Coetzee's Waiting for the Barbarians has focused on the traitor trope functioning within the context of othered bodies, terror and resistance (Asempasah, 2013(Asempasah, , 2019Craps, 2007;Al-Badarneh, 2013) and the reconstitution of identities, sexual epistemologies and feminist politics (Madhok, 2016;Qassa, 2020;Boletsi, 2007;Salih & Janoory, 2019;May, 2001).…”
Section: Introductionmentioning
confidence: 99%
“…While the novel has received a substantial amount of critical attention (Asempasah, 2013;May, 2001), the parallel between narrative perspective, female vulnerability and feminine barbarism are yet to be explored. Dominant literature on Coetzee's Waiting for the Barbarians has focused on the traitor trope functioning within the context of othered bodies, terror and resistance (Asempasah, 2013(Asempasah, , 2019Craps, 2007;Al-Badarneh, 2013) and the reconstitution of identities, sexual epistemologies and feminist politics (Madhok, 2016;Qassa, 2020;Boletsi, 2007;Salih & Janoory, 2019;May, 2001). While these studies are important, they do not prioritize the parallel between the narrative perspective in the novel and how it succeeds in exposing female vulnerability through a postcolonial feminist lens.…”
Section: Introductionmentioning
confidence: 99%
“…Para el crítico May (2001), el cuerpo está en el primer plano en la narrativa de Coetzee que parece profesarle una fascinación ética. El cuerpo tiene su propia fuerza, supremacía y poder.…”
Section: Introductionunclassified