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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - J.M. Coetzee se (2009) as laatwerk : geesteswetenskappe

Volume 10, Issue 2
  • ISSN : 1995-5928

 

Abstract

In (2009) vervolg die skrywer die genre-spel wat al in sy vorige twee half-outobiografiese prosatekste, en begin het. Na die verskyning van (2007), en die nogal enigmatiese roman (2013), begin dit algaande duidelik word dat daar 'n verandering in die oeuvre van J.M. Coetzee ingetree het. Lees 'n mens hierdie laaste roman teen die agtergrond van die 2012-eredoktorsgraadtoespraak aan die Universiteit van die Witwatersrand (oor die belangrike rol van mans in kinderopvoeding), kan dié onlangse werk miskien selfs as die ontbrekende "childhood"-deel by die voorafgaande drie semi-outobiografiese prosawerke gelees word. Tiperend van Coetzee se meer onlangse werke (2007, 2009 en 2013) is dat hulle in die teken van die skrywer se laatwerkfase staan. Die begrip is via Theodor W. Adorno se "Spätstils Beethoven" (laatstyl van Beethoven) oorgehewel na Edward Said se postume werk, (2009). Daar is toenemend meer enigmatiese elemente, meer geslotenheid in Coetzee se oeuvre (soos in duidelik merkbaar aan die erg uiteenlopende interpretasies van die eerste resepsie). Veral die belang van taal (en watter tale hy tot sy beskikking het) in die vorming van die skrywer, asook die vader-seun-verhouding in die individuasie van 'n seun, is opvallende elemente in en . Min toegewings word aan die leser gemaak, tipies van ouer skrywers in die laatwerkperiode, wat meer konsentreer op laaste werke waarmee hulle hul eie vermoëns uitdaag en minder op die kommunikatiewe aspek van werke. Na aanleiding van die resepsiegeskiedenis word gelees as laatwerk met die tiperende Adorniaanse "konvensie-verbrokkeling", perspektiewe-spel en anachronismes, en met 'n taalmotief waarin minderheidstale soos Nama en Afrikaans asook taalsterfte ter sprake kom.


Theodor W. Adorno's 1937 German contribution on late style in Beethoven ("Spätstils Beethoven"), accentuates the shattering of genre conventions as the "first law" governing this type of work. Its "subjectivity" is also in the foreground, plus abnormal syntax which often produces a strongly polyphonic landscape, interspersed with fragments of isolated poetry. According to Adorno the striking quality of late work emerges from the particular relationship between the subjectivity of the artist and the negotiation of conventions. It is this relationship that brings about the extraordinary quality of some late works. Furthermore, in the present article, the surprising appearance of numerous anachronisms is linked to the specific relationship in between the "subjectivity" or authorial presence and the shattering or slippage of conventions.
Keeping in mind Adorno's perspective on late work, a reception study was done of how literary critics received . Although most critics struggle with the genre slippage or crossovers in the more recent Coetzee texts, only Marcus (2009:115) links this characteristic to aspects of late style. Critics mention the manipulation of a variety of narratorial perspectives, while Meek (2009) utilises the well-known Coetzee technique of doubling (as in the Nobel Prize speech "He and his man").

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2013-08-01
2016-12-09

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