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In J.M. Coetzee's Disgrace, the postsecular emerges as a critical framework to understand the characters' search for home amidst the remnants of South Africa's colonial legacy. This essay proposes an exploration of how the novel's engagement with the postsecular scriptures and moments offers a nuanced perspective on the religious impulse within the literary form. I focus on the protagonist, Lurie, whose journey from a sexual scandal to a commitment to animal welfare symbolizes a broader quest for redemption and atonement. Contrasting Lurie's postsecular odyssey is his daughter Lucy's steadfast attachment to her farm, which becomes a battleground for historical racial tensions. Through a mythological critical approach, I interpret Lucy's experience as a contemporary iteration of the scapegoat, embodying the sacrificial role in a society seeking reconciliation and healing. My analysis extends to the novel's esthetic and ethical dimensions, examining how Coetzee's narrative challenges and reframes traditional religious narratives. By situating my discussion within the fields of the sciences of religions, theology, and mythology, I contribute to the understanding of literature as a vital medium for engaging with religious and theological themes. The essay concludes with a reflection on the implications of Coetzee's postsecular discourse for the individual's search for home and belonging in a post-apartheid context. [ABSTRACT FROM AUTHOR]

As against the abiding popular image of the ever-dauntless Spartans, serious commentators have long recognized what a central part fear played in Lacedaemonian life: fear of the helots, fear of the laws, fear of defeat and dishonour and disgrace, without hope of respite this side of the grave. Yet the full implications of such a life, forever suspended most precariously 'between shame and glory' as Jean-Pierre Vernant put it, have not been drawn out, especially with respect to its supposed beneficiaries, the Spartiates, who were sacrificed to its merciless logic no less than those they were keeping under such brutal subjugation. This essay proposes to close the gap by fitting together the dispersed pieces and presenting a more comprehensive picture of the silent anxieties and hidden miseries of the vaunted masters of Sparta who purchased their dominion at so frightful a price, not only to others, but also to themselves. [ABSTRACT FROM AUTHOR]

In J.M. Coetzee’s Disgrace, the postsecular emerges as a critical framework to understand the characters’ search for home amidst the remnants of South Africa’s colonial legacy. This essay proposes an exploration of how the novel’s engagement with the postsecular scriptures and moments offers a nuanced perspective on the religious impulse within the literary form. I focus on the protagonist, Lurie, whose journey from a sexual scandal to a commitment to animal welfare symbolizes a broader quest for redemption and atonement. Contrasting Lurie’s postsecular odyssey is his daughter Lucy’s steadfast attachment to her farm, which becomes a battleground for historical racial tensions. Through a mythological critical approach, I interpret Lucy’s experience as a contemporary iteration of the scapegoat, embodying the sacrificial role in a society seeking reconciliation and healing. My analysis extends to the novel’s esthetic and ethical dimensions, examining how Coetzee’s narrative challenges and reframes traditional religious narratives. By situating my discussion within the fields of the sciences of religions, theology, and mythology, I contribute to the understanding of literature as a vital medium for engaging with religious and theological themes. The essay concludes with a reflection on the implications of Coetzee’s postsecular discourse for the individual’s search for home and belonging in a post-apartheid context.

This essay addresses some of the relations that can be traced between, on the one hand, J. M. Coetzee and Jorge Luis Borges and, on the other, the concept of the Global South and Coetzee’s recent approach to Latin America. The development of his ideas about the notion of the South or “real South,” as opposed to the “mythic South,” is discussed and illustrated through a brief analysis of Borges’s tale “El Sur” [“The South”] and Coetzee’s novel Disgrace. These two texts help us in focusing Coetzee’s rejection of the so-called “Northern Gaze,” a Westernised world-view dominated by the English language, and his preference for Spanish as the language for the initial publication of his latest books. [ABSTRACT FROM AUTHOR]

Grand protecteur des arts du XVIe siècle, conseiller d'Henri III et chancelier de son épouse, Henri de Mesmes est souvent cité pour ses liens supposés avec Michel de Montaigne et Étienne de la Boétie. C'est à son récit de soi que cette étude s'intéresse, selon une approche littéraire et sociocritique. Connu seulement par une édition fautive du XIXe siècle, cet écrit qui ne fut à l'origine qu'un brouillon, a été souvent qualifié de Mémoires. Plutôt qu'une œuvre achevée, il s'agit d'un témoignage de circonstance, conservé par les descendants d'Henri de Mesmes, qui l'ont fait circuler, plus de soixante ans après la mort de l'auteur, à côté d'autres pièces censées prouver la généalogie illustre de leur famille. L'enjeu serait de montrer la collaboration sur plusieurs générations dans la production et la promotion d'un récit de soi sous l'Ancien Régime. [ABSTRACT FROM AUTHOR]

David Lurie, the protagonist in Disgrace, boldly rejects the cyclical and persistent nature of state intrusion into private lives in post-apartheid South Africa. He presents a defence to counter a university academic committee’s public interrogation into what he perceives ought to be a private matter, a spectacle of his sexual exploitation of Soraya and Melanie Isaacs. He scoffs at the menace of disciplinary hearings such as the Truth and Reconciliation Commission, trivialises the opportunity to defend himself, and flouts the committee’s request, musing that in the new black politics his private life is public business. His obduracy to adapt to new political power and lesbian realities exhibits a false sense of entitlement to apartheid privileges. By analogy, Coetzee’s depiction of the plaas and the raped lesbian body of Lucy similarly indicts an evolving post-apartheid South Africa that wrestles with the racialised history and memory of political change. Disgrace taps into the deep psychological attributes of complex and menacing human relationships and the intersectionality of land redistribution, retribution, state-sponsored and private in/justice. I contend, ultimately, that testimony as memory, truth-telling as menace and apology as spectacle are disrupted in a problematic if disorienting archive of narrative in post-apartheid Southern African literature.

My aim in this essay is to explore the complementarities that obtain between Nietzsche's account (or teaching) of the "death of God" and J. M. Coetzee's characterization of David Lurie in his 1999 novel Disgrace. I am particularly concerned to investigate the responses of Nietzsche's Madman and Coetzee's protagonist to their respective insights into (or experiences of) the "death of God." Both respondents, I offer, may be seen and understood to create public spectacles in which they acquire (what they take to be) permanent, meaning-conferring identities that are meant, if not destined, to withstand the dislocations and calamities to come. In both cases, moreover, the point of the spectacle is to secure the conditions under which its architect may escape any responsibility for navigating the uncertainties that are bound to arise in the aftermath of the "death of God." Whereas Nietzsche is primarily concerned to anticipate (and diagnose) the distress that leads to the creation of responsibility-deferring spectacles, Coetzee provides an instructive treatment of life after the death of God, as David Lurie is compelled to confront the emerging post-theistic order he had hoped to avoid. [ABSTRACT FROM AUTHOR]

Despite the dawn of a non-racial democracy, many black people still experience public life as being treated as the ‘underdog’ (Canis Africanis as ostracised dog). Within the demeaning pigmentocratic categorisation of ‘white’ and ‘black’, the post-apartheid euphoria seems to become merely an artificial slogan denying undergirding racial polarisations. The phenomenon of ‘shameful disgrace’, as articulated by, inter alia, the novel of J.M. Coetzee, is critically researched. The metaphor of Cruella de Vil is used to analyse the legacy of the apartheid ideology and the impact on self-blame. The following question is posed: Is the predicament of shameful disgrace, due to the long-term impact of the ideology of apartheid, an inevitable curse that will accompany the existence of all South African citizens while trying to live together? Is there no remedy for shame and disgrace within the parameters of pastoral care? A literature research, by means of a critical analysis and pastoral hermeneutic, has been performed. It is proposed that the notion of Christ as divine ‘underdog’ (dying outside the walls of the religious establishment under Roman imperialism) brings about a theology of destigmatisation in order to start thinking beyond racial categories. Spiritual healing is about self-grace (new identity) as exponent of ‘amazing grace’. A theopaschitic paradigm can help to interpret the intriguing dynamics of shameful disgrace from a Christological perspective: the spiritual healing of a divine substitutional form of disgrace. Contribution: The article contributes to analysing the complexity of shame within pastoral caregiving and the implication thereof on God-images in pastoral theology.

This article identifies and explores two ways in which sex and violence are manifested in several medieval Spanish texts. In the first group of stories analyzed, rape and sexually-related violence are condemned as treacherous affronts that result in the dishonor of the female victim as well as a male figure in her orbit—namely, her father or her betrothed. Nevertheless, these episodes shed light on the admirable qualities of key female characters and often contribute to the heroic construct of the male protagonist. In the second group, the victims' roles are limited to enduring a sexual indignity—concubinage or rape—and bearing the illegitimate child who will restore lost order. The narrators celebrate the degradation of these noblewomen as a manifestation of heroic prowess, and they either delight in her family's disgrace or disregard the matter of honor entirely. All the episodes in question, some of which are violent in nature, add a layer of dramatism to the narration, and perhaps struck a chord with the audience on a human level. Considering some similarities between details in the stories and documented cases of sexual violence, we might imagine that the female characters inspired women who comprised a reading or listening public to act with equal bravery and resilience while navigating the dangerously male dominated world in which they lived. [ABSTRACT FROM AUTHOR]

This paper explores the politics of fetishism in J. M. Coetzee’s Disgrace. It contends that the characters in Coetzee’s novel appear to consciously suspend the danger that is often associated with strangers. They willingly interact with those in their neighborhoods and consciously suppress the warnings of mishaps or misfortune that such strange encounters may entail. This study is a textual analysis of the selected text to examine all the encounters, specifically those between Lucy and the natives, as well as those of Bev Shaw with David Lurie. In the post-colonial period, such abnormal behavior notably reveals a distinct feature of fetishism among the colonizer and the colonized, as it does in Coetzee’s characters. In order to achieve this objective, Coetzee’s novel is the primary text, while Sara Ahmed’s concepts of “Stranger Fetishism” and “Encounters” serve as a theoretical framework for this investigation. The objective of this research is to analyze the ambiguities of characters in the novel, such as Lucy’s passive response to her rape and Bev’s ironic behavior with David. Eventually, the discussion leads to the unfolding of their personal intents, which are deliberately kept undercover to satisfy their personal interests. This research intervenes in the current scholarship on postcolonial studies by bringing fresh reading perspectives on Coetzee’s text. [ABSTRACT FROM AUTHOR]

This paper explores the politics of fetishism in J. M. Coetzee’s Disgrace. It contends that the characters in Coetzee’s novel appear to consciously suspend the danger that is often associated with strangers. They willingly interact with those in their neighborhoods and consciously suppress the warnings of mishaps or misfortune that such strange encounters may entail. This study is a textual analysis of the selected text to examine all the encounters, specifically those between Lucy and the natives, as well as those of Bev Shaw with David Lurie. In the post-colonial period, such abnormal behavior notably reveals a distinct feature of fetishism among the colonizer and the colonized, as it does in Coetzee’s characters. In order to achieve this objective, Coetzee’s novel is the primary text, while Sara Ahmed’s concepts of “Stranger Fetishism” and “Encounters” serve as a theoretical framework for this investigation. The objective of this research is to analyze the ambiguities of characters in the novel, such as Lucy’s passive response to her rape and Bev’s ironic behavior with David. Eventually, the discussion leads to the unfolding of their personal intents, which are deliberately kept undercover to satisfy their personal interests. This research intervenes in the current scholarship on postcolonial studies by bringing fresh reading perspectives on Coetzee’s text.

In this article, I reconsider J.M. Coetzee's Disgrace, often interpreted in the context of South Africa's transition to post-apartheid life and with an eye to the nation's Truth and Reconciliation Commission, by instead reading it in light of the international twenty-first century #MeToo movement. I contend that, in retrospect, Disgrace both demonstrates affinities with #MeToo and proleptically envisions, from the postcolonial periphery, the contours of the movement decades before its forceful emergence as a watershed moment in the West. Disgrace tells a story echoed in many #MeToo accounts, depicting the public exposure and fall from grace of a privileged white man following his sexual exploitation of a non-white student. My interests lie not in the matter of David Lurie's potential redemption; rather, I explore Coetzee's exposure of the persistence of institutionalised gendered and racial privileges through moments of historical transformation. I argue that Disgrace's highlighting of its own unnarrated perspectives anticipates the forceful challenge to a lingering white heterosexual hegemony that characterises #MeToo, while at the same time exposing the perpetual marginalisation of non-white and non-Western traumas in discourses of transitional justice in South Africa and globally. [ABSTRACT FROM AUTHOR]

Jacques Derrida's politics of hospitality explores the tension and interdependency that exist between hosts and guests. This article uses Derrida's idea of hospitality and attempts to understand how it applies to the 21st century refugee crisis in the context of human displacement, state of refugee and immigration. We turn to the help of fiction as a critical tool in scrutinizing current political discourses. Specifically, we offer an analysis of J.M Coetzee's novel Disgrace in light of Derrida's theme of hospitality. Coetzee – who was awarded the Nobel Prize – presents a vivid portrait of post-apartheid South Africa that offers a contradictory perspective to Nelson Mandela's vision of democracy in South Africa. His novel suggests that the inherent violence of colonialism can neither be resolved nor dissolved merely by expressions of regret and forgiveness. By extension, we ask if liberal democracies and international humanitarian law can offer a policy of hospitality that is both morally anchored and practical. [ABSTRACT FROM AUTHOR]

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While shame is often cast in a negative light as a response accompanied by destructive forces in modern culture, this article examines a different phenomenon and argues that shame plays an important positive role for post-exilic returnees in Ezra/Nehemiah. Shame can be progressive and edifying if it is oriented in the right direction. This article surveys key shame terms in Ezra/Nehemiah by examining בושׁ I in Ezra 8:22, בושׁ I and כלם in Ezra 9:6-7, חרפה in Neh 1:3; 2:17 and בוזה in Neh 3:36 (Eng. 4:4) for their semantics and concludes that shame plays a positive role in social control for the post-exilic returnees. Shame, in each of these cases, motivated the people of God not for bad but for good; it contributed to the rebuilding of the temple of the Lord, the rebuilding of the wall, and the restoration of a holy people to the Lord in the midst of fierce opposition.

My aim in this essay is to explore the complementarities that obtain between Nietzsche’s account (or teaching) of the “death of God” and J. M. Coetzee’s characterization of David Lurie in his 1999 novel Disgrace. I am particularly concerned to investigate the responses of Nietzsche’s Madman and Coetzee’s protagonist to their respective insights into (or experiences of) the “death of God.” Both respondents, I offer, may be seen and understood to create public spectacles in which they acquire (what they take to be) permanent, meaning-conferring identities that are meant, if not destined, to withstand the dislocations and calamities to come. In both cases, moreover, the point of the spectacle is to secure the conditions under which its architect may escape any responsibility for navigating the uncertainties that are bound to arise in the aftermath of the “death of God.” Whereas Nietzsche is primarily concerned to anticipate (and diagnose) the distress that leads to the creation of responsibility-deferring spectacles, Coetzee provides an instructive treatment of life after the death of God, as David Lurie is compelled to confront the emerging post-theistic order he had hoped to avoid.

Copyright of Conexão Letras is the property of Conexao Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper is an attempt to investigate and throw some light on J. M. Coetzee's celebrated novel Disgrace (1999) in South Africa's postapartheid in order to indicate the ramifications in the aftermath of apartheid in which with the subversion of the white authority, and the change in power structures of the society, the once dominant ideology presupposing the white superiority over the black fades away. Through identity crisis, mimicry and violence, the white hegemony shatters and a new power structure comes into being. Hence, David Lurie, the protagonist along with his daughter Lucy are taken as representatives of the whites that suffer both physically and psychologically and go through an identity crisis which leads them to a kind of awareness regarding their current situation in the postapartheid period. Having endured and suffered some pains that are going to be presented in the subsequent sections of the current study, David and Lucy draw a conclusion that there is apparently no way but co-existence and compromise between the two races. Apartheid, indeed, leaves a wound for both the black and the white through conflicts and collisions between them. Therefore, Lucy can be regarded as the symbol of redemption and reconciliation between the two races. In what follows, the word apartheid will be first defined and elaborated on, then applied to Coetzee's selected novel in order to examine and demonstrate its overarching effects on both the white and the black. [ABSTRACT FROM AUTHOR]

In „Tobacco" is outlined the scheme of collision father - sons, but also between sons. The novel reflects not only the end of the occupancy in the home (doubt even the former good in the generic space), but also the decay of the world in its physical and spiritual dimensions, presented as the end of a political and economic system and the beginning of another. Dimitar Dimov presents a world where children have sinned because they refuse to obey the established framework for life. In the novel, children don't simply share the values of their parents, but also value conduct that has been denounced so far as immoral. In another case, young people come to a fanatical end in affirming and „preaching" the new order. The paradox in the novel of Dimov is revealed in the awareness of the fall, but also in the hero's refusal to walk back to repentance. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Öz (120-150 kelime) ve yukarıdaki kutucuğa anahtar kelimeler (5-7 kelime)İngilizce öz ve anahtar kelimeler de aynı sınırlar çerçevesinde yazılmalıdır.Bu makalede, Osmanlı’nın zirve dönemi âlimlerinden olan Taşköprîzâde’nin, insanı ahlâkî yönüyle merkeze alan bir risalesini analiz ve sentez yöntemiyle incelemeye çalıştık. Risale, insanın irâdî eylemlerinin toplamından oluşan, ahlâk, ev idaresi ve siyaset şeklinde üç temel ayağı bulunan amelî hikmeti, İslam kanunu üzere incelemektedir. İnsanın özgür olmakla beraber sorumlu olan yönetici kimliğinin ön plana çıktığı risalede bazı konularda sorgulayıcı, bazı konularda da aşırı kaderci tutumun izleri rahatlıkla görülebilir. Kişinin hem iç dünyasında hem de çevresinde denge ve düzeni sağlayabilmesi kuvvetli bir sorumluluk bilincine bağlanmıştır. Müellifin devraldığı bilgi birikimini harmanlayarak aktarmadaki başarısı ve eklektik kişiliği bizlere, döneminin insan algısı hakkında derli toplu bilgiler sunmuştur.

This article contrasts the cases of two women blamed for wrongdoing, and classified as «desgraciadas»: the rape victim, Rosaura de Trujillo and Teresa, the maid who suffers divine punishment for her failure to be charitable to the poor. The examples come from pliegos sueltos, a form of popular literature in Spain, and come from the eighteenth century, with numerous nineteenth-century reprints. By falling outside the boundaries of what is culturally and morally acceptable, each of these women reaffirms those boundaries. In terms of how we interpret them, however, each reveals the complexities of the position of woman as represented in this popular literature. While they are suggestive about the cultural norms of the original date of composition, these cases also have certain generalities that suggest the reasons for their continued popularity.

J.M. Coetzee is one of the most celebrated and studied novelists of the twenty first century. He was born on February 9 of 1940, to an attorney father and a school teacher mother. The South African environment in which Coetzee was raised profoundly shaped his works. He was the first writer who won the Booker Prize twice for his novels namely Life& Times of Michael K (1983) and Disgrace (1999). He was awarded Nobel Prize for literature in 2003. He writes in the third person narrative and maintains a characteristic sense of distance even in the process of writing about his own life. Metaphor is a figure of speech in which a word or phrase denoting one kind of objects or idea that is used in the place of another to suggest a comparison between the two. Disgrace is the most celebrated novel written by J.M Coetzee. In Disgrace, he has used many animal metaphors to express his interest on Non-Human beings. His metaphors are predatory in nature in this novel. By using animal metaphors, J.M. Coetzee wants to compare the sufferings of animals to that of Human beings and to persuade the readers to give equal moral considerations for the life of Non-Human beings. [ABSTRACT FROM AUTHOR]

The article analyses the novel Alles verandert (Everything changes, 2015) by Flemish author Kristien Hemmerechts in the context of "feminist rewriting". At the same time "feminist rewriting" is being introduced as a functional literary strategy that enables the writer to challenge and adapt the existing literary canon. Summing up the existing scholarship on feminist/women's rewriting, the article makes a plea to include "feminist rewriting" in the (not only) Dutch literary-analytical toolbox in order to get a better understanding of such practices and their intentions. [ABSTRACT FROM AUTHOR]

Women are never given any space; they are persecuted since ancient time, they are vulnerable regardless of ages, social classes and cultures. Even when a woman tries to be herself, patriarchal society crushes her down. Patriarchy has some venomous tools and rape is one of the easiest ways of those to tame women and make them fragile. Women are confined within the mazes of patriarchy. They can't get out of there; they can't touch the ceiling; they can't kiss the sky, no matter how much they try. This paper attempts to explore sexual politics of the patriarchal society in the light of J.M Coetzee's Disgrace. Lucy Lurie, the female protagonist of the novel is the main focal point of this research. It will talk how males want to use women for the fulfillment of their purposes. [ABSTRACT FROM AUTHOR]

To preserve our sovereignty and integrity in the context of our personal and social relationships is essential for our human dignity. The term "shame" describes the absence of this integrity and the associated feelings of guilt and vulnerability. The standards/principles of behavior of the antique Hellenistic societies and the philosophical dualism of Plato's thinking, and later the virtues promulgated by christian asceticism simplified the concept of shame and almost exclusively limited it to its sexual aspects. This process of oversimplification led to the distortion and alienation of the original biblical view of shame and restricted the positive theological interpretation of the concept. This article will argue that the biblical-theological interpretation of shame also refers to the fundamental determination of the human condition that one lives in relationships: with God, with others, and with himself. In addition to the phenomenological and social psychological interpretation of shame as "moral emotion" and "moral knowledge", this study seeks not only to reveal its original biblical and theological meanings but also attempts to reveal the positive role that shame can fulfill in preserving human dignity. At the same time, we will not deny that individual and collective shame can lead to aggression and systematical-political sin. Finally, we will endeavor to examine the role of shame in repentance and as a deference against sin. [ABSTRACT FROM AUTHOR]

Disgrace can be read as a deliberation on rape in all its complexity, articulating and commenting upon many of the positions typical of the radical feminism of the seventies. Some feminists classify prostitution as a form of rape. Prostitution is the ideal form of sex for the main character, David, because it allows him to fantasize that a woman mirrors his wishes. The border between rape and consensual sex is shown to be problematic in the relationship between David and his young student, Melanie. Although some readers find that Melanie was willingly seduced, others consider that she was raped. The charge of sexual harassment is therefore unsatisfactory for both sides and, since David refuses to read the charges brought against him, he effectively silences his accuser. When his daughter, Lucy, equates heterosexual sex with killing and hating women, one can read it as evoking the radical feminist idea that men as a class subordinate women as a class through the threat of rape. Lucy’s political lesbianism is a logical response to such misogyny. After being rape, Lucy accepts a subordinate position and this proves the power of rape in controlling women. Like one of the Sabine women, Lucy seems willing to sacrifice herself for peace between black and white in South Africa.

The dog is a charged and powerful symbol in South Africa. Racialized canine invective played a formative role in colonial efforts to dispossess Africans of land. However, the symbolic meanings of dogs in South African culture range far beyond insult. Recent portrayals of canines have turned suggestively, if equivocally, from denigration toward signalling post-apartheid racial authenticity. To reflect on this shift, I draw on academic and popular writing about dog–human relations in South Africa, among them political discourse, popular media, tweets and the use of 'animal likenesses' in the essay 'The Year of the Dog' by Njabulo Ndebele, the novel Disgrace by J. M. Coetzee, and a series of photographs of Africanis dogs by the artist Daniel Naudé. Through this examination, I consider the ambivalent emblem of the dog beyond the framework of either abuse or authenticity, to consider it as a barometer of critical shifts in notions of race in South African culture. [ABSTRACT FROM AUTHOR]

The topical subject of vegetarianism and non-violence towards animals is gaining currency in literary circles, as is attested by the award of the Man Booker International Prize to Han Kang's The Vegetarian in 2016. There has been a rash of talks and conferences which explore the idea of veganism/vegetarianism and its representation in works of art. While the ethical implications of being a vegetarian have been a constant theme in discussions all over the world, the present essay seeks to uncover the spiritual and aesthetic significations attached to vegetarianism. It aims at reading selected works by J. M. Coetzee as an aestheticised/fictionalised discourse on ahimsa (non-violence) from a Gandhian spiritual perspective. It is important to remember that Gandhi's vision of spirituality is not necessarily contingent on religious belief. One may or may not follow a particular faith yet be spiritual in nature. This is because spirituality, in the Gandhian sense, primarily manifests itself in just or ethical action. I will critically examine how Coetzee in Disgrace (1999) and The Lives of Animals (1999) represents the treatment of animals by humans, suggesting that these works be read as aestheticized manifestations of a Gandhian vision of spirituality. Now that we know that these books were being written at the same time (Attwell 216), it would be interesting to explore how Coetzee's literary imagination was being shaped by Gandhian insights. The paper also describes how Gandhi conceptualised and practised his own version of ahimsa. Gandhi's choice to be a vegetarian was not made automatically or unquestioningly. The paper seeks to demonstrate that just as Coetzee highlights the ambivalence of truth in his writings, Gandhi's life is replete with paradoxical choices, which make his ideas at once theoretically debatable and practically spiritual. [ABSTRACT FROM AUTHOR]

Taşköprizade is one of the scholars of the peak period of the Ottoman Empire.In this article, we will examine how he discusses the moral aspects of the human in a treatise with the aid of respective methods of analysis and synthesis. His treatise illustrates the practical wisdom which depends on the themes like morals, housekeeping and politics under the purview of Islamic law. In the treatise reveals free identity of a human being and administrator of such affairs as well. It can be easily comprehended the marks of questioning and an overly fatalistic attitude. Maintaining order and balance both in person's inner world and environment has been linked with strong responsibility. The author's success in the transfer of the knowledge that he combined and his eclectic personality provide us comprehensive information about the human perceptions of his time-period. [ABSTRACT FROM AUTHOR]

Rape is a recurrent motive in J. M. Coetzee's fiction, it being present in novels such as Disgrace (1999), Diary of a bad year (2007) and Elizabeth Costello (2003). This work's objective is to analyze each representation of rape in those novels to discuss the views on violence and disgrace presented. I also relate them to Coetzee's own views such as his vison of what - despite his denial of censorship - might better remain unsaid. In Disgrace, David Lurie sees himself as falling into disgrace after he is charged by the student with whom he had an abrupt affair. Later, his daughter, Lucy, is brutally raped and chooses to keep it as a private affair. She ends up questioning male sexuality as a whole. In Diary of a bad year, Anya believes dishonor to fall over those who raped her, and not over her. However, Señor C disagrees, seeing dishonor as miasma. Finally, in Elizabeth Costello, the protagonist remembers an experience with evil she passed through with a man. She then defends that some things should not be read or written and discusses the risk that writers go through by exploring darker areas of human experience, a view which echoes Coetzee's own. [ABSTRACT FROM AUTHOR]

So far, many articles have been published worldwide on J. M. Coetzee's Disgrace from different angles to delimit and dig out the deep meanings hidden in the novel. Undeniably, those articles are reasonable in their own terms, but meanwhile when coming together they appear a little bit chaotic. What all of them have in common is the setting of certain boundaries. This paper adopts a Daoist perspective and focuses on Daoist ideas, which are beyond any man-made boundary, in Lurie's sexual life, attitudes and actions towards animals and thoughts on literary creation. No matter whether on the levels of content, idea or narration, the novel Disgrace reveals that all the disgraces result from the setting of boundaries, and the ideal of living in this world is to live beyond all the set boundaries, in tune with the natural Dao. [ABSTRACT FROM AUTHOR]

Kochin (2002:8) makes the following interesting observation regarding the life of the main character, David Lurie, in Coetzee’s novel, “Disgrace” (1999), and his observation will be explored in detail when analysing the novel, and in particular the presentation of masculinities: “Lurie has no relationship of depth with men. His one effort is with Isaacs, Melanie’s father, and seems to be more of a quest for the sources of Melanie’s beauty than the expression of a desire for friendship with a man.” The focus of my investigation is on male-male relationships and the way in which they impact on the other characters in the novel. What contribution does the novel make to the debate on masculinity within the context of South African literary studies?

In this fragment of Ibycus every single word is carefully chosen, placed and charged with a peculiar significance that contributes effectively to the conveyance of the implicit meaning that the poet imparts to his creation. And this meaning mostly concerns the unavoidable danger of facing disgrace in one's efforts of erotic conquest. [ABSTRACT FROM AUTHOR]

This essay takes up Derrida's discussion in 'Force and Signification' of reading and writing as a 'strange labour of conversion and adventure in which grace can only be absent [ l'absente]'. It focuses on the ideas of work, the oeuvre, labour and travail in Derrida and Cixous, and in J. M. Coetzee's Disgrace. And it pursues the thinking of a work other than that fetishized by conservative ideologues, and links this to the work of fiction, and of the novel. While it eschews any theological debate about the relationship between grace and works, some space is left open here for the advent of grace, the absent one. [ABSTRACT FROM AUTHOR]

This paper examines different situations and events in J.M. Coetzee's novel Disgrace (1999) that turn the white male protagonist and his daughter into victims of post-apartheid South African violence at the hands of black men. From initial exploiters, the whites become the exploited and have to accept that they are part of a larger social and political struggle to (re)construct a country that is still deeply confronted with racial discrimination and a high crime rate. [ABSTRACT FROM AUTHOR]

From the escalating practice of the ‘corrective rape’ of lesbians in South Africa, to the more recent (extra-legal) criminalisation of same-sex relations in Nigeria, Uganda and Zimbabwe, there are grounds to believe that non-normative sexuality on the African continent is viewed as not just undermining cultural imperatives, but as disrupting human, subjective norms. Tellingly, then, the issue of sexuality has typically been, and is still, shrouded somewhat in silence and secrecy in African discourse and literature. Not coincidentally, J.M. Coetzee's controversial novelDisgraceremains silent on the sexual violation of the lesbian character, Lucy, while Chimamanda Ngozi Adichie's provocative short story, ‘On Monday of last week’, merely alludes to the possibility of a same-sex relationship. Inflected by race, ethnicity and gender, these authors' inexplicit addressing of these concerns fundamentally interrogates and politicises – with different effect – non-normative, queer subjectivities while offering spaces for reimagining subjective states and prospects. Read comparatively, both texts deploy silence as an aesthetic of queerness that functions to reflect and subvert global national attitudes to subjective ‘otherness’ and to render ‘absences’ louder than ‘presences’. [ABSTRACT FROM PUBLISHER]