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Philipp Wolf (International) assertion Philipp Wolf i(10699277 works by)
Gender: Male
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Works By

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1 [Review Essay] J. M. Coetzee and Arabella Kurtz. The Good Story : Exchanges on Truth, Fiction and Psychotherapy Philipp Wolf , 2017 single work essay
— Appears in: Anglia : Zeitschrift Fur Englische Philologie , June vol. 135 no. 2 2017;

Coetzee's outstanding position within contemporary literature may be put down to an apparently conflicting intellectual stance. Coetzee, for one thing, has always cherished a transpersonal (if not metaphysical) category of truth: "We are born", he writes in 1992. "with the idea of the truth' (DP 395). Brought up in a South-African society with racist and various other sociocultural forms of discrimination, a sensitive liberal such as Coetzee must be accurate when it becomes inevitable to draw boundaries and assign responsibility. On account of his colonial heritage. with Polish and German forbears, an Afrikaans family (and an Anglo-American sense of values),Coetzee is related more to the perpetrators than the victims. Under the apartheid-regime he was forced to cope with the pailful distortion of the truth through state censorship, while his extensive reading of 19th'century Russian moralists had a formative influence on his unwavering moral outlook which presupposes knowledge of what is true or false, right or wrong.' (Introduction)

1 ‘Waywardness’: J. M. Coetzee and the Ethos of Authenticity Philipp Wolf , 2016 single work criticism
— Appears in: Anglia : Zeitschrift Fur Englische Philologie , September vol. 134 no. 3 2016; (p. 444–467)
'My paper focuses on a modern socio-cultural disposition (and personal habitus) in Coetzee’s work which hitherto has not been given much attention and which I call ‘Ethos of Authenticity’. This can be understood as a post-Romantic and humanist individualism which rejects, to use Coetzee’s words, “giving oneself to a part that is already written”, and insists on a “private”, and “untenable historical position” against “collectivity” and “moral vigilance”. This attitude holds for both the writer Coetzee (in his interviews and essays) as well as (with variations) for his major figures including the biographically fictional “J. M. Coetzee”. However, in order to become credible and of communicative and literary relevance, such a position is inexorably linked with truthfulness, sincerity or a ‘horizon of wider significance’ (Ch. Taylor). Truthfulness along with being true to him- or herself are among Coetzee’s major concerns in form and content, even though claims to ‘truth’, ‘representation’ and the reliability of textual consciousness and communication have been profoundly called into question after post-structuralism. My paper, then, will centre on Coetzee’s attempts at nonetheless simulating or producing authenticity for his writing and his characters (contradictory as this may sound). These strategies are: silence or semantic gaps, the often hyperrealistic depiction of suffering and bodies in their pre-discursive presence, the emancipation (and relative autonomy) of narrative figures, along with ‘countervoices’ and dialogicity: alter authenticating ego.' (Publication abstract)
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