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AbstractHistoryArchive Description
After years teaching Romantic poetry at the Technical University of Cape Town, David Lurie, middle-aged and twice divorced, has an impulsive affair with a student. The affair sours; he is denounced and summoned before a committee of inquiry. Willing to admit his guilt, but refusing to yield to pressure to repent publicly, he resigns and retreats to his daughter Lucy's isolated smallholding. For a time, his daughter's influence and the natural rhythms of the farm promise to harmonise his discordant life. But the balance of power in the country is shifting. He and Lucy become victims of a savage and disturbing attack which brings into relief all the faultlines in their relationship.' (Publisher's blurb)
Adaptations
- form y Disgrace ( dir. Steve Jacobs ) Australia : Sherman Films Whitest Pouring Films Fortissimo Films , 2007 Z1410365 2007 single work film/TV 'Professor David Lurie's life falls apart after he has an impulsive affair with one of his students. Forced to resign from the university he escapes to his daughter's farm. The relationship is tested when they both become victims of a vicious attack.' Source: www.afc.gov.au/ (Sighted 21/07/2007).
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Large print.
- Sound recording.
Works about this Work
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y
Rhymes with Hyenas
Canberra
:
Recent Work Press
,
2021
20909627
2021
selected work
poetry
'Imagine if six famous protagonists transcended chronological and geographical barriers to come together through a poetry group in Adelaide. Rhymes with Hyenas is an inventive narrative of emails and poetry that gives a female voice to characters originally written by men. They are Ursula from DH Lawrence’s Women in Love, Caddy from Faulkner’s The Sound and the Fury, Melanie from Coetzee’s Disgrace, Delores from Nabokov’s Lolita, Katherina from Shakespeare’s Taming of the Shrew, and Lilith from Hebrew mythology.
'In a poignant ode to literature and Adelaide, these women are whole, complex characters, sometimes up to their breasts in mothering, sometimes homesick for exiled lands. They are lecturers, dog owners, art makers and carers who deal with illness and loss, with racism and addiction and domestic abuse. Their stories, initially limited by the masterpieces that spawned them, continue on: they are not a closed book.
'In a vibrant commentary on literary patriarchy and the patriarchy beyond, this book considers the place of writing, critiquing, reading, performing and publishing poetry in a woman’s space.'
Source : publisher's blurb
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Reading Coetzee Expectantly : From Magda to Lucy
2019
single work
criticism
— Appears in: Reading Coetzee's Women 2019; (p. 205-219) Contrasts Magda in In the Heart of the Country and Lucy in Disgrace, with a particular focus on the extent to which changes in narrative approach facilitate or block access to a character's interiority. -
'Beauty Does Not Own Itself' : Coetzee’s Feminist Critique of Platonic and Kantian Aesthetics
2019
single work
criticism
— Appears in: Reading Coetzee's Women 2019; (p. 87-109) -
Love for No Return
2019
single work
column
— Appears in: The Weekend Australian , 29 June 2019; (p. 21)'JM Coetzee’s Disgrace is a novel that has earned admiration and provoked dismay.'
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Eurydice’s Curse : J. M. Coetzee and the Prospect of Death
2018
single work
criticism
— Appears in: Australian Literary Studies , February vol. 33 no. 1 2018;'The prospect of death is one of J. M. Coetzee’s central and enduring concerns. As David Attwell observes in his biography, ‘The most trenchant of the purposes of Coetzee’s metafiction . . . is that it is a means whereby he challenges himself with sharply existential questions’. My claim in this essay is that Coetzee uses the act of writing existentially to orient himself and his readers to the prospect of death. I argue that Coetzee treats the myth of Orpheus and Eurydice as a story about how to deal with the prospect of death. What seems to terrify the Coetzeean protagonist is the thought of the absolute solitariness of death. I call this the curse of Eurydice. Eurydice’s fate in the myth is to be left alone in the Underworld, dying for a second time after her impatient lover turns to gaze at her before they have safely reached the surface of the earth. To take Eurydice’s point of view in the story is to begin to glimpse the solitariness of death. One of the roles of women in Coetzee’s fiction, I suggest, is to mitigate the male character’s fear of this solitariness by conducting him to the threshold of death, but no further.' (Publication abstract)
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The Personal Pilgrimage of David Lurie-or Why Coetzee's Disgrace Should and Should Not Be Read in Terms of an Ethics of Perception
2013
single work
criticism
— Appears in: Partial Answers : Journal of Literature and the History of Ideas , June vol. 11 no. 2 2013; (p. 233-255)'Through a reading of J. M. Coetzee's novel Disgrace this paper discusses the contemporary genre of reading literature in terms of an 'ethics of perception.' In the fourteen years since its publication the novel has elicited a rich body of commentary and criticism with an ethical edge, often focusing on the unfolding vision or stunted but developing perceptiveness of its uneasy protagonist David Lurie. This path of criticism is paradigmatic of a broader interest in studying literary works as paths to moral philosophical illumination. I discuss how the novel yields to this kind of reading, but also how this path of reading is complicated by its various other features, above all, a plurality of values that may be hard to reconcile and a Christian perspective of grace which is played against the novels secular, intellectual perspective on perceptiveness. I argue that reading Disgrace in terms of any pre-given ethical formula, however compelling, may be problematic considering the nature of Coetzee's authorship.' (Author's abstract)
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Towards an Ethics of Sensation in Coetzee's Disgrace
2009
single work
criticism
— Appears in: Literature and Sensation 2009; (p. 184-193) -
Miguel de Cervantes and J.M. Coetzee : An Unacknowledged Paternity
2013
single work
criticism
— Appears in: Journal of Literary Studies , vol. 29 no. 4 2013; (p. 80-97) 'This article points to the 17th-century Spanish writer, Miguel de Cervantes, as one important literary predecessor of the contemporary South African writer, J.M. Coetzee, a relation that has generally passed unnoticed among critics. This relation is brought to the foreground in Coetzee’s most recent novel, The Childhood of Jesus (2013), but it also underlies his previous ones, Age of Iron (1998), Disgrace (2000), and Slow Man (2005), as well as his critical pieces, “The Novel Today” (1988) and the “Jerusalem Prize Acceptance Speech” (1992b), all of which contain echoes of Cervantes’s masterpiece, Don Quixote ([1605, 1615]2005). My argument is that the conflict between imagination and reality, the novel and history, central in Coetzee’s fictional and non-fictional production, needs to be re-examined as a fundamentally Cervantine one. The adventures and fate of Don Quixote lie behind Coetzee’s exploration of whether literature may be an effective and ethical guide in our dealings with reality, whether the ordinary may be transformed into the extraordinary, and of the relation between the literary imagination and the onslaughts of the real world.' (Publisher's blurb) -
Feeling, Affect, Exposure : Ethical (In)capacity, the Sympathetic Imagination, and J.M. Coetzee's Disgrace
2013
single work
criticism
— Appears in: Mosaic , December vol. 46 no. 4 2013; (p. 1-19) 'This essay considers the role of feeling and affect in theories of the sympathetic imagination through readings of Martha Nussbaum, Geoffrey Hartman, and J.M. Coetzee's Disgrace. I explore how the sympathetic imagination is irreducibly contaminated by unstable affective states that threaten its viability as a humanist ethic. (Publication abstract) -
Literary Studies, The Animal Turn, and the Academy
2013
single work
— Appears in: Social Alternatives , vol. 32 no. 4 2013; (p. 6-14)‘The rapidly growing field of human-animal studies (HAS) is a vibrant, varied domain of methodological convergences and divergences, united by a shared concern with studying the complex entanglement of human and animal lives. To think seriously about animals on their own terms is to begin to question the co-construction of the categories of the human and the animal that underpins human the animal that underpins human exceptionalism. Unpicking the human/animal binary, however, is no simple matter: not only is this construction unstable but as prisoners of human language we also have a tendency to reinstate it even as we think we challenge it. This paper will provide an analysis of significant developments and preoccupations in the field of literary HAS. Some of the most vexing questions within this area will be contextualised by way of reference to the Bandit and Michael Vick cases in the US and J.M. Coetzee’s Disgrace, in particular scenes depicting David Laurie’s encounter with unwanted dogs at an animal shelter.’ (Publication abstract)
Awards
- 2008 shortlisted The Booker Prize — The Best of the Booker
- 2000 winner Commonwealth Writers Prize — Best Book: Africa Region
- 1999 winner The Booker Prize
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cSouth Africa,cSouthern Africa, Africa,
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Cape Town,
cSouth Africa,cSouthern Africa, Africa,