Özet: Farklı kültürel, siyasal ve etnik bağlamlarda üretilen biçimleriyle çağdaş yaşam öyküsü yazını, ben-liğin somut ve yekpare bütünlüğü gibi muazzam bir düşüncenin çözülmesine binaen, özgünlük ve gönder-gesellik kavramlarını sorunlu hale getirmiştir. That Coetzee ends up being reduced to partial and provisional appearances in the life-stories of the others implies that his overall project targets a gradual self-diminishment, instead of reaching towards a gratifying portrait of self-realization. Subsequently, the ethics of representing the other will be evaluated from the perspective of representing the self-as-the-other. This study aims to examine the interplay between the auto-biographer's multifarious subject positions and the multiplicity of discursive modes employed in Coetzee's trilogy. The last in the trilogy, Summertime (2009), is in the form of a collaborative project of biography after Coetzee's fictitious death conducted by a fictitious biographer and five interviewees accounting for different segments of his life. The alternation of conflictual identities and the fluctuating identity models in Boyhood (1997) and Youth (2002), which are third person narratives, underscores the auto-biographer's protean selves. Coetzee indulged in homo-diegetic experiments based upon the transitivity between the autobiographical mode and fictional discourse. Likewise, in his trilogy of fictionalized autobiography, J.

The only entity that can claim the authority to end this chain of confession is the suffering body of John Coetzee's (the character's) father, who loses his voice and finally forces him to act.Ĭontemporary life-writing, exercised within various cultural, political and ethnic backgrounds, have made questionable authenticity and referentiality in respect to the collapse of the monumental notion of the wholeness of the self. In posing the question of closure, Coetzee (the writer) shows his strength as a political writer. The cultural stereotype of the barbarian is used to characterize him, and he is described (since John Coetzee never speaks himself) to have viewed others in the light of stereotypes such as the exotic. John Coetzee is portrayed as struggling with his Afrikaner descent and his place within South African society. The specific subject of this search in 'Summertime', it is argued, is John Coetzee's (as the main character is called) political stance with regard to interculturality in the South Africa of apartheid.

Confession, as both the content and the structure of the novel show, is a search for the truth about the self that can never come to an end. Coetzee's autobiographical novel 'Summertime'. This paper connects the notions of confession and interculturality in J.

Summertime by jm coetzee