Notes 203
- Pamela Cooper, “Metamorphosis and Sexuality: Reading the Strange
Passions of Disgrace ,” Research in African Literatures , 36 (2005), 22–39
(p. 26).
5 7. M a r i a n n e D e K o v e n , “ G o i n g t o t h e D o g s i n Disgrace ,” English Literary
History , 76 (2009), 847–875 (p. 847).
- Adriaan van Heerden, “Disgrace, Desire, and the Dark Side of the New
South Africa,” in J. M. Coetzee and Ethics: Philosophical Perspectives on
Literature , ed. Anton Leist and Peter Singer (New York: Columbia
University Press, 2010), pp. 43–64 (p. 57).
5 9. J. M. C o e t z e e , Elizabeth Costello (London: Vintage, 2004), p. 78.
6 0. P o y n e r , Coetzee and the Paradox, p. 164.
6 1. I b i d.
- Derek Attridge, The Singularity of Literature (London and New York:
Routledge, 2004), p. 33.
6 3. S t e p h e n M u l h a l l , The Wounded Animal: J. M. Coetzee and the Difficulty
of Reality in Literature in Philosophy (Princeton, NJ: Princeton
University Press, 2009), p. 38.
6 4. M u l h a l l , Wounded Animal, p. 172.
6 5. I b i d.
- Elisa Aaltola, “Coetzee and Alternative Animal Ethics,” in J. M.
Coetzee and Ethics: Philosophical Perspectives on Literature , ed. Anton
Leist and Peter Singer (New York: Columbia University Press, 2010),
pp. 118–144 (p. 118).
6 7. J. M. C o e t z e e , “ I F e e l T h e r e f o r e I A m , ” h t t p : / / o l d. v o i c e l e s s. o r g. a u /
About_Us/Misc/A_word_from_J.M._Coetzee__VoicelesS_Ifeel
therefore_I_am.html [Accessed on 22 June 2012].
6 8. I b i d.
- Indeed, this is the very type of analogy that Wright highlights in her anal-
ysis of animal suffering in Coetzee’s oeuvre which, she concludes, is later
replaced by a less “symbolic” form of presentation. See Wright, p. 16.
7 0. W r i g h t , Writing Out of All the Camps, p. 16.
- Pollock, “Cosmopolitanisms,” p. 12.
- See, for instance, DeKoven, pp. 847–875.
3 COSMOPOLITANISM AND TR AGIC SILENCE
IN PHILIP ROTH’S AMERICAN TRILOGY
1. Derek Parker Royal, “Pastoral Dreams and American Identity,” in
American Pastoral and I Married a Communist ,” in Philip Roth: New
