Beyond Empathy: Narrative Distancing and Ethics in Toni Morrison's Beloved and J. M. Coetzee's Disgrace

@article{Travis2010BeyondEN,
  title={Beyond Empathy: Narrative Distancing and Ethics in Toni Morrison's Beloved and J. M. Coetzee's Disgrace},
  author={Molly Abel Travis},
  journal={Journal of Narrative Theory},
  year={2010},
  volume={40},
  pages={231 - 250}
}
  • M. Travis
  • Published 1 July 2010
  • Art
  • Journal of Narrative Theory
In a 2006 New York Times Book Review survey, respondents chose Toni Morrison’s Beloved as the best work of American fiction in the last 25 years.1 Not to be outdone, a panel of British writers immediately followed with a selection of the best British and Commonwealth novel in the last quarter century: J. M. Coetzee’s Disgrace.2 What these two novels have in common, besides being profound and beautifully written narratives by Nobel laureates, is that they confront historical traumas and… 
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As one whose research interests lie in the field of Romanticism, most specifically Wordsworth and Byron, I was obviously intrigued by J. M. Coetzee's use of these poets in Disgrace. Subsequent
J.M. Coetzee's Disgrace and the Task of the Imagination
In an early review of Disgrace, Jane Taylor first relates this novels treatment of violence in post-apartheid South Africa to the European Enlightenment's legacy ofthe autonomy ofthe human subject
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In Love the characters’ severance from their past is a personal, not a worldhistorical event, an individual rather than a collective trauma. Yet in one respect at least, Heed’s and Christine’s
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