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B/Orders Unbound

Marginality, Ethnicity and Identity in Literatures

Edited By Sule Okuroglu Ozun and Mustafa Kirca

Contemporary literature concerns itself with transgressing borders and destabilizing hierarchical orders. Border crossing to question the given limits and orthodox beliefs brings many disciplines and diverse experiences together, and the result is a myriad of ways of expressing the alternatives when the established boundaries are liberated. The volume presents fifteen essays and brings together many academics and scholars who share a common interest in transgressing borders in literatures. The book is determined to encourage border violations, and each paper tackles the issue of border crossing in different realms and territories.

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Textual B/Orders Violated: the Hyperreal World of J. M. Coetzee’s Foe (Mustafa Kirca / Pelin Yarimca)


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Mustafa Kirca and Pelin Yarimca

Textual B/Orders Violated: the Hyperreal World of J. M. Coetzee’s Foe

The aim of this study is to read J. M. Coetzee’s 1986 novel Foe as a parody text which forces its readers to confuse “the hyperreal” with “the real”. We are using the term “the hyperreal” (or “hyperreality”) in the sense the French philosopher Baudrillard uses it in his work Simulacra and Simulation (1981) to define contemporary culture which is characterized by a process of reproduction where the distinction between the original and the copy is eradicated and “the ability to distinguish between the real and the representation is compromised” (Nicol 5). Baudrillard relates in his book the ability of new sciences and technologies which are able to create more realistic copies and models than real objects themselves, bringing about “a real without origin or reality: a hyperreal” (1), and he uses the term “simulation” to denote this present condition when we accept images more real than reality itself.1 In the same vein, it is argued by Simon Malpas that in our contemporary world “the object and the sign have become indistinguishable, and we have thereby replaced reality with simulation and the hyperreal” (Malpas 122). “This postmodernism,” Malpas adds, “is a world of images whose referents have disappeared” (95). However, we argue that the meaning of the same term can be enlarged to cover postmodern texts like Coetzee’s Foe in which the symbolic structure is intentionally destroyed...

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