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Katherine Hallemeier (International) assertion Katherine Hallemeier i(A144790 works by)
Gender: Female
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Works By

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1 Age of Iron Katherine Hallemeier , 2023 single work criticism
— Appears in: The Bloomsbury Handbook to J. M. Coetzee 2023; (p. 127-136)
1 J. M. Coetzee’s Literature of Hospice Katherine Hallemeier , 2016 single work criticism
— Appears in: Modern Fiction Studies , Fall vol. 62 no. 3 2016; (p. 481-498) 'Near the end of J. M. Coetzee’s fictionalized memoir Summertime, an undated fragment from the notes of the protagonist John Coetzee presents the character at a crossroads. A cancerous tumor is found on his father’s larynx. After the prescribed laryngectomy, John perceives his father “like a corpse, the corpse of an old man” (262–63).1 John’s father is returned to his home by ambulance workers who provide a sheet of instructions before departing. In the fiction’s closing lines John gradually realizes his father’s care has become his responsibility: “It is not [the ambulance workers’] business, taking care of the wound, taking care of the patient. Their business is to convey the patient to his or her place of residence. After that it is the patient’s business, or the patient’s family’s business, or else no one’s business”. (Author's introduction)
1 J. M. Coetzee and the Limits of Cosmopolitanism by Katherine Hallemeier Katherine Hallemeier , 2015 single work review
— Appears in: Ariel , October vol. 46 no. 4 2015; (p. 185-186)
— Review of J.M. Coetzee and the Limits of Cosmopolitanism Katherine Hallemeier , 2013 single work criticism
1 1 y separately published work icon J.M. Coetzee and the Limits of Cosmopolitanism Katherine Hallemeier , New York (City) : Palgrave Macmillan , 2013 8157234 2013 single work criticism

'Drawing on postcolonial and gender studies, as well as affect theory, the book interrogates cosmopolitan philosophies. Through analysis of J.M. Coetzee's later fiction, Hallemeier invites the re-imagining of cosmopolitanism, particularly as it is performed through the reading of literature.' (Publisher's summary)
1 Secular Study and Suffering: J.M. Coetzee's 'The Humanities in Africa' Katherine Hallemeier , 2011 single work criticism
— Appears in: Scrutiny2 , vol. 16 no. 1 2011; (p. 42-52) 'Prominent literary philosophers as diverse as Martha Nussbaum, Kwame Anthony Appiah, and Gayatri Chakravorty Spivak have envisioned a role for the humanities in fostering more ethical relationships on a global scale. Through a close reading of JM Coetzee's fifth “lesson” in Elizabeth Costello: eight lessons, this paper interrogates the limits of the humanities for promoting secular salvation. “Lesson five: the humanities in Africa”, I argue, troubles the distinction between secular teaching and religious faith as alternatives to living in a world imbued with suffering, by suggesting that neither the humanities nor religion materially offers an escape from suffering – that neither secular nor divine salvation exists beyond hope and faith. The lesson asks: do the humanities offer anything besides the promise of salvation to its students? If the secular salvation offered by the humanities fails to engage substantively with what one of Coetzee's characters calls “the reality of Africa”, despite calls for mutual understanding or an understanding of mutuality, how do we rethink the humanities? How do we imagine, and how might we re-imagine, the relationship between the humanities and quotidian suffering? Perhaps as obsessive, repetitive, imperfect performances, both the humanities and religion exist as rituals through which to live with others who are (also) suffering.'
1 Writing Hybridity : The Theory and Practice of Autobiography in Rey Chow's "The Secrets of Ethnic Abjection" and Brian Castro's Shanghai Dancing Katherine Hallemeier , 2011 single work criticism
— Appears in: Antipodes , December vol. 25 no. 2 2011; (p. 125-130) Katherine Hallemeier employs a close reading of Rey Chow's essay "The Secrets of Ethic Abjection' (2012) and Brian Castro's autobiographical essays in Looking for Estrellita (1999) and his fictional autobiography Shanghai Dancing (2003) and argues that both authors 'are similar insofar as their writing challenges essentialist understanding of hybrid identity by in fact straddling the genres of autobiography and theory'. (p. 125)
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