1 Franz Kafka (1883-1924) the Metamorphosis (1915)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bruce Elliot
An Interview with Bruce Elliot at his home in Van Buren, Missouri 02 April 1998 interviewed by Will Sarvis Oral History Program The State Historical Society of Missouri © 1998 Collection C3966 Missouri Environment a.c. 21 NOTICE 1) This material is protected by copyright law (Title 17, U.S. Code). It may not be cited without acknowledgment to The Oral History Program of the State Historical Society of Missouri and the Western Historical Manuscript Collection, a Joint Collection of the University of Missouri and the State Historical Society of Missouri. Citations should include: [name of interviewee], [name of the interviewer], [date and place of interview], [audio recording or transcript], and [where it can be found, for example, The Oral History Program of the State Historical Society of Missouri, Missouri Environment Oral History Project]. 2) Reproductions of this transcript are available for reference use only and cannot be reproduced or published in any form (including digital formats) without written permission from the Western Historical Manuscript Collection. 3) Use of information or quotations from any Missouri Environment Oral History Project transcript indicates agreement to indemnify and hold harmless the University of Missouri, the State Historical Society of Missouri, their officers, employees, and agents, and the interviewee from and against all claims and actions arising out of the use of this material. For further information, contact: Western Historical Manuscript Collection 23 Ellis Library University of Missouri Columbia, MO 65201-5149 PREFACE Mr. Bruce F. Elliott was born on July 2, 1909. He began his Forest Service career in Michigan during the Depression era. -
Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
Introduction
Guston, Philip Guston 9/8/10 6:04 PM Page 1 INTRODUCTION DORE ASHTON “Create, artist! Don’t talk!” the aging Goethe counseled his contemporaries in 1815. The painter Degas seconded the old sage when he told the young poet Paul Valéry that when the muses finished their day’s work they didn’t talk, they danced. But then, as Valéry vividly recalled, Degas went on to talk of his own art for hours on end. Painters have always talked, and some, such as Delacroix, Mondrian, Kandinsky, Malevich, and Motherwell, also wrote. Certain painters, Goya, for example, also deftly used language to augment their imagery. Like Degas, who liked to talk with poets and even engaged the inscrutable Mallarmé, Guston liked talking with poets, and they with him. Among his most attentive listeners was his friend the poet Clark Coolidge, whose ear was well attuned to Guston’s sometimes arcane utterances and who has selected some of the painter’s most eloquent sessions of writing and talking, resulting in a mosaic of a life - time of thought. I was also one of Guston’s interlocutors for almost thirty years. I recognize with pleasure Coolidge’s unfurling of Guston’s cycles of talk and non-talk; his amusing feints and dodges when confronted with obtuse questioners, his wondrous bursts of language when he felt inspired, his sometimes playful contrariness, his satisfaction in being a provocateur, and his consistent preoccupation with serious aesthetic ques - tions through out his working life as a painter. Above all, I recognize Guston’s funda - mental rebelliousness, which manifested itself not only in his artistic preferences but in his politics, his choice of artistic battlefields, and his intimate studio life. -
Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’S the Age of Wonders (Tor Ha-Pela’Ot)
THE GERMANIC REVlEW Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’s The Age of Wonders (Tor Ha-pela’ot) DAVID SUCHOFF uch recent cultural criticism has argued that postmodern culture can be di- M agnosed as an unworked-through period of mourning, unable to come to terms with the Holocaust and the definitive break with modernist categories that it represents.’ Aharon Appelfeld’s Hebrew novella The Age of Wonders (1978) portrays the story of an assimilated Jewish writer and his family in Austria be- fore the Holocaust, and the story of his son Bruno, who returns to Austria from Jerusalem after the war in search of his past. The text’s very structure seems to affirm the traditional categories of the modedpostmodern divide. Bruno’s father seems to represent the formalism of modernist fiction and its paradigmatic eth- nic self-denial. As the Holocaust draws near in the first half of the novella, Jew- ish history is truly the nightmare from which the writer, as the “father” of Bruno’s apparently rootless, postmodern fate, unsuccessfully tries to awaken. “Father” (his only consistent name in the novella) constantly seeks to become an “Austrian writer,” with German as his “only language” and “mother tongue,” while critics constantly racialize him as a Jew and compare his writing to Kafka’s “parasitism” and unhealthy Jewish style.2 “Father” seems to represent classical modernism, struggling to break with the mass and enter elite culture, only to con- front the question of Jewish culture in its own terms, and those of its enemies, everywhere he turns. -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects. -
Franz Kafka's Transformations
Franz Kafka’s Transformations Andrew Barker ALONE amongst the contributions to the volume, this essay does not address a Scandinavian topic. The theme of transformation in Franz Kafka’s work and life does, however, allow us to recall that Peter Graves is himself a notable example of a changeling, having begun his career at Aberdeen University as a student of German under the venerable Professor Wilhelm (Willy) Witte. What is presented here may thus serve as a reminder of a world Peter inhabited long ago, before he morphed into the Scandinavian polymath we know and honour today. The impetus for the present contribution came from reading James Hawes’ exhilarating study Excavating Kafka (2008).1 This work was promptly written off by Klaus Wagenbach, the doyen of Kafka studies in Germany, who is quoted as saying: ‘Irgendein Dämel kommt daher, weiß nix und schreibt über Kafka’ (Jungen 2008).2 In defence of Wagenbach’s po-faced dismissal of a much younger, non-German scholar’s work, one might plead that his grasp of English was insufficient for him to grasp the book’s satirical and polemical intentions. In fact, Excavating Kafka is the work of a scholar who knows a great deal about Kafka, and writes about him with panache and insight. I can match Hawes neither in my knowledge of Kafka nor the secondary literature, but I share with him a mounting frustration with the commonly-peddled myths about Kafka’s life and work, and it is some of these which I shall address in this short paper. Looking at the work first, I shall concentrate on what is probably Kafka’s most iconic story, Die Verwandlung (1912; ‘Metamorphosis’), the English translation of whose title I find particularly problematic. -
Governs the Making of Photocopies Or Other Reproductions of Copyrighted Materials
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. OXFORD WORLD'S CLASSICS OXFORD WORLD'S CLASSICS For over 100 years Oxford World'J Classics have brought readers closer to the morld's great litera·ture. Nom mith over 700 titles-from the 4,ooo-year-old myths ofMesopotamia to the FRANZ KAFKA twentieth century's greatest IW1'els-the series makes available lesser-known as me" as celebrated mriting. The pocket-sized hardbacks ofthe early years contained A Hunger Artist ill/roductiolls by Virginill Woolf, T. S. Eliot, Graham Greene, alld other literalJlfigures mhich eIlriched the experience ofreading. and Other Stories Today the set'ies is recogllizedfor ilsfine scholarship and reliability ill texts that span world liurature, drama and poetry, religion, philosophy, lind politics. Each edition includes perceptive commel/t.ary and essential background information to meet the changing needs ofreaders. Translated by JOYCE CRICK With an Introduction and Notes by RITCHIE ROBERTSON OXFORD UNIVERSITY PRESS 56 A Hunger Artist: Four Stories A Hunger Artist 57 the wider world would be concerned with the affair after all-where, the personal direction of the performer himself, nowadays it is as I shall keep repeating, it has no jurisdiction-I shall not, I admit, completely impossible. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
Copyright Protected
Contents Preface to the First Edition ..................... 13 Preface 2018 ............................... 15 Introduction: What’s So Great about Heaven? ....... 19 Part One: What Will Heaven Be Like? Chapter 1: Who Are We in Heaven? .............. 47 Chapter 2: What Will We Do in Heaven? .......... 76 Chapter 3: Where Is Heaven and What Is It Like? .. 103 Part Two: Will Heaven Be Home? Chapter 4: Why Don’t We Fit on Earth? .......... 133 Chapter 5: Heaven Has Our Heart’s Desire ....... 159 Chapter 6: Heaven: The Home of Love ........... 186 Chapter 7: At Home with Our King ............. 215 Part Three: The Journey Home Chapter 8: Getting Ready for Heaven ............ 247 Chapter 9: Homeward Bound .................. 276 Epilogue ................................. 295 Notes .................................... 298 Copyright protected 9780310353058_Heaven_int_SC.indd 11 7/26/18 2:03 PM Copyright protected 9780310353058_Heaven_int_SC.indd 12 7/26/18 2:03 PM Preface to the First Edition t’s odd to express appreciation to a wheelchair, but I do. Almost Ithirty years of quadriplegia, and almost as many studying God’s Word, have deepened my gratitude to God for these bolts and bars. The chair has shown me the way Home by heart. Great writers and thinkers have helped guide my heart toward heaven. Over the years, I have scoured bookshelves for every essay, sermon, or commentary written by C. S. Lewis and Jona- than Edwards, from Bishop J. C. Ryle to contemporaries like Peter Kreeft and John MacArthur. Of course, when I want to reflect on a more poetic view of heaven, I always brush the dust off old favorites like George MacDonald and Madame Jeanne Guyon. -
The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. -
Case No COMP/M.3333 Œ SONY / BMG
EN This text is made available for information purposes only. A summary of this decision is published in all Community languages in the Official Journal of the European Union. Case No COMP/M.3333 – SONY / BMG Only the English text is authentic. REGULATION (EC) No 4064/89 MERGER PROCEDURE Article 8 (2) Date: 03/10/2007 COMMISSION OF THE EUROPEAN COMMUNITIES Brussels, 03/X/2007 C(2007) 4507 PUBLIC VERSION COMMISSION DECISION of 03/X/2007 declaring a concentration to be compatible with the common market and the EEA Agreement (Case No COMP/M.3333 – Sony/ BMG) 2 I. INTRODUCTION..................................................................................................... 11 II. THE PARTIES.......................................................................................................... 12 III. THE CONCENTRATION ........................................................................................ 12 IV. COMMUNITY DIMENSION .................................................................................. 12 V. RELEVANT MARKETS.......................................................................................... 13 A. RELEVANT PRODUCT MARKET .............................................................. 13 1. PHYSICAL RECORDED MUSIC ................................................... 13 2. RECORDED MUSIC IN DIGITAL FORMATS ............................. 14 a) Introduction ....................................................................... 14 b) The wholesale market for licensing of digital music ........ 15 c) The digital -
November/December 2012
From the Office By Daniel D. Skwire His complaints about his duties were epic, but Kafka clearly drew satisfaction from working his day job at the Workers’ Accident Insurance Institute of the Kingdom of Bohemia in Prague. ITTLE KNOWN DURING HIS LIFETIME, ghastly machine to torture and execute his prisoners. And in Franz Kafka has come to be recognized as one of The Trial, a man must defend himself in court without being the greatest writers of the 20th century. His works informed of the crime he has been accused of committing. These include some of the most disturbing and enduring portraits of disillusionment, anxiety, and despair anticipate the images of modern fiction. The hero of The Metamor- subsequent horrors of mid-20th-century war and inhumanity. phosis, for example, awakens one morning to find he has been Many of the details of Kafka’s own life are scarcely more Ltransformed into a giant insect. Kafka’s short story “In the Penal cheerful. A sickly individual, he struggled with tuberculosis and Colony” features an officer in a prison camp who maintains a other illnesses before dying at the age of 40. His relationships 20 CONTINGENCIES NOV | DEC.12 WWW.CONTINGENCIES.ORG of Franz Kafka Kafka's desk at the Worker's Accident Insurance Institute in Prague with women were unsuccessful, and he never married despite their occupations. An examination of Kafka’s insurance career being engaged on several occasions. He lived with his parents humanizes him and sheds light on his writing by showing his for most of his life and complained bitterly that his work in the dedication, accomplishments, and sense of humor alongside his insurance profession kept him from his true calling of writing—a many frustrations.