Islands of Control: Spatial and Psychoanalytical Constructs in Franz Kafka’s Fiction Sarah Jozefiak B Des (Arch)(Merit), M Arch (Hons1) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Architecture November 2017 This research was supported by an Australian Government Research Training Program (RTP) Scholarship Statement of Authorship I hereby certify that the work embodied in the thesis is my own work, conducted under normal supervision. The thesis contains no material which has been accepted, or is being examined, for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968 and any approved embargo. Acknowledgements First and foremost, I thank my supervisors, Michael Ostwald and Mark Taylor, for their efforts over the years. I am especially thankful to my primary supervisor, Michael Ostwald, for his professional guidance, patience and persistence in getting this thesis to where it is. I am also thankful for the assistance I have had with the Australian Government Research Training Program (RTP) Scholarship (formerly Australian Postgraduate Award). The stipend allowed me to fully immerse in and undertake this research. I would also like to thank my colleagues at the School of Architecture and Built Environment at the University of Newcastle. In particular, my friend and mentor, Michael Chapman, has been a great source of inspiration and encouragement over these years. I am also indebted to my colleague, neighbour and good friend Cathy Smith. Finally, the other friends, family and talkback radio that have been the most invaluable support in the duration of this thesis. I wholeheartedly thank James Valentine for his irreverent and witty lunchtime talkback show, always a most anticipated and welcome time in the day which greatly helped to alleviate the social isolation that is inevitably experienced in the long due course of a PhD thesis. My beloved and wonderful Carrington neighbour, Sam 'Sambo' Ryan, and my friend Katie Cadman, for both looking out for me. Finally, I am most indebted to both my father, Eddy, and my fiancé, Damien, for the never-ending love and support they have given me. How very lucky I am. Thank you, everyone. Abstract The fictional stories of Czech author Franz Kafka are renowned throughout the world for capturing the sombre and anxious zeitgeist of the early twentieth century in Europe. Kafka’s fiction was produced in the years immediately before the First World War and against a backdrop of emerging modernity. This dissertation critically examines several recurring spatial constructs — involving interiors, furniture and possessions — in Franz Kafka’s short stories, The Trial (1925), and The Metamorphosis (1915). These spatial constructs are identified and interpreted using a combination of theories drawn from three areas: architecture, psychoanalysis and literature. The primary architectural theories which are employed for this purpose are Anthony Vidler’s theory of the architectural uncanny, and Emily Apter’s thematic history of cabinet typologies. The psychoanalytical theories are drawn largely from Sigmund Freud’s On the Uncanny (1919), and his concept of dream symbolism developed in On the Interpretation of Dreams (1900) and Introductory Lectures on Psychoanalysis (1915). Finally, literary theory, including the Russian formalist Viktor Shklovsky’s model of ‘enstrangement’, is used to develop the notions of langue and parole to assist in constructing the connection between Freud and architecture, which is a precursor to the analysis of spatial constructs in Kafka’s fiction. The dissertation is divided into three parts. The first develops the theoretical framework for the central argument, looking at the uncanny and how it occurs in literature, architecture and psychoanalysis, before developing a theoretical nexus between the three. The second part examines the spaces of Kafka’s life and dreams, including connections between the two. The third part examines spatial constructs in his fiction, focusing on The Trial and The Metamorphosis. Through this process, the dissertation uncovers a particular recurring spatial structure, called, for the purposes of the present research, an ‘island of control’. This structure is nested at multiple scales and functions as a type of fortification, providing moments of personal power for the main protagonist in Kafka’s fiction, which are inevitably breached. By understanding the i role played by these ‘islands’ in Kafka’s fiction, a new insight is offered into how architecture is used to aid narrative and character development, and further our understanding of the uncanny in architectural theory. ii Contents Abstract i Introduction 1. Kafka and the crisis of the emerging Modern interior 1 Part I Critical Theory 2. Models of Kafkan spatiality 43 3. Rethinking the Freudian architectural uncanny 60 4. Architecture, Langue and Parole 96 Part II Spatial Biography 5. Mapping home: a spatial biography of Kafka 139 Part III Case Study 6. Islands of Control 178 Conclusion 7. Conclusion 255 References 267 iii List of Figures Chapter 1 Fig. 1.1: Daniel Libeskind, Berlin Jewish Museum. Fig. 1.2: Film still, The Cabinet of Dr. Caligari, 1920. Fig. 1.3: Daniel Libeskind. set design for Kafka’s Metamorphosis. Chapter 2 Fig. 2.1: Benjamin’s ellipse Fig. 2.2: Deleuze and Guattari’s ‘states’ Fig. 2.3: Deleuze and Guattari’s states Fig. 2.4: Laplanche and Pontalis’ dualisms in Freudian theory Fig. 2.5: Plan diagram for the architectural structure presented in Kafka’s fable Before the Law Fig. 2.6: Plan diagram of Freud’s spatial analogy of repression and the preconscious Chapter 3 Fig. 3.1: The uncanny as a black and white linguistic and phenomenological equation Fig. 3.2: The linguistic meaning of heimlich/unheimlich, as underpinned and generated by Freud’s psychological concept of repression and his description of the ‘return of the repressed’ Fig. 3.3: ‘A slippage between waking and dreaming’: the mechanism of the architectural uncanny as according to Vidler iv Fig. 3.4: ‘A slippage between waking and dreaming’: the confused homology between reader and narrative space Fig. 3.5: ‘A slippage between waking and dreaming’: the confused homology between writer and narrative space Fig. 3.6: Freud at his study desk, 1938 Fig. 3.7: Freud’s study and writing desk with antiquities, 1938 Fig. 3.8: Diagram of the slippage between the patients’ interior mind and Freud’s own that occurs via the process of free association Fig. 3.9: A diagram of the actual ‘impure’ transaction that occurs between patient and psychoanalyst Fig. 3.10: Diagram showing the relationship between the spatial configuration of Freud’s practise, and his spatial analogy for the mechanism of repression Fig. 3.11: Diagram illustrating the hypothesis. Chapter 4 Fig. 4.1: Conceptual diagram for Shklovsky’s theory of meaning in a literary motif or word Fig. 4.2: A model for a Freudian dream element Fig. 4.3: Binary model of Saussure’s langue and parole as described by Macey Fig. 4.4: Theoretical model for an architectural langue and parole Chapter 5 Fig. 5.1: Map of Prague showing Kafka’s addresses over his lifetime Fig. 5.2: Timeline of Kafka’s lived spaces and wider urban changes in Prague Fig. 5.3: Spectrum of architectural experiences for Kafka v Fig. 5.4: Ignác Ullmann, 1866, Prague apartment building at the corner of Národni Avenue and Perlová Street. A typical residential floorplan in Prague, showing rooms situated in an enfilade and accessible sequentially. Fig. 5.5: A possible layout of Kafka’s room according to Brod’s description Chapter 6 Fig.6.1: Citadel of Tiryns, Argolis, Greece Fig. 6.2: Prague Castle Fig. 6.3: Fortification strata in the Citadel of Tiryns, Kafka’s parable Before The Law and Freud’s analogy for repression Fig. 6.4: Hand drawings by Kafka from his diary Fig. 6.5: Plan of Metamorphosis interior Fig. 6.6: Plan of The Trial interior. Fig. 6.7: Comparison of Metamorphosis and The Trial interiors and elements. Fig. 6.8: Comparison of Metamorphosis and The Trial interiors, Kafka’s parable Before The Law and Freud’s spatial analogy for repression. Fig. 6.9: The first ‘island of control’: the room. Fig. 6.10: Ottomar Starke, cover illustration for the first edition of The Metamorphosis, 1916 Fig. 6.11: The second island of control: picture and window frames Fig. 6.12: Hand drawing by Kafka Fig. 6.13: El Greco, Lady in a Fur Wrap (ca. 1577–1580) Fig. 6.14: The third island of control: the wardrobe Fig. 6.15: Kafka’s drafted images from his report ‘Measures for Preventing Accidents From Wood-Planing Machines’, 1910. Fig. 6.16: The fourth island of control: the writing desk Fig. 6.17: Hand drawing by Kafka of himself at this writing desk vi Fig. 6.18: The fifth island of control: the bedside table Fig. 6.19: The sixth island of control: the arm chair Fig. 6.20: Freud’s chair for patients Fig 6.21: Hand drawing by Kafka Fig 6.22: Hand drawing by Kafka Chapter 7 Fig. 7.1: Hand drawing by Kafka from his diary Fig. 7.2: Hand drawing by Kafka from his diary Fig. 7.3: ‘Jens Peter Müller, “the most beautiful man of the new century”, according to the novelist Erich Kästner.’ vii Chapter 1. Kafka and the crisis of the emerging Modern interior Introduction: the space of experience In March 1915, in a dispirited frame of mind, Franz Kafka moved out of the family home in search of ‘a room and a vegetarian diet, almost nothing more.’1 For the next couple of years he would occupy a number of simple rooms and small apartments around Prague, until sickness required him to return to live with his parents, from 1917 until his death in 1924.