DOCSLIB.ORG

Notes and References

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes and References Notes and References 1 Descriptions of a Struggle 1. Max Brod, note to 'Letter to his Father' (WPC 441, n. 30). 2. The Czech word pavlatche 'signifies a long balcony of the kind which ran round the inner courtyard of many of the more ancient houses in Prague. It was generally shared by several apartments' (WPC 442, n. 34). 3. Two of the elements of this ordeal - the bed and the door - would later become trademarks of Kafka's fiction. 4. In Germanic folklore, the Erl-king is a bearded giant with a golden crown who abducts little children and transports them to the land of death. 5. This notion is perhaps most lyrically expounded in Wordsworth's 'Ode: Intimations of Immortality'. 6. In The Homecoming, Teddy, on entering his father's house, immedi­ ately recognizes the armchair as the seat of patriarchal authority (III 28). 7. Kafka left instructions for Brod to burn all his writings after his death. Yet Brod had told his friend in advance that, if appointed executor, he would never perform such a holocaust, and instead devoted much of his own life to the preservation and propaga­ tion of Kafka's legacy. See Postscript to the first edition of The Trial (T 291-6). 8. Max Brod, Franz Kafka: A Biography (New York, 1960) p. 24. 9. However, in 1989, sixty-five years after the author's death, Schocken Books published a tetralogy entitled The Sons, comprising the three stories originally proposed by Kafka and 'Letter to his Father'. 10. 'The Judgement' carried this inscription on its original publication in the annual Arkadia. However, when the story was re-issued three years later in the series Der jiingste Tag (October 1916), Kafka had replaced 'the outdated dedication' with an even more discreet homage: 'To F.' (FEL 505). 11. Kafka's first impressions of Felice are recorded in his diary (DI 268-9). He portrays her in such a harsh and clinical light that she emerges as a belle laide of rare distinction. 12. On 14 August 1913, Kafka reflected in his diary: 'Conclusion for my case from 'The Judgement'. I am indirectly in her debt for the story. But Georg goes to pieces because of his fiancee' (DI 296). 13. In 'The Urban World', the father blocks a window when he gets to his feet (DI 48); while in 'The Judgement', the father, on rising from his chair, is described by Georg as 'a giant of a man' (CSS 81). 14. In a curious piece of authorial camouflage, the friend in 'The Urban 172 Notes and References 173 World' bears the same forename as Kafka himself. This device is also employed in The Trial, where one of the warders assigned to Joseph K. is called Franz. 15. Georg has, of course, already assumed the senior executive position in the family business. 16. Heinz Politzer, Franz Kafka: Parable and Paradox (Ithaca, N.Y., 1962) p. 291. 17. Herbert Tauber, Franz Kafka: An Interpretation of his Works (London, 1948) p. 15. 18. The phrases quoted here are taken from a letter to Robert Klopstock, in which Kafka discusses Kierkegaard's Fear and Trembling. I shall touch upon the connection with Kierkegaard in the paragraph after next. 19. See also WPC 117-18; 438-9, n. 22. 20. We are reminded of how Jesus, at the moment of His betrayal, had ironically addressed the perfidious Judas as 'Friend' (Matthew 26:50). 21. Ben Jonson, Volpone, or The Fox, 4.5.113-14. 22. A charwoman is featured in the latter stages of 'The Judgement' and 'The Metamorphosis'. In both instances, there is evidence to suggest that she is being used to parody Mary Magdalene's visit to the sepulchre on the morning of the Resurrection (John 20:1-18). In 'The Judgement', the charwoman encounters the master as he is going down into Sheol, not after he has risen up from it; while in 'The Metamorphosis', the charwoman - in shades of Mary Magdalene's frantic report to the disciples - has a fit of the giggles as she tells the dead Gregor's family: 'you don't need to bother about how to get rid of the thing next door. It's been seen to already' (CSS 138). 23. This particular old master has inspired a number of literary works, including W.H. Auden's 'Mus£e des Beaux Arts' and William Carlos Williams' 'Landscape with the Fall of Icarus'. 24. The Greek word monogenes ('only begotten son') is applied to both Isaac and Jesus in the New Testament (Hebrews 11:17; John 3:16). 25. Identified in the travel diaries as 'H.', this gentleman - who appeared to have all the answers - came from Silesia and was a land surveyor by profession. In a wry touch, Kafka would later assign the same occupation to the benighted protagonist of The Castle. 26. See Coleridge's own explanatory note to the poem. Samuel Taylor Coleridge, Selected Poems (London, 1959) pp. 142-3. 27. EUas Canetti has argued that, 'by virtue of some of his stories, Kafka belongs in the annals of Chinese literature' (Elias Canetti, Kafka's Other Trial (Harmondsworth, 1982) p. 72). And indeed Kafka himself once proclaimed: 'I am a Chinese' (FEL 594). 28. John Milton, Paradise Lost, bk 4, 1. 690. 29. Ibid., bk 4,11. 690-705. 30. There is a clear parallel here with the flamboyantly liveried liftboys at the Hotel Occidental in America (A 152-3). 31. Kafka had observed how his own father was often overawed by those who 'were for the most part only seemingly' his social betters (WPC 175-6). Correspondingly, in the course of 'The Metamorphosis', 174 Notes and References we witness Mr Samsa cringing - literally with cap in hand at one stage - before such tin gods as the chief clerk and the lodgers. 32. Interestingly, Kafka listed both carpentry and gardening among his own hobbies (DII 198). 33. Whereas Salome, the stepdaughter of Herod Antipas, had requested the head of John the Baptist as a reward for her Terpsichorean turn, Mrs Samsa, having performed her shambolic strip-tease, asks for Gregor's sconce to be spared. 34. The figure of Lilith is mentioned in Talmudic literature. She is said to have been created at the same time as Adam, but refused to recog­ nize his authority over her, and subsequently left him to become the Devil's dam. She is identified with 'the screech owl' in Isaiah 34:14. 35. It was perhaps because the ending of 'The Metamorphosis' dwelt upon events after Gregor's death that Kafka found it so 'Unreadable' (DII 12). (The problem was that any post-mortem finale inevitably involved a jarring shift in narrative perspective - since the rest of the story had been told entirely from the insect's point of view.) 36. In the Editor's Note to the first edition of The Castle, Max Brod recalls how Kafka had once told him how that novel was to end: 'The ostensible Land-Surveyor [...] was not to relax in his struggle, but was to die worn out by it' (C 8). However, Brod's assertion in the Postscript to America that Kafka's first novel was to finish with Karl Rossmann and his parents all living happily ever after (A 311) is wholly negated by a diary entry from September 1915, in which Kafka himself reveals that Karl was actually destined to share a similar (but harsher) fate to that which befeU the hero of The Trial: 'Rossmann and K, the innocent and the guilty, both executed without distinc­ tion in the end, the guilty one with a gentler hand [...]' (DII 132). 37. Kafka's euphoric conceit of a deathsong that fades 'beautifully and purely away' (DII 102) is echoed with a chilling twist in Pinter's One for the Road, where the despotic Nicolas exults: Death. Death. Death. Death. As has been noted by the most respected authorities, it is beautiful. The purest, most harmonious thing there is. (IV 379) The difference is that, whereas Kafka is fantasizing about his own quietus, Nicolas is gloating upon the extermination of others. 38. As the translators have noted, the German word for 'atonement' - Versohnung - also means 'reconcilation' (DII 323, n. 53). 39. Note the resonance here with Grete's comment that 'If this were Gregor, [...] he'd have gone away on his own accord' (CSS 134). 2 Return to a Father 1. Lawrence M. Bensky, 'Harold Pinter: An Interview', in Pinter: A Collec­ tion of Critical Essays, edited by Arthur Ganz (Englewood Cliffs, NJ., 1972) pp. 21-2. This interview was originally published in The Paris Review 10 (Fall 1966). Notes and References 175 2. Ibid., p. 22. 3. Pinter, interviewed by John Sherwood, BBC European Service, 3 March 1960; cited in Martin Esslin, Pinter: The Playwright (London, 1982) p. 40. 4. Beckett at Sixty (London, 1967) p. 86. 5. The first of Pinter's works to be submitted to Beckett for perusal was The Homecoming (CP 28). At the time of his death, Beckett was reading Pinter's screenplay of The Trial (CP 144). 6. This term was first applied to Pinter's work by Irving Wardle in an article which appeared in Encore in September-October 1958. 7. Ronald Hayman, Harold Pinter (London, 1980) p. 1. 8. Not surprisingly, the connection between Pinter and Kafka has been attracting more attention since the dramatist wrote his screenplay of The Trial. (See, for example, the articles by Francis Gillen and John L. Kundert-Gibbs listed in Works Cited.) I shall discuss the significance of The Trial in the opening section of Chapter 4.
Load more

Recommended publications
  • Complete Stories by Franz Kafka
    The Complete Stories by Franz Kafka 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. 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. The foreword by John Updike was originally published in The New Yorker.
    [Show full text]
  • TRUTH and FALSEHOOD in SCIENCE and the ARTS the Arts
    The authors discuss truth and falsehood in science and ARTS THE AND SCIENCE IN FALSEHOOD AND TRUTH the arts. They view truth as an irreducible point of refer- TRUTH AND FALSEHOOD ence, both in striving for elementary knowledge about the world and in seeking methods and artistic means IN SCIENCE of achieving this goal. The multilevel and multiple-aspect research presented here, conducted on material from different periods and different cultures, shows very clearly AND THE ARTS that truth and falsehood lie at the foundation of all human motivation, choices, decisions, and behaviors. At the Edited by same time, however, it reveals that every bid to extra- polate the results of detailed studies into generalizations Barbara Bokus, Ewa Kosowska aimed at universalization – by the very fact of their discursivation – either subjects the discussion to the rules of formal logic or situates it outside the realm of truth and falsehood. The Editors www.wuw.pl TRUTH AND FALSEHOOD IN SCIENCE AND THE ARTS TRUTH AND FALSEHOOD IN SCIENCE AND THE ARTS Edited by Barbara Bokus, Ewa Kosowska Reviewers Stefan Bednarek Stanisław Rabiej Commissioning Editor Ewa Wyszyńska Proofreading Joanna Dutkiewicz Index Łukasz Śledziecki Cover Design Anna Gogolewska Illustration on the Cover kantver/123RF Layout and Typesetting Marcin Szcześniak Published with financial support from the University of Warsaw Published with financial support from the Faculty of “Artes Liberales”, University of Warsaw © Copyright by Wydawnictwa Uniwersytetu Warszawskiego, Warszawa 2020 Barbara Bokus ORCID 0000-0002-3048-0055 Ewa Kosowska ORCID 0000-0003-4994-1517 ISBN 978-83-235-4220-9 (pdf online) ISBN 978-83-235-4228-5 (e-pub) ISBN 978-83-235-4236-0 (mobi) Wydawnictwa Uniwersytetu Warszawskiego 00-497 Warszawa, ul.
    [Show full text]
  • Common Sayings and Expressions in Kafka Hartmut Binder
    Document generated on 09/25/2021 10:25 p.m. TTR Traduction, terminologie, re?daction Common Sayings and Expressions in Kafka Hartmut Binder Kafka pluriel : réécriture et traduction Volume 5, Number 2, 2e semestre 1992 URI: https://id.erudit.org/iderudit/037123ar DOI: https://doi.org/10.7202/037123ar See table of contents Publisher(s) Association canadienne de traductologie ISSN 0835-8443 (print) 1708-2188 (digital) Explore this journal Cite this article Binder, H. (1992). Common Sayings and Expressions in Kafka. TTR, 5(2), 41–105. https://doi.org/10.7202/037123ar Tous droits réservés © TTR: traduction, terminologie, rédaction — Les auteurs, This document is protected by copyright law. Use of the services of Érudit 1992 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Common Sayings and Expressions in Kafka Hartmut Binder Translation by Iris and Donald Bruce, University of Alberta "Bild, nur Büd"1 [Images, only images] Proverbial sayings are pictorially formed verbal phrases2 whose wording, as it has been handed down, is relatively fixed and whose meaning is different from the sum of its constituent parts. As compound expressions, they are to be distinguished from verbal metaphors; as syntactically dependant constructs, which gain ethical meaning and the status of objects only through their embedding in discursive relationships, they are to be differentiated from proverbs.
    [Show full text]
  • Laughing with Kafka After Promethean Shame
    PROBLEMI INTERNATIONAL,Laughing with vol. Kafka 2, no. 2,after 2018 Promethean © Society for Shame Theoretical Psychoanalysis Laughing with Kafka after Promethean Shame Jean-Michel Rabaté We have learned that Kafka’s main works deploy a fully-fledged political critique whose main weapon is derision.1 This use of laughter to satirize totalitarian regimes has been analyzed under the name of the “political grotesque” by Joseph Vogl. Here is what Vogl writes: From the terror of secret scenes of torture to childish officials, from the filth of the bureaucratic order to atavistic rituals of power runs a track of comedy that forever indicates the absence of reason, the element of the arbitrary in the execution of power and rule. How- ever, the element of the grotesque does not unmask and merely denounce. Rather it refers—as Foucault once pointed out—to the inevitability, the inescapability of precisely the grotesque, ridicu- lous, loony, or abject sides of power. Kafka’s “political grotesque” displays an unsystematic arbitrariness, which belongs to the func- tions of the apparatus itself. […] Kafka’s comedy turns against a diagnosis that conceives of the modernization of political power as 1 This essay is a condensed version of the second part of Kafka L.O.L., forthcoming from Quodlibet in 2018. In the first part, I address laughter in Kaf- ka’s works, showing that it takes its roots in the culture of a “comic grotesque” dominant in Expressionist German culture. Günther Anders’s groundbreaking book on Kafka then highlights the political dimensions of the work while criti- cizing Kafka’s Promethean nihilism.
    [Show full text]
  • 15 October 2010 Page 1 of 7
    Radio 7 Listings for 9 – 15 October 2010 Page 1 of 7 SATURDAY 09 OCTOBER 2010 SAT 05:00 Stilgoe's Around (b00v3yq9) Agatha Christie's The Dressmaker's Doll Manchester Grammar School (16/04/1984) A creepy doll with a mind of its own causes alarm along SAT 00:00 James Follett - Earthsearch (b007jnzy) Manchester Grammar School welcomes Richard Stilgoe for his London's catwalks. Mike Walker's revamped whodunnit with Earthsearch II amusing look at education. With Sandi Toksvig. From April Juliet Aubrey. Sundeath 1984. SAT 17:00 Stilgoe's Around (b00v3yq9) On an abandoned artificial sun, the crew of Challenger probes SAT 05:30 The Complete Caledonian Imbiber (b00pd7cy) [Repeat of broadcast at 05:00 today] the computer in charge. Let Them Drink Port SAT 17:30 The Complete Caledonian Imbiber (b00pd7cy) James Follett's cult sci-fi drama is a gripping sequel to his Billy Kay celebrates the Scots drouth for ale, whisky and the [Repeat of broadcast at 05:30 today] original Earthsearch. great wines of Europe. SAT 18:00 The Scarifyers (b00v76yy) Commander Telson ...... Sean Arnold SAT 06:00 09/10/2010 (b00v754p) The Curse of the Black Comet Sharna ...... Amanda Murray Join all your CBeebies friends for songs, rhymes and stories on Episode 1 Darv ...... Haydn Wood BBC Radio 7. MI-13's Lionheart and Dunning investigate a mysterious Astra ...... Kathryn Hurlbutt SAT 08:00 Big Toe Books (b00v754r) outbreak of the Black Death in 1930s London. Stars Brian Bran ...... Michael Maloney Chris Pizzey presents an hour of children's stories, featuring Blessed.
    [Show full text]
  • The Stelliferous Fold : Toward a Virtual Law of Literature’S Self- Formation / Rodolphe Gasche´.—1St Ed
    T he S telliferous Fold he Stelliferous Fold Toward a V irtual L aw of TL iterature’ s S elf-Formation R odolphe G asche´ fordham university press New York 2011 Copyright ᭧ 2011 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Fordham University Press also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Cataloging-in-Publication Data Gasche´, Rodolphe. The stelliferous fold : toward a virtual law of literature’s self- formation / Rodolphe Gasche´.—1st ed. p. cm. Includes index. ISBN 978-0-8232-3434-9 (cloth : alk. paper) ISBN 978-0-8232-3435-6 (pbk. : alk. paper) ISBN 978-0-8232-3436-3 (ebk.) 1. Literature—Philosophy. 2. Literature—History and criticism—Theory, etc.I. Title. PN45.G326 2011 801—dc22 2011009669 Printed in the United States of America 131211 54321 First edition For Bronia Karst and Alexandra Gasche´ contents Acknowledgments ix Introduction 1 Part I. Scenarios for a Theory 1. Un-Staging the Beginning: Herman Melville’s Cetology 27 2.
    [Show full text]
  • THE CASE for AMERICAN HISTORY in the LAW SCHOOL CURRICULUM Harold P
    Western New England Law Review Volume 29 29 (2006-2007) Article 2 Issue 3 1-1-2007 THE CASE FOR AMERICAN HISTORY IN THE LAW SCHOOL CURRICULUM Harold P. Southerland Follow this and additional works at: http://digitalcommons.law.wne.edu/lawreview Recommended Citation Harold P. Southerland, THE CASE FOR AMERICAN HISTORY IN THE LAW SCHOOL CURRICULUM, 29 W. New Eng. L. Rev. 661 (2007), http://digitalcommons.law.wne.edu/lawreview/vol29/iss3/2 This Article is brought to you for free and open access by the Law Review & Student Publications at Digital Commons @ Western New England University School of Law. It has been accepted for inclusion in Western New England Law Review by an authorized administrator of Digital Commons @ Western New England University School of Law. For more information, please contact [email protected]. THE CASE FOR AMERICAN HISTORY IN THE LAW-SCHOOL CURRICULUM HAROLD P. SOUTHERLAND* I. THE SHOCK OF RECOGNITION Karl Llewellyn once said that there are always two or more "technically correct" answers to any serious legal question, mutu­ ally contradictory and pointing in opposite directions in a given case.1 He meant that a court can almost always find a technically acceptable way of rationalizing whatever result it wishes to reach. A lot of time is spent in law school in gaining an appreciation of this so-called logical process. Law students learn hundreds of general rules, each with its exceptions; they learn the canons of statutory construction, each with an equal and opposite canon; they learn to manipulate precedent-to analogize cases when favorable, to dis­ tinguish them when not, often by invoking factual distinctions that might strike anyone but a lawyer as irrelevant.
    [Show full text]
  • Professor Robert Beveridge FRSA, University of Sassari
    Culture, Tourism, Europe and External Relations Committee Scotland’s Screen Sector Written submission from Professor Robert Beveridge FRSA, University of Sassari 1. Introduction While it is important that the Scottish Parliament continues to investigate and monitor the state of the creative and screen industries in Scotland, the time has surely come for action rather than continued deliberation(s) The time has surely come when we need to stop having endless working parties and spending money on consultants trying to work out what to do. Remember the ‘Yes Minister’ Law of Inverse Relevance ‘ ‘The less you intend to do about something, the more you have to keep talking about it ‘ ‘Yes Minister’ Episode 1: Open Government Therefore, please note that we already know what to do. That is: 1.1 - Appoint the right people with the vision leadership and energy to succeed. 1.2 - Provide a positive legislative/strategic/policy framework for support. 1.3 - Provide better budgets and funding for investment and/or leverage for the same. (You already have access to the data on existing funding for projects and programmes of all kinds. If the Scottish Government wishes to help to improve performance in the screen sector, there will need to be a step change in investment. There is widespread agreement that more is needed.) 1.4 Give them space to get on with it. That is what happened with the National Theatre of Scotland. This is what happened with MG Alba. Both signal success stories. Do likewise with the Screen Industries in Scotland 2. Context Some ten years ago the Scottish Government established the Scottish Broadcasting Commission.
    [Show full text]
  • Unitarian Gothic: Rebuilding in Hackney in 1858 Alan Ruston 20
    istory• ,, VOLUME ONE In this issue - Pepys and Hackney: how Samuel and Elisabeth Pepys visited Hackney for rest and recreation - two ( or one and the same?) Homerton gardens visited by Pepys and Evelyn - The Tyssen family, Lords of the manor in Hackney since the 17th century-how Victorian nonconformists went shop­ ping for 'off the peg' church architecture- silk manufactur­ ers, the mentally afflicted, and Victorian orphans at Hackney Wick-the post-war development ofhigh-rise housing across the borough ... Hackney History is the new annual volume ofthe Friends of Hackney Archives. The Friends were founded in 1985 to act as a focus for local history in Hackney, and to support the work ofHackney Archives Department. As well as the annual volume they receive the Department's regular newsletter, The Hackney Terrier, and are invited to participate in visits, walks and an annual lecture. Hackney History is issued free ofcharge to subscribers to the Friends. In 1995 membership is£6 for the calendar year. For further details, please telephone O171 241 2886. ISSN 1360 3795 £3.00 'r.,,. free to subscribers HACKNEY History volume one About this publication 2 Abbreviations used 2 Pepys and Hackney Richard Luckett 3 The Mystery of Two Hackney Gardens Mike Gray 10 The Tyssens: Lords of Hackney Tim Baker 15 Unitarian Gothic: Rebuilding in Hackney in 1858 Alan Ruston 20 A House at Hackney Wick Isobel Watson 25 The Rise of the High-Rise: Housing in Post-War Hackney Peter Foynes 29 Contributors to this issue 36 Acknowledgements 36 THE FRIENDS OF HACKNEY ARCHIVES 1995 About this publication Hackney History is published by the Friends of Hackney Archives.
    [Show full text]
  • 2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin Was a Furniture Designer Best Known for His Injection Nali
    Radio 4 Extra Listings for 27 March – 2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin was a furniture designer best known for his injection Nali ...... Nina Conti moulded polypropylene stacking chair, of which over 20 million Libby ...... Sarah Kendall SAT 00:00 Dream Story by Arthur Schnitzler (m000tg86) have been manufactured. Joan ...... Sarah Thom Episode 5 The Days shared a vision of good, affordable design for all. Mrs Singh ...... Nina Wadia Having infiltrated a secret masked ball where the female Together they established themselves as Britain's most Cilla ...... Gbemisola Ikumelo revellers are naked, Fridolin is discovered and must face his celebrated post-war designer couple, often been compared to Zoanna ...... Gbemisola Ikumelo hosts. US contemporaries, Charles Eames and Ray Eames. Roland ...... Colin Hoult Read by Paul Rhys. But despite their growing fame in the 1950s and 60s they Producer: Alexandra Smith Published in 1926, Arthur Schnitzler’s ‘Dream Story’ was remained uncomfortable with the public attention they received. A BBC Studios production for BBC Radio 4 first broadcast in alternately titled ‘Rhapsody’ and, in the original German, They shared a passion for nature and spent more and more time November 2016. ‘Traumnovelle’. outdoors. Lucienne drew much of her inspiration from plants SAT 05:30 Stand-Up Specials (m000tcl3) Credited as the novella that inspired Stanley Kubrick's last film. and flowers and Robin was a talented and obsessive mountain Jacob Hawley: Class Act Translated by JMQ Davies. climber. Stevenage soft lad Jacob Hawley left his hometown behind a Producer: Eugene Murphy Wayne reflects on the many layers to Robin and Lucienne and, decade ago and has ascended Britain's social class system, Made for BBC7 and first broadcast in September 2003.
    [Show full text]
  • Franz Kafka a Hunger Artist
    D}d FRANZ KAFKA A HUNGER ARTIST & OTHER STORIES D}d D}d FRANZ KAFKA A HUNGER ARTIST & OTHER STORIES b Translated by Thor Polson D}d GUERNICA TORONTO • BUFFALO • BERKELEY • LANCASTER (U.K.) 2015 Copyright © 2015, Thor Polson and Guernica Editions Inc. All rights reserved. The use of any part of this publication, reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise stored in a retrieval system, without the prior consent of the publisher is an infringement of the copyright law. Michael Mirolla, general editor David Moratto, interior & cover design Guernica Editions Inc. P.O. Box 76080, Abbey Market, Oakville, (ON), Canada L6M 3H5 2250 Military Road, Tonawanda, N.Y. 14150-6000 U.S.A. Distributors: University of Toronto Press Distribution, 5201 Dufferin Street, Toronto (ON), Canada M3H 5T8 Gazelle Book Services, White Cross Mills, High Town, Lancaster LA1 4XS U.K. First edition. Printed in Canada. Legal Deposit — Third Quarter Library of Congress Catalog Card Number: 2014934787 Library and Archives Canada Cataloguing in Publication Kafka, Franz, 1883-1924 [Short stories. English. Selections] A hunger artist & other stories / Franz Kafka ; translated by Thor Polson. (Essential translations series ; 20) Title on added title page, inverted: Poems and songs of love / Georg Mordechai Langer ; translated by Elana and Menachem Wolff Issued in print and electronic formats. Text mostly in English with some in Hebrew. ISBN 978-1-55071-867-6 (pbk.).--ISBN 978-1-55071-868-3 (epub).-- ISBN 978-1-55071-869-0 (mobi) 1. Kafka, Franz, 1883-1924--Translations into English. 2. Langer, Mordechai Georg, 1894-1943--Translations into English.
    [Show full text]
  • Kafka's Uncle
    Med Humanities: first published as 10.1136/mh.26.2.85 on 1 December 2000. Downloaded from J Med Ethics: Medical Humanities 2000;26:85–91 Kafka’s uncle: scenes from a world of trust infected by suspicion Iain Bamforth General Practitioner, Strasbourg, France Abstract well documented fraught relationship. But the title What happens when we heed a call? Few writers have figure of the collection—the country doctor— been as suspicious of their vocation as Franz Kafka honours a diVerent relative altogether, his uncle. (1883–1924). His story, A Country Doctor, (1919) Siegfried Löwy was born in 1867, elder ostensibly about a night visit to a patient that goes half-brother to Kafka’s mother and, following his badly wrong, suggests a modern writer’s journey to the MD, possessor of the only doctorate in the family heart of his work. There he discovers that trust, like the until his nephew. Significantly, Franz often thought tradition which might sustain him, is blighted. This of himself as a Löwy rather than a Kafka: his diary essay also examines Kafka’s attitude to illness and the entry for 25 December 1911 contains a long list of medical profession, and his close relationship with his colourful matrilineal begats, including a reference uncle, Siegfried Löwy (1867–1942), a country doctor to his maternal great-grandfather, who was a mira- in Moravia. cle rabbi. “In Hebrew my name is Amschel, like my (J Med Ethics: Medical Humanities 2000;26:85–91) mother’s maternal grandfather, whom my mother, Keywords: Franz Kafka; German literature; trust; suspi- who was six years old when he died, can remember cion; doctor-baiting; negotiation as a very pious and learned man with a long, white beard.
    [Show full text]