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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. -
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. -
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. -
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. -
1 Franz Kafka (1883-1924) the Metamorphosis (1915)
1 Franz Kafka (1883-1924) The Metamorphosis (1915) Translated by Ian Johnston, Malaspina University-College I One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that, in his bed, he had been changed into a monstrous vermin. He lay on his armour-hard back and saw, as he lifted his head up a little, his brown, arched abdomen divided up into rigid bow-like sections. From this height the blanket, just about ready to slide off completely, could hardly stay in place. His numerous legs, pitifully thin in comparison to the rest of his circumference, flickered helplessly before his eyes. “What’s happened to me,” he thought. It was no dream. His room, a proper room for a human being, only somewhat too small, lay quietly between the four well-known walls. Above the table, on which an unpacked collection of sample cloth goods was spread out—Samsa was a travelling salesman—hung the picture which he had cut out of an illustrated magazine a little while ago and set in a pretty gilt frame. It was a picture of a woman with a fur hat and a fur boa. She sat erect there, lifting up in the direction of the viewer a solid fur muff into which her entire forearm had disappeared. Gregor’s glance then turned to the window. The dreary weather—the rain drops were falling audibly down on the metal window ledge—made him quite melancholy. “Why don’t I keep sleeping for a little while longer and forget all this foolishness,” he thought. -
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. -
Animal Studies Ecocriticism and Kafkas Animal Stories 4
Citation for published version: Goodbody, A 2016, Animal Studies: Kafka's Animal Stories. in Handbook of Ecocriticism and Cultural Ecology. Handbook of English and American Studies, vol. 2, De Gruyter, Berlin, pp. 249-272. Publication date: 2016 Document Version Peer reviewed version Link to publication University of Bath Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 Animal Studies: Kafka’s Animal Stories Axel Goodbody Franz Kafka, who lived in the city of Prague as a member of the German-speaking Jewish minority, is usually thought of as a quintessentially urban author. The role played by nature and the countryside in his work is insignificant. He was also no descriptive realist: his domain is commonly referred to as the ‘inner life’, and he is chiefly remembered for his depiction of outsider situations accompanied by feelings of inadequacy and guilt, in nightmarish scenarios reflecting the alienation of the modern subject. Kafka was only known to a small circle of when he died of tuberculosis, aged 40, in 1924. However, his enigmatic tales, bafflingly grotesque but memorably disturbing because they resonate with readers’ own experiences, anxieties and dreams, their sense of marginality in family and society, and their yearning for self-identity, rapidly acquired the status of world literature after the Holocaust and the Second World War. -
Prof. Michael G. Levine Fall 2015 172 College Avenue 01:470:388:01 Office Hours: Tuesdays, 4:30-6Pm 01:195:395:01 Tel
Prof. Michael G. Levine Fall 2015 172 College Avenue 01:470:388:01 Office Hours: Tuesdays, 4:30-6pm 01:195:395:01 Tel. 732-932-7201 Hardenbergh Hall B2 (T) [email protected] Hardenbergh Hall A4 (TH) TTh5 2:30-4:10 Love Letters Course Description: An examination of the intimacies, estrangements, enigmas and vagaries of love through the correspondence of a number of famous men and women of letters. Our exploration of the epistolary genre will range between private letters and published literary works and seek to read the one in conjunction with the other. Of particular concern will be structures of direct and indirect address, the use of pet names and invention of secret codes and idioms, the materiality of the letter and the postal network, epistolary conventions, and the ties through which poetry, philosophy, literature, personal and public correspondence are themselves intimately bound. Readings include selections from the letters of Friedrich Hölderlin and Susette Gontard (Diotima), Franz Kafka and Felice Bauer, Paul Celan and Ingeborg Bachmann, Walter Benjamin and Gretel Karplus Adorno. We will also read epistolary novels, poetry, criticism, and philosophical works by Goethe, Hölderlin, Celan, Bachmann, Barthes, Derrida, Siegert, and Benjamin. Discussion in English; all readings available in English translation and also in the original German or French whenever relevant. Books to be purchased at Rutgers University Bookstore Gateway Transit Bldg - 100 Somerset Street: Goethe, The Sorrows of Young Werther ISBN 978-0-19-958302-7 Correspondence (Seagull Books) by Celan, Paul, Bachman, Ingeborg 2010 Correspondence Walter Benjamin and Gretel Adorno ISBN 13: 978074569023 Derrida, The Post Card, ISBN 13: 978-0226143224 Canetti, Kafka’s Other Trial 0-8052-0705-8 Sakai https://sakai.rutgers.edu/portal/site/7ecf7c27-beb7-4696-9844-faed103a2ec9 All other readings available on course website on Sakai When accessing this material it is necessary to use your RU Eden account address. -
Friend Or Foe?
Who Goes There: Friend or Foe? June 1993 OTA-ISC-537 NTIS order #PB93-218915 GPO stock #052-003-01328-2 -— Recommended Citation: U.S. Congress, Office of lkchnology Assessment, Who Goes There: Friend or Foe?, OTA-ISC-537 (Washington, DC: U.S. Government Printing Office, June 1993). Foreword he recent Persian Gulf War focused attention on the problem of fratricide, or “friendly fire” casualties among combat units. Twenty-four percent of U.S. combat fatalities in that conflict were due to friendly fire. The House Armed T Services Committee requested that OTA assess the technology and techniques available to reduce this tragic loss of life. Although friendly fire has often been dismissed in the military literature as an insignificant contributor to overall combat losses, in those few historical cases for which good data are available, estimated friendly fire losses have accounted for at least 10 percent of total losses. Friendly fire has been an important-and under-appreciated-source of combat deaths. Combat is confusing, complex, and deadly. Friendly fire casualties can probably never be eliminated, but several measures can reduce them. Application of new and existing technology can make identification of friendly forces on the battlefield more reliable; improved communication can reduce confusion on the battlefield; and better training can help military personnel make crucial, rapid decisions under the extreme stress of combat. Congress faces several decisions related to reducing friendly fire. These include: the choice of best technical approaches to pursue; the allocation of resources between systems that are devoted exclusively to reducing friendly fire and other systems—for example, better navigation and communication devices--that may reduce friendly fire in indirect and less visible ways; the best mix of near-term deployments and longer term research and development; and the need for cooperation and coordination among the military Services and with allies. -
Gramophone, Film, Typewriter
EDITORS Timothy Lenoir and Hans Ulrich Gumbrecht GRAMOPHONE, FILM, TYPEWRITER FRIEDRICH A. KITTLER Translated, with an Introduction, by GEOFFREY WINT HROP-YOUNG AND MICHAEL WUTZ STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA The publication of this work was assisted by a subsidy from Inter Nationes, Bonn Gramophone, Film, Typewriter was originally published in German in I986 as Grammophon Film Typewriter, © I986 Brinkmann & Bose, Berlin Stanford University Press Stanford, California © I999 by the Board of Trustees of the Leland Stanford Junior University Printed in the United States of America erp data appear at the end of the book TRANSLATORS' ACKNOWLEDGMENTS A translation by Dorothea von Mucke of Kittler's Introduction was first published in October 41 (1987): 101-18. The decision to produce our own version does not imply any criticism of the October translation (which was of great help to us) but merely reflects our decision to bring the Introduction in line with the bulk of the book to produce a stylisti cally coherent text. All translations of the primary texts interpolated by Kittler are our own, with the exception of the following: Rilke, "Primal Sound," has been reprinted from Rainer Maria Rilke, Selected Works, vol. I, Prose, trans. G. Craig Houston (New York: New Directions, 1961), 51-56. © 1961 by New Directions Publishing Corporation; used with permis sion. The translation of Heidegger's lecture on the typewriter originally appeared in Martin Heidegger, Parmenides, trans. Andre Schuwer and Richard Rojcewicz (Bloomington: Indiana Univ. Press, 1992), 80-81, 85-8 6. We would like to acknowledge the help we have received from June K. -
Little Women, Or, Meg, Jo, Beth And
i; UNIVERSITY OF N.C. AT CHAPEL HILL llllllllili 00022092959 This BOOK may be kept out TWO WEEKS ONLY, and is subject to a fine of FIVE CENTS a day thereafter. It was taken out on the day indicated below: T^^-p,^ / ^-. V /^ ^/ .^..^•/'^^ ; / '-' itjL f They all drew to the tire, mother in the hi^r chair, with Beth at her feet; Meg and Amy perched on either arm of the chair, and Jo leaning on the back. — Page 12. LITTLE WOMEN MEG, JO, BETH AND AMY BY LOUISA M. ALCOTT ILLUSTRATED BY MAY ALCOTT BOSTON ROBERTS BROTHERS 1S69 Entered according to Act of Congress, in the year 1868, by LOUISA M. ALCOTT, In the Clerk's office of the District Court of the District of Massachusetts. Stebeotyped bt Innes & Regas, 55 Water Street, Boston. Presswork by John Wilson and Son. .-^t^^ cS, i^ '^^ZuCl-^^ Digitized by tine Internet Archive in 2011 with funding from University of North Carolina at Chapel Hill http://www.archive.org/details/littlewonienormeg01alco CONTENTS. CHAPTER I. PAGE Playing Pilgrims 7 CHAPTER II. A Merry Christmas . ' ^3 CHAPTER III. The Laurence Boy 39 CHAPTER IV. Burdens 54 CHAPTER V. Being Neighborly 71 CHAPTER VI. Beth finds the Palace Beautiful 88 CHAPTER VII. Amy's Valley of Humiliation 98 CHAPTER VIII. Jo meets Apollyon 108 CHAPTER IX. Meg goes to Vanity Fair 124 CHAPTER X. P. The C. and P. O. , 147 CHAPTER XI. Experiments 158 iv Contents. CHAPTER XII. PAGE Camp Laurence ... 174 CHAPTER XIII. Castles in the Air * 202 CHAPTER XIV. Secrets ai6 CHAPTER XV. -
AP Literature and Composition
Pearson Education AP* Test Prep Series AP Literature and Composition Steven F. Jolliffe Richard McCarthy St. Johnsbury Academy *Advanced Placement, Advanced Placement Program, AP, and Pre-AP are registered trademarks of the College Board, which was not involved in the production of, and does not endorse, these products. Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Vice President and Editor-in-Chief: Joseph Terry Senior Acquisitions Editor: Vivian Garcia Development Editor: Erin Reilly Senior Supplements Editor: Donna Campion Production Project Manager: Teresa Ward Production Management and Composition: Grapevine Publishing Services Cover Production: Alison Barth Burgoyne Manufacturing Buyer: Roy Pickering Executive Marketing Manager: Alicia Orlando Text and Cover Printer: Edwards Brothers Copyright © 2012 by Pearson Education, Inc. All rights reserved. Manufactured in the United States of America. This publication is protected by Copyright and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, 1900 E. Lake Ave., Glenview, IL 60025. For information regarding permissions, call (847) 486-2635. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designa- tions appear in this book, and the publisher was aware of a trademark claim, the designations have been printed in initial caps or all caps.