Common Sayings and Expressions in Kafka Hartmut Binder
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1 the Threats of Sleep In
Emergence: A Journal of Undergraduate Literary Criticism and Creative Research 1 COPYRIGHT NOTICE. Quotations from this article must be attributed to the author. Unless otherwise indicated, copyright for this article belongs to the author, who has granted Emergence first-appearance, non-exclusive rights of publication. The Threats of Sleep in ''The Metamorphosis'' Rebecca Chenoweth Kafka's writings are often lauded for their treatment of the absurd. In ''The Metamorphosis,'' this absurdity is most visible in Gregor Samsa's transformation into a giant insect, but most tellingly also expresses itself in his attitude toward his transformation. In a text that deals so closely with the inversion of the dream-like and reality, Gregor's relationship to sleep speaks volumes about the nature of his metamorphosis. When engaging the theme of sleep in Kafka's works, literary critics have often examined its ''dream-like'' elements, as well as Kafka's own relationship to sleep. This paper examines a third perspective on this theme: the role of sleep as a physical act, and what it reveals about Gregor's state. Gregor sees sleep at times as the cause of and other times as a possible cure for his metamorphosis. His inability to sleep is a troubling indicator that he is losing his grip on life and humanity after his transformation, but his relationship to sleep before the metamorphosis shows how long he has really been dehumanized. Most literary criticism that treats the theme of sleep in ''The Metamorphosis'' focuses on the ways in which it is ''dream-like.'' As is the case with most of Kafka's writings, Gregor's story is often described in terms of a nightmare, despite its being explicitly presented as ''no dream'' (Kafka 89). -
An Unheard, Inhuman Music: Narrative Voice and the Question of the Animal in Kafka's “Josephine, the Singer Or the Mouse
humanities Article An Unheard, Inhuman Music: Narrative Voice and the Question of the Animal in Kafka’s “Josephine, the Singer or the Mouse Folk” Kári Driscoll Department of Languages, Literature, and Communication, Utrecht University, Utrecht 3512 JK, The Netherlands; [email protected] Academic Editor: Joela Jacobs Received: 28 March 2017; Accepted: 26 April 2017; Published: 3 May 2017 Abstract: In The Animal That Therefore I Am, Derrida wonders whether it would be possible to think of the discourse of the animal in musical terms, and if so, whether one could change the key, or the tone of the music, by inserting a “flat”—a “blue note” in other words. The task would be to render audible “an unheard language or music” that would be “somewhat inhuman” but a language nonetheless. This essay pursues this intriguing proposition by means of a reading Kafka’s “Josephine, the Singer or the Mouse Folk,” paying careful attention to the controversy regarding the status of Josephine’s vocalizations, which, moreover, is mirrored in the scientific discourse surrounding the ultrasonic songs of mice. What is at stake in rendering this inhuman music audible? And furthermore, how might we relate this debate to questions of narrative and above all to the concept of narrative “voice”? I explore these and related questions via a series of theoretical waypoints, including Paul Sheehan, Giorgio Agamben, Gilles Deleuze, Jacques Derrida, and Jean-Luc Nancy, with a view to establishing some of the critical parameters of an “animal narratology,” and of zoopoetics more generally. Keywords: narrative voice; inoperativity; singing mice; zoopoetics; anthropological machine; community; music Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on —Keats 1. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
The Individual and the «Spiritual» World in Kafka's Novels
Studies in 20th Century Literature Volume 3 Issue 1 Article 3 8-1-1978 The Individual and the «Spiritual» World in Kafka's Novels Ulrich Fülleborn Universitat Erlangen-Niirnberg Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Fülleborn, Ulrich (1978) "The Individual and the «Spiritual» World in Kafka's Novels," Studies in 20th Century Literature: Vol. 3: Iss. 1, Article 3. https://doi.org/10.4148/2334-4415.1057 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Individual and the «Spiritual» World in Kafka's Novels Abstract Following an earlier essay by the same author on 'Perspektivismus und Parabolik' in Kafka's shorter prose pieces, this article gives a description of the structure of Kafka's novels in terms of the concepts 'the individual' (cf. Kierkegaard's 'individuals') and 'the spiritual world' (Kafka: «There is no world but the spiritual one»). Joseph K. and the land-surveyor K. become individuals by leaving the world of everyday life and passing over into the incomprehensible spiritual world of trials and a village-castle community, in the same way that Karl Rossmann had passed over into the 'Nature-theatre of Oklahoma' before them. And they remain as individuals, since in this world they struggle to hold their own. -
Becoming Noise: Serres and Deleuze in Kafka's “Burrow”
Concentric: Literary and Cultural Studies 30.1 (January 2004): 3-36. Becoming Mole(cular), Becoming Noise: Serres and Deleuze in Kafka’s “Burrow” Frank W. Stevenson National Taiwan Normal University Abstract Both Serres and Deleuze in effect “deterritorialize” sound as noise, thereby achieving a sort of regeneration of sound (sense). Serres’s A-B communication, once it has become too efficient (too rational) and thus (as A-A monologue) entered a state of terminal equilibrium or “information death,” must be interrupted by parasitical noise in order for the communication of meaning to be renewed. In Deleuze’s “becoming-animal” (or “becoming-molecular,” “becoming-multiplicity”), A also becomes B through a sort of “communication.” This man-animal interchange is possible due to a “common voice”; one passes into the other through a continuum of intensive states in which both words and things are part of the “sonic block” itself, sound as pure force. In a certain way we have again the regeneration (from noise) of sound (sense). Here I bring into play both views to interpret the latter part of Kafka’s “The Burrow,” written as the author was (consciously) dying of lung disease. The story’s narrator, a mole-like animal building underground tunnels, is disturbed by the sounds of many small creatures in or behind the walls; by the end these coalesce into the single sound (noise) of an unseen “beast” which steadily approaches him. Taking this as an inner-body scene in which the beast is the narrator- author’s other—the multiplicity of invading micro-organisms now become(s) death itself against his own life—I read the final (“communicative,” noise/silence) interplay or war-game between narrator and other, via Serres and Deleuze, in terms of the disjunctive functions of a now deterritorialized “mouth”: breathing, eating, speaking and (by extension) thinking. -
Czech Language and Literature Peter Zusi
chapter 17 Czech Language and Literature Peter Zusi Recent years have seen a certain tendency to refer to Kafka as a ‘Czech’ author – a curious designation for a writer whose literary works, without exception, are composed in German. As the preceding chapter describes, Kafka indeed lived most of his life in a city where Czech language and society gradually came to predominate over the German-speaking minor- ity, and Kafka – a native German-speaker – adapted deftly to this changing social landscape. Referring to Kafka as Czech, however, is inaccurate, explicable perhaps only as an attempt to counterbalance a contrasting simplification of his complicated biography: the marked tendency within Kafka scholarship to investigate his work exclusively in the context of German, Austrian or Prague-German literary history. The Czech socio-cultural impulses that surrounded Kafka in his native Prague have primarily figured in Kafka scholarship through sociological sketches portraying ethnic animosity, lack of communication and, at times, open violence between the two largest lin- guistic communities in the city. These historical realities have given rise to the persistent image of a ‘dividing wall’ between the Czech- and German- speaking inhabitants of Prague, with the two populations reading different newspapers, attending separate cultural institutions and congregating in segregated social venues. This image of mutual indifference or antagonism has often made the question of Kafka’s relation to Czech language and cul- ture appear peripheral. Yet confronting the perplexing blend of proximity and distance, famil- iarity and resentment which characterized inter-linguistic and inter- cultural contact in Kafka’s Prague is a necessary challenge. -
TFG 2020 Tamas Rebeccagab
TRABAJO DE FINAL DE GRADO EN TRADUCCIÓN E INTERPRETACIÓN TREBALL DE FI DE GRAU EN TRADUCCIÓ I INTERPRETACIÓ Departament de Traducció i Comunicació TÍTULO / TÍTOL Análisis y traducción de una antología de poemas infantiles ilustrados Ein Schnupfen hockt auf der Terrasse Autor/a: Rebecca Gabriela Tamas Tutor/a: Silvia Gamero Pérez Fecha de lectura/ Data de lectura: junio de 2020 Resumen / Resum: El presente trabajo consiste en el análisis y la traducción de una selección de cuentos y poemas infantiles que la editora, Heike Nieder, ha recopilado basándose en las obras de autores como Martin Auer, Richard Dehmel, Adelbert von Chamisso, Ludwig Uhland, Susanne Kilian, Fred Endrikat, Friedrich Güll y Robert Gernhardt, sin olvidarnos del renombrado Christian Morgenstern, autor del cual se toma la referencia intertextual que conforma el título de la antología. El libro está estructurado en 13 capítulos, en los cuales se pueden encontrar poemas o canciones que reflejan un estado de ánimo concreto. De esta manera, los niños pueden leer los poemas de un capítulo que trata sobre el cariño o sobre los sueños acerca del futuro y aprender a gestionar las emociones de una manera práctica y entretenida. El primer apartado del trabajo es la motivación y justificación, seguido por el apartado de la contextualización, centrada en los autores de los poemas seleccionados para el texto original. A continuación, se incluye un apartado centrado en la traducción de la literatura infantil. Después, se lleva a cabo el análisis pretraslativo que está basado en el modelo de Christiane Nord. A continuación, se traducen los poemas al español teniendo en cuenta el encargo de traducción y, por último, se lleva a cabo un análisis traductológico de los problemas de traducción encontrados. -
Fin-De-Siècle Vienna and the Larger Central Europe 1900: the Experience of Prague's Intellectuals
Fin-de-siècle Vienna and the Larger Central Europe 1900: The Experience of Prague's Intellectuals Gary B. Cohen, University of Minnesota, Twin Cities The modernist breakthroughs in Viennese intellectual and artistic life around 1900 have attracted great interest over many decades. The remarkable concentration of innovative figures, the originality and significance of their work, the important personal connections among of them, and the apparent cultural fertility of the Viennese environment in that era have captured the attention of scholars and the educated public alike. Carl Schorske's masterful Fin-de-siecle Vienna, now some thirty-six years old, has introduced many readers to the intellectual and cultural world of Vienna and offered students a basic framework for understanding the foundations and patterns of some of the most important innovations. One must be careful, though, not to exaggerate the uniqueness of Vienna around 1900 or to see the city as the single most important cradle of twentieth-century modernism. We recognize that intellectuals and artists in Paris, Berlin, New York, Munich, Budapest, and other major European and North American cities were also breaking away from the nineteenth-century liberal rational synthesis in ways that had wide impact, engaging in their own secessions from established modes of thought and expression with the particular fields or disciplines involved and the exact timing of the revolts dependent on local circumstances. It is good to remember that for Schorske and others who have investigated particular cities in this or other eras of radical breakdown, examining intellectuals and artists in a single urban community has been a means to understand better the parallels and connections between activities in the various disciplines or genres and to identify the conditions, motivations, and impulses that were common to the 2 innovators in various fields. -
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. -
A Father, What For? in Connection with the Show “Lettre Au
Document generated on 09/26/2021 9:45 a.m. Sens public A Father, What for? In connection with the show “Lettre au père” of Jean-Yves Ruf, according to the text of Franz Kafka "Dearest Father" Gérard Wormser, Bernard Lahire and Christine Castelain-Meunier Repenser le numérique au 21ème siècle Article abstract 2014 Can the young man of today visualize the impossible dialogue of Kafka with his father? The evolution of the society has questioned the father's long time role URI: https://id.erudit.org/iderudit/1052427ar of supervision and authority. However, does that not open up a restructuring DOI: https://doi.org/10.7202/1052427ar of his figure? The depth of the father's influence is far-reaching. The English paediatrician and psychoanalyst Donald W. Winnicott said, “He can become a See table of contents maternal substitute for infants, providing child care from the ages of birth to two years as is maternity care”. Paternal love and everyday father/child relationship has a critical role in the development of early childhood. However, is this structuring enough? Does this not open up an era lacking references? Publisher(s) Today, what is the father's place at a time of contemporary changes in family Département des littératures de langue française life? ISSN 2104-3272 (digital) Explore this journal Cite this document Wormser, G., Lahire, B. & Castelain-Meunier, C. (2014). A Father, What for? In connection with the show “Lettre au père” of Jean-Yves Ruf, according to the text of Franz Kafka "Dearest Father". Sens public. https://doi.org/10.7202/1052427ar Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International This document is protected by copyright law. -
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.