Franz Kafka a Hunger Artist
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European Literary Tradition in Roth's Kepesh Trilogy
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 2 Article 8 European Literary Tradition in Roth's Kepesh Trilogy Gustavo Sánchez-Canales Autónoma University Madrid Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Jewish Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Sánchez-Canales, Gustavo. -
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. -
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. -
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. -
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. -
The Case for a Political Reading
8 BILL DODD The case for a political reading One of the images of Kafka propagated by Kafka criticism, and supported by a much-quoted remark Kafka made in his diary, is of the solitary writer whose subject matter is his own ‘dreamlike inner life’ (6.viii.14; D2: 77). Occasionally Kafka’s diary entry on the outbreak of the Great War four days earlier is cited as proof of his distance from the political world: ‘Germany has declared war on Russia. – Swimming in the afternoon’ (D2: 75). But the interpretation sometimes placed on these words, that they belong to a writer far removed from the great events of his time, warrants investigation. Do they or do they not articulate emotional or intellectual distance, unconcern, even aloofness? In contrast, another diary entry, from the previous year: ‘Don’t forget Kropotkin!’ (15.x.13; D1: 330) has attracted relatively little critical attention, even though Max Brod recalls that the memoirs of this nineteenth-century Russian anarchist were amongst Kafka’s favourite books. Where it has been commented on it has often been played down. Here, too, the elliptical form of the diary entry itself does not help us make up our minds. What are we to read into these words: an intellectual or emotional commitment, a special indebtedness – or simply a note on an overdue library book? Setting out to write about ‘Kafka’s politics’ one is reminded of a famous piece of advice from Kafka himself: ‘Give it up, give it up!’ (GWC: 183). However, an attempt at a systematic study of Kafka’s relation to politics has recently been published in German.1 The very notion that he is in any sense a political writer, let alone a writer offering a radical critique of social insti- tutions and conditions, is still somewhat contentious in Kafka scholarship. -
David Foster Wallace
across the state of Illinois sat at their desks, depend on what communication-theorists curled over their pencils, stuck their tongues sometimes call "exformation," which is a cer- .between their teeth, and wrote five-paragraph tain quantity of vital information removed from essays about wearing uniforms to school. All but evoked by a communication in such a way except one. His essay began, "I never thought as to cause a kind of explosion of associative much about dancin' circles before today, but if connections within the recipient. This is prob- that's what you want to know about, well, here ably why the effect of both short stories and goes ... " And somewhere in North Carolina, jokes often feels sudden and percussive, like some poor soul will reach into the stack of 500 the venting of a long-stuck valve. It's not for essays she will have to read that day. Four hun- nothing that Kafka spoke of literature as "a dred and ninety-nine will be about wearing hatchet with which we chop at the frozen seas uniforms, and one won't. It will be "off topic." inside us." Nor is it an accident that the tech- The IGAP rules say that it must receive the nical achievement of great short stories is often lowest possible score. But I wish I could watch called "compression"-for both the pressure her face when she reads that first line. If she and the release are already inside the reader. keeps reading and smiles, I know there might What Kafka seems able to do better than just be hope for us. -
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. -
Green Revolution
G REEN R EVOLUTION A GRICULTURAL AND S OCIAL C HANGE IN A N ORTH I NDIAN V ILLAGE Stanley A. Freed Curator Emeritus, Department of Anthropology American Museum of Natural History Ruth S. Freed Research Associate, Department of Anthropology American Museum of Natural History A NTHROPOLOGICAL PAPERS OF T HE A MERICAN M USEUM OF N ATURAL H ISTORY NUMBER 85, 312 PAGES, 63 FIGURES, 6 TABLES ISSUED DECEMBER 2002 ABSTRACT In the mid-1960s, rural India passed through a period of rapid technological and social change known as the Green Revolution. It was the transition from basically subsistence peasant farming at a low technological level to expen- sive commercial farming with modern technology. Five major sociotechno- logical innovations were basic to the Green Revolution: the development of high-yielding varieties of food grains, especially wheat and rice; land consoli- dation; private tubewell irrigation; mechanization; and the use of factory fer- tilizers and pesticides. New sources of energy, electricity and the internal com- bustion engine, which replaced bullock power, and the financial infrastructure that enabled farmers to buy the new equipment—tractors, tubewells, and threshers—represented a fundamental change. If the Green Revolution is taken in its broadest sense to include much higher educational levels and new employment opportunities in modern occupations, then the economy of Shanti Nagar, whose principal component is still agriculture, has been transformed. This work is the 11th in a series of monographs, all published in the Anthropological Papers of the American Museum of Natural History, devoted to the description and analysis of life in Shanti Nagar (a pseudonym), a village in the Union Territory of Delhi. -
Acting, See Play-Acting Adaptations of Kafka's Works, 131 in Film, 131–136
Cambridge University Press 978-0-521-76038-6 - The Cambridge Introduction to Franz Kafka Carolin Duttlinger Index More information Index acting, see play-acting Bauer, Erna, 57 adaptations of Kafka’s works, 131 Bauer, Felice, 3–5, 21, 28–29, 32, 42, 56, in film, 131–136 57, 110, 121 Adorf, Mario, 133 Baum, Oskar, 2, 15 Adorno, Theodor W., 127–128 Beard, George M., 9 aging, process of, see old age Benjamin, Walter, 44, 60, 68, 75, alertness, 45, 49, 60, 61, 108, 109 126–127, 128 Alexander the Great, 76 Berlin, 2, 3, 5, 6, 13, 16, 29, Alexeïeff, Alexandre, 133 57, 108 alienation, 97, 115, 126, 127–128, 129 Bloch, Grete, 57 Alt, Peter-André, 1 Boa, Elizabeth, 117 Amerika, see Man who Disappeared, The body, 25, 26, 32–33, 34–35, 36, 38, 41, animal 48, 49, 54, 72, 74, 97, 109, 119 instinct, 66, 82 as spectacle, 53 stories, 33, 75–80, 81, 107–109, as the site of art, 109, 113 117–120 changing body image, 51 transformation into, 19–20, 36–38, 40 of the text, 69 anti-Semitism, 15, 77, 118 Bohemia, 20 art, 109–110 Brecht, Bertolt, 133, 135 as performance, 109, 118 defamiliarization, 133 as vocation, 110, 113 Brod, Max, 2, 3, 6, 12, 14, 15, 16, 20, 32, Art Nouveau, 8 46, 79, 86, 109 artist, 109–111, 112–113 as Kafka critic, 126 relation to audience, 109, 112, 117, as Kafka’s editor, 122–123, 124 118, 121 Buber, Martin, 15, 77, 79 asceticism, 3 Bunyan, John, 124 assimilation, 1, 15, 79 bureaucracy, 10, 76, 91 attention, 23, 25, 49, 54, 61, 120 Austria, 6, 73, 82, 91 capitalism, 9–10, 36, 49–50, 55 automatic writing, 20 Castle, The (Das Schloss), 43, -
The Fragments Around Franz Kafka's “A Report to an Academy”
humanities Article Narrative Transformed: The Fragments around Franz Kafka’s “A Report to an Academy” Doreen Densky Department of German, New York University, 19 University Place, 3rd Floor, New York, NY 10003, USA; [email protected] Academic Editor: Joela Jacobs Received: 7 February 2017; Accepted: 6 April 2017; Published: 10 April 2017 Abstract: Franz Kafka’s “A Report to an Academy”, in which the ape-turned-human Rotpeter provides a narrative account of his life, has been scrutinized with regard to its allegorical, scientific, and historical implications. This article shifts the focus toward the narrative set-up by closely reading the transformation that can be traced in the sequence of several narrative attempts found in Kafka’s manuscripts. Analyzing the fragments around this topic, I show how Kafka probes different angles—from a meeting between a first-person narrator and Rotpeter’s impresario and a dialogue between the narrator and Rotpeter, via the well-known “Report” itself, on to a letter by one of Rotpeter’s former teachers—that reveal a narrative transformation equally important as the metamorphosis from animal to human. The focus on the narrative constellations and on the lesser-known constitutive margins of the “Report” help to better understand, moreover, the complex relationship between immediacy and mediation, the ethnological concern of speech for the self and the unknown animal other, and poetological questions of production, representation, and reception. Keywords: animal narrators; human-animal studies; Franz Kafka; manuscripts; speaking-for; narrative representation; literary representation 1. Introduction Franz Kafka’s famous text narrated by an ape who has become human, “A Report to an Academy” (“Ein Bericht für eine Akademie”), was penned one hundred years ago, in 1917 [1–5].