Franz Kafka "The Judgement" 1
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Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
Birthday Wishes for Your Manager
Birthday Wishes For Your Manager Burgess remains manubrial: she riposte her metathorax prohibit too inaptly? Gravettian and qualifying Skylar places: which Wayne is heady enough? Choleric and collect Richmond sheared almost beseechingly, though Raul regrates his prorogations whistle. Blessing to keep up and how else feels like you undertook will party! Then why do you have to stay behind? They are often hal. Drums to bringing you stand head of you unlimited blessings along with god? When accompanied by for birthday wishes your manager! Hindi in difficult and when you are now. The most heartfelt birthday wishes to our amazing boss! And all this applies to you. Happy birthday, madam, continue to grow in wealth. It is the day when you show your boss that how you feel about them. It is really an extraordinary affair to be a piece of your group! May you continue to reach for the stars and push us to achieve them! Wherever you have your birthday, a million and worth coming to have ever! Boss, it is because of your confidence in me that I have been able to achieve success. Love is the most wonderful of all feelings in this world. We may have lost the contract we wanted so bad, but the world has a way of balancing things. Wish you all the best today and in coming days too. May you enjoy many more years of lifting people up and spreading your joy around like confetti. This is what true leadership is. It is a pleasure working under you! Dear Sir, we sincerely congratulate you on your Birthday, we wish you all the best for your new year of life and continued success. -
Introduction
Guston, Philip Guston 9/8/10 6:04 PM Page 1 INTRODUCTION DORE ASHTON “Create, artist! Don’t talk!” the aging Goethe counseled his contemporaries in 1815. The painter Degas seconded the old sage when he told the young poet Paul Valéry that when the muses finished their day’s work they didn’t talk, they danced. But then, as Valéry vividly recalled, Degas went on to talk of his own art for hours on end. Painters have always talked, and some, such as Delacroix, Mondrian, Kandinsky, Malevich, and Motherwell, also wrote. Certain painters, Goya, for example, also deftly used language to augment their imagery. Like Degas, who liked to talk with poets and even engaged the inscrutable Mallarmé, Guston liked talking with poets, and they with him. Among his most attentive listeners was his friend the poet Clark Coolidge, whose ear was well attuned to Guston’s sometimes arcane utterances and who has selected some of the painter’s most eloquent sessions of writing and talking, resulting in a mosaic of a life - time of thought. I was also one of Guston’s interlocutors for almost thirty years. I recognize with pleasure Coolidge’s unfurling of Guston’s cycles of talk and non-talk; his amusing feints and dodges when confronted with obtuse questioners, his wondrous bursts of language when he felt inspired, his sometimes playful contrariness, his satisfaction in being a provocateur, and his consistent preoccupation with serious aesthetic ques - tions through out his working life as a painter. Above all, I recognize Guston’s funda - mental rebelliousness, which manifested itself not only in his artistic preferences but in his politics, his choice of artistic battlefields, and his intimate studio life. -
Studies on Collingwood, History and Civilization
Studies on Collingwood, History and Civilization Jan van der Dussen Studies on Collingwood, History and Civilization Jan van der Dussen Heerlen , The Netherlands ISBN 978-3-319-20671-4 ISBN 978-3-319-20672-1 (eBook) DOI 10.1007/978-3-319-20672-1 Library of Congress Control Number: 2015951386 Springer Cham Heidelberg New York Dordrecht London © Springer International Publishing Switzerland 2016 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Printed on acid-free paper Springer International Publishing AG Switzerland is part of Springer Science+Business Media (www. springer.com) Acknowledgements The following four essays are reproduced from their original publication. -
A Judgement-Based Model of Workplace Learning 63 Volume 44, Number 1, April 2004
Australian Journal of Adult Learning A judgement-based model of workplace learning 63 Volume 44, Number 1, April 2004 learning as an individual and social process (Illeris 2003). This paper offers a macro-level of analysis for social learning, especially in the context where there is no single, clearly identifi ed, correct response. Its origins lie in a model of workplace learning derived from Hager and Halliday (2002), who fi rst set out a relationship between context, judgement and learning. They saw learning as concerned with judgements that are potentially fallible but also contextually sensitive (Halliday & Hager 2002). Their central theme is a link between judgement and learning: ‘making judgements is a central holistic workplace activity that is the expression of practice-based informal learning from work’ (cited in Hager 2001, p.352). A judgement-based model of workplace learning These workplace-learning conceptions are directly related to all James A Athanasou adult, social learning and were translated into a testable Perceptual- University of Technology, Sydney Judgemental-Reinforcement model (Athanasou 2002) that is depicted in Figure 1. This representation emphasises the fact that learning encompasses judgements and is contextually dependent and The purpose of this paper is to outline a judgement-based model purposive, but the components and processes in the model described of adult learning. This approach is set out as a Perceptual- in this paper vary substantially in detail from the original Hager- Judgemental-Reinforcement approach to social learning under Halliday conceptions (Hager 2001; Hager & Halliday 2002). In this conditions of complexity and where there is no single, clearly paper, learning is defi ned both in its traditional and psychological identifi ed correct response. -
Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’S the Age of Wonders (Tor Ha-Pela’Ot)
THE GERMANIC REVlEW Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’s The Age of Wonders (Tor Ha-pela’ot) DAVID SUCHOFF uch recent cultural criticism has argued that postmodern culture can be di- M agnosed as an unworked-through period of mourning, unable to come to terms with the Holocaust and the definitive break with modernist categories that it represents.’ Aharon Appelfeld’s Hebrew novella The Age of Wonders (1978) portrays the story of an assimilated Jewish writer and his family in Austria be- fore the Holocaust, and the story of his son Bruno, who returns to Austria from Jerusalem after the war in search of his past. The text’s very structure seems to affirm the traditional categories of the modedpostmodern divide. Bruno’s father seems to represent the formalism of modernist fiction and its paradigmatic eth- nic self-denial. As the Holocaust draws near in the first half of the novella, Jew- ish history is truly the nightmare from which the writer, as the “father” of Bruno’s apparently rootless, postmodern fate, unsuccessfully tries to awaken. “Father” (his only consistent name in the novella) constantly seeks to become an “Austrian writer,” with German as his “only language” and “mother tongue,” while critics constantly racialize him as a Jew and compare his writing to Kafka’s “parasitism” and unhealthy Jewish style.2 “Father” seems to represent classical modernism, struggling to break with the mass and enter elite culture, only to con- front the question of Jewish culture in its own terms, and those of its enemies, everywhere he turns. -
Scales As a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum an Analysis of Selected Works of Netherlandish Masters of Painting
Santander Art and Culture Law Review 2/2015 (1): 259-274 DOI: 10.4467/2450050XSR.15.022.4520 VARIA Karol Dobrzeniecki* [email protected] Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń ul. Władysława Bojarskiego 3 87-100 Toruń, Poland Scales as a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum An Analysis of Selected Works of Netherlandish Masters of Painting Abstract: The aim of this article is to analyze the motif of scales in Netherlandish art from the 15th to the 17th century. The motif of scales was present in art from earliest times, but its role and func- tion differed in various historical epochs – antique, the middle ages, and the modern age. The core part of the article is devoted to the symbolic relationship between scales and different aspects of justice. The first painting taken into consideration is Rogier van der Weyden’s Last Judgment (approx. 1445 to 1450), and the last one – Jan Vermeer’s Woman Holding a Balance (approx. 1662-1663). The article attempts to answer some crucial questions. What were the meanings attributed to scales during the two centuries exam- ined? How did these meanings evolve, and was the interpretation of the symbol influenced by the ethos characteristic for particular peri- ods and geographical spaces, as well as transient fashions, religious * Karol Dobrzeniecki, Doctor of Law and art historian, currently serves as an Assistant Professor at the Department of Theory of Law and State, Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń, Poland. -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects. -
Nietzsche's Critique of Morality
Nietzsche’s Critique of Morality A Resource for AS-Level and A-Level Philosophy This booklet is desiGned to help AS-level and A-level Philosophy teachers and students to develop This work is licensed under the the independent cri4cal arGumentaon required to earn the hiGhest marks. Creave Commons A2ribu4on-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit h2p://creavecommons.orG/licenses/by-nc-nd/3.0/. The essays and exercises are desiGned to support work in two units of the curriculum: – Why Should I Be Moral? – Set text: Nietzsche’s Beyond Good and Evil The work can be freely copied and distributed without prior permission, so lonG as it is not altered or used for commercial purposes. We also request that it is not made available throuGh any website The booklet is edited by Jonathan Webber and features work by philosophers at Cardiff University. apart from our own: h2p://bit.ly/cardiffphilosophyalevel Contents References The Disvalue of Morality The primary text discussed in this book is Friedrich Nietzsche’s Beyond Good and Evil. Simon Robertson 3 Quotaons are taken from the Oxford World’s Classics edi4on translated by Marion Faber, as specified in the AQA A-level Philosophy syllabus. References are Given by sec4on Does Nietzsche Think Values Are Merely Expressions of Personal Preference? number (not page number) prefaced by ‘BGE’. Alessandra Tanesini 5 Is Nietzsche Fair To Kant? Occasional reference is made to other works of Nietzsche’s. These are: Jonathan Webber 7 GM On the Genealogy of Morals: A Polemic, translated by DouGlas Smith. -
On Kant's Transcendental Theory of Moral Judgement and Moral Worth
On Kant’s Transcendental Theory of Moral Judgement and Moral Worth of Character, with Educational Implications* Abstract A longstanding absence from the critical scholarly literature on Kant’s writings on moral education is a comprehensive and systematic articulation of his views on moral education in light of his transcendental theory of moral reasoning and judgement. This theory primarily attempts to set out the a-priori requirements justifiable moral judgement and reasoning must satisfy when assessed by the Categorical Imperative (CI), primarily under its Universal Law formulation (FUL), and it offers an account of moral virtue as a character disposition to act in accordance with duty and from the motive of duty. While I occasionally make reference to other “equivalent” formulations of the CI offered by Kant, I argue that FUL rests at the core of Kant’s moral theory, defining the intrinsic worth of character dispositions for rational moral autonomy, serving as the necessary foundation for the other three equivalent formulations of the CI, and identifying what Kant maintains are our duties to others and ourselves as autonomous persons (ends in themselves). Despite recent appearances of a number of eminent scholarly studies of Kant’s views on moral education, we still lack a comprehensive and systematic account of the distinct nature of moral reasoning as governed by FUL, and the distinct virtue of character (“the good will”) that such reasoning and judgement displays. This paper offers an interpretation of the primary significance of the CI/FUL within Kant’s account of moral justification and moral worth of disposition (character). In articulating and illustrating the testing procedure the CI applies to maxims, I examine Kant’s famous example of the lying promise maxim, in an adapted version, and I explain two forms of validity that maxims in accordance with duty and acted on from duty must satisfy: objective universal validity and subjective universal validity. -
Franz Kafka's Transformations
Franz Kafka’s Transformations Andrew Barker ALONE amongst the contributions to the volume, this essay does not address a Scandinavian topic. The theme of transformation in Franz Kafka’s work and life does, however, allow us to recall that Peter Graves is himself a notable example of a changeling, having begun his career at Aberdeen University as a student of German under the venerable Professor Wilhelm (Willy) Witte. What is presented here may thus serve as a reminder of a world Peter inhabited long ago, before he morphed into the Scandinavian polymath we know and honour today. The impetus for the present contribution came from reading James Hawes’ exhilarating study Excavating Kafka (2008).1 This work was promptly written off by Klaus Wagenbach, the doyen of Kafka studies in Germany, who is quoted as saying: ‘Irgendein Dämel kommt daher, weiß nix und schreibt über Kafka’ (Jungen 2008).2 In defence of Wagenbach’s po-faced dismissal of a much younger, non-German scholar’s work, one might plead that his grasp of English was insufficient for him to grasp the book’s satirical and polemical intentions. In fact, Excavating Kafka is the work of a scholar who knows a great deal about Kafka, and writes about him with panache and insight. I can match Hawes neither in my knowledge of Kafka nor the secondary literature, but I share with him a mounting frustration with the commonly-peddled myths about Kafka’s life and work, and it is some of these which I shall address in this short paper. Looking at the work first, I shall concentrate on what is probably Kafka’s most iconic story, Die Verwandlung (1912; ‘Metamorphosis’), the English translation of whose title I find particularly problematic. -
Dade County Radio December 2012 Playlist
# No Title Artist Length Count 1 Miami Bass FEST III CHICO 1:18 228 2 FreddieMcGregor_Da1Drop 0:07 126 3 dadecountyradio_kendrick DROP 0:05 121 4 DROP 0:20 104 5 daoneradiodrop 0:22 90 6 Black Jesus @thegame 4:52 52 7 In The End (new 2013) @MoneyRod305 ft @LeoBre 3:53 49 8 M.I.A. Feat. @Wale (Dirty) @1Omarion 3:57 48 9 Up (Remix) K Kutta , LoveRance, 50 Cent 2:43 47 10 Drop-DadeCounty Patrice 0:10 47 11 My Hood (Feat Mannie Fresh) B.G. 3:58 46 12 SCOOBY DOO JT MONEY 4:32 45 13 Stay High _Official Music Video_ Fweago Squad (Rob Flamez) Feat Stikkmann 3:58 45 14 They Got Us (Prod. By Big K.R.I.T.) Big K.R.I.T. 3:27 44 15 You Da One Rihanna 3:22 44 16 Love Me Or Not (Radio Version) @MoneyRod305 Ft @Casely 4:04 44 17 Haters Ball Greeezy 3:14 44 18 Playa A** S*** J.T. Money 4:35 44 19 Ni**as In Paris Jay-Z & Kanye West 3:39 43 20 Myself Bad Guy 3:26 43 21 Jook with me (dirty) Ballgreezy 3:46 42 22 Ro_&_Pat_Black_-_Soldier 05_Ridah_Redd_feat._Z 3:37 42 23 Go @JimmyDade 3:49 42 24 Keepa @Fellaonyac 4:43 41 25 Gunplay-Pop Dat Freestyle Gunplay 1:47 41 26 I Need That Nipsey Hussle ft Dom Kennedy 2:47 40 27 Harsh Styles P 4:18 40 28 American Dreamin' Jay-Z 4:48 40 29 Tears Of Joy (Ft.