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En el presente escrito nos proponemos tirar de uno de los hilos de Franz Kafka. En el décimo aniversario de su muerte, ensayo que Walter Benjamin escribe en 1934 para la Jüdische Rundschau, e indagar una idea que no se desarrolla allí in extenso, a saber: el “estudio” (Studium). En el texto en cuestión, encontramos que Benjamin relaciona esta idea con otros dos conceptos: en primer lugar, sostiene que el estudio se contrapone al “olvido”, y, por otra parte, vincula el estudio con la noción de justicia. De esta manera, ambas caracterizaciones parecieran convivir en el texto sobre Kafka, sin que el autor las desarrolle en profundidad. El objetivo del presente trabajo es, entonces, detenernos en cada una de ellas a los fines de esclarecer cómo concibe Benjamin el estudio de modo que pueda asociarse tanto con una lucha contra el olvido como con la justicia.

Neste artigo abordamos uma carta de Franz Kafka escrita em 1921, na qual ele apresenta a seu amigo Robert Klopstock sua interpretação do personagem bíblico Abraão. Nosso objetivo é ressaltar o humor presente nessa interpretação kafkiana como uma das marcas pouco analisadas no judeu de Praga. Para tanto apresentaremos primeiramente o Elogio de Abraão proposto por Kierkegaard em seu Temor e Tremor afim de observar a possível influência do filósofo dinamarquês sobre as conclusões propostas pelo próprio Ka fka. Na sequência serão apresentadas as três principais figuras criadas por Kafka, a do Abraão incapaz de realizar sua função, mas que permanece sempre em prontidão; a do Abraão trapaceiro, que não termina suas funções na casa para não ter que realizar o q ue Deus lhe pede; e a do Abraão inseguro, que ouve o chamado, mas que não acredita que este lhe diga respeito. Ressaltamos nas três figuras kafkianas a intenção primordial dele em produzir uma outra forma de elogio, uma que se adequa melhor à sua sensibilidade permeada pelo humor judaico, que aquela da serenidade cristã proposta por Kierkegaard.

The Inner Process as Utterance. Kafka, the Triangle, the Journey of Bildung This article examines Franz Kafka’s Der Prozeß in dialogue with Gilles Deleuze and Félix Guattari’s as well as Hannah Arendt’s influential readings of it. Sharing Arendt’s view of the telos of Kafka’s novels as dependent on the characterization of the protagonists, Deleuze and Guattari’s description of the Kafka-text as a machine is put into question. Through close readings of especially the first and the final chapter, exploring K.s personal development in relation to the genre of Bildungsroman and the modernistic motif of ’I versus the Other(s)’, the narrative description of the protagonist Josef K. and his inner process is regarded as a device in the realm of the novel as an utterance. What comes to the fore in such a perspective is Der Prozeß as a reader-oriented critique of modern individualism, calling for the importance of reaching out to and caring for others.

O objetivo do texto é fazer comentário dos principais conceitos, temas e argumentos filosóficos articulados por Theodor Adorno em seu ensaio “Anotações sobre Kafka”. Trata-se não apenas de apresentar a linha argumentativa do filósofo, mas de extrair consequências e de refletir criticamente sobre a validade determinados posicionamentos. Defendemos a tese de que Adorno emprega três espécies de literalidade em sua leitura do autor tcheco: a linguística, a onírica e a psicanalítica.

Obwohl Kafka sich mit den gesellschaftlichen Gefügen und Denkweisen Chinas zu Beginn des 20. Jahrhunderts auseinandersetzt, in einer Zeit also, in der China aufgrund seiner politischen Umbruchsituation internationale Aufmerksamkeit auf sich zieht, ist sein Bild von China wesentlich durch sein eigenes dichterisches Selbstbild geprägt. Dies wird an drei Beispielen aufgezeigt: Jan-Tsen-Tsais Gedicht In tiefer Nacht, Kafkas Erzählung Beim Bau der chinesischen Mauer und Dschuang Dsis Gleichnis Der Schmetterlingstraum.

Directed by Piotr Dumala, Franz Kafka is a very unusual example of a biographical movie. The film is composed of carefully thought-out poetic images which, according to the director himself, reflect the “psychic landscape” of the title character. Thus scenes inspired by Kafka's life and his Diaries intertwine with episodes that refer to his literary works. Dumala shows deep understand-ing of the writer’s characteristic way of depicting reality and the unusual perspective of narration indicates his thorough knowledge of Kafka’s works. Dumala draws on this heritage and creates an emotional portrait of the writer, while at the same time providing a universal reflection on the human condition.

Franz Kafka is undoubtebly an important part of the literary canon of the Central Europe and especially of the canon formed by Milan Kundera in his works. Kundera considers Kafka to be one of his principal masters. He sees Kafka as an antecendent of surrealism and existencialism. According to his collection of essays The Art of the Novel, Kafka is the prototype of the ideal author who invites us to cross the border of the probable showing us the world from the other side. Thus, we can observe the human existence in different and better way. By showing this, he fills up the main task of every novelist. The contribution will analyze the alludes of Kafka in the work of Kundera and will try to describe their character and explain how Kundera works with examples of Kafka and his work in his own books.

Der Beitrag beschäftigt sich exemplarisch anhand dreier Ausstellungen im Deutschen Buch- und Schriftmuseum der Deutschen Nationalbibliothek in Leipzig mit Fragen der Repräsentation moderner jüdischer Buchgeschichte im Museum. Dazu werden die grundlegenden Herausforderungen für die Zusammenarbeit von bestandshaltenden Institutionen wie Museen, Archiven und Bibliotheken erörtert und aktuelle wie zukünftige Tendenzen für ein sammlungsbasiertes Forschen aufgezeigt. Zudem werden Besonderheiten der musealen Arbeit bei der Gestaltung von Ausstellungen an konkreten Beispielen vorgeführt und dafür zentrale Fragen der räumlichen Choreografie sowie visuellen Kommunikation für die Erarbeitung entsprechender Narrative erläutert. [ABSTRACT FROM AUTHOR]

Objective: To characterize the insomnia suffered by Franz Kafka (1883-1924), one of the most important literary figures of the 20th century.Methods: We read Kafka's diaries and private correspondence to his fiancée, friends, editors and relatives looking for references to his insomnia.Results: We found 292 references to insomnia indicating that Kafka suffered from chronic insomnia disorder that originated from and was maintained by the following predisposing and precipitating factors: (1) a complex personality predisposing to an increased arousal level, (2) intrusive thoughts and ruminations at bedtime, (3) excessive worrying about sleep loss and its daytime consequences, and (4) an extraordinary intolerance to noise. Since he could not sleep at night and felt the necessity to compose his literary works in an absolutely quiet environment, Kafka deliberately changed his sleep-wake schedule so he could write at night and nap in the afternoon. These maladaptive sleep habits perpetuated his insomnia and led to chronic sleep deprivation resulting in fatigue, lack of concentration and sleep-related auditory, tactile and visual hallucinations. Kafka sought help in alternative medicine however this was ineffective in improving his insomnia.Conclusions: Kafka suffered from chronic insomnia disorder and had inadequate sleep hygiene resulting in chronic sleep deprivation. These sleep problems impaired Kafka's quality of life. [ABSTRACT FROM AUTHOR]

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"Walter Benjamin, Reader of Kafka: Study, Oblivion and Justice". In this paper we propose to explore an aspect of Franz Kafka. On the Tenth Anniversary of his Death, an essay that Walter Benjamin wrote in 1934 for the Jüdische Rundschau, and to investigate an idea that does not develop there in extenso: the "study" (Studium). Throughout the text, we find that Benjamin relates this idea with two other concepts: first, he argues that study is opposed to "oblivion", and, on the other hand, links study with the notion of justice. In this way, both characterizations seem to coexist in the essay about Kafka, without the author developing them in depth. The objective of this work is, then, to delve into each of them in order to clarify how Benjamin conceives the study so that it can be associated with both a struggle against oblivion and with justice. [ABSTRACT FROM AUTHOR]

Contemporary readings of Franz Kafka's works often remark on the affinity between the ideas present in Kafka's texts and those of postmodern philosophers such as Michel Foucault. Through an examination of some recent Foucauldian readings of In the Penal Colony and The Trial, this article argues that Kafka's engagement with anarchist theory, particularly that of Peter Kropotkin, Mikhail Bakunin and Gustav Landauer, may be considered an unacknowledged source for the well-documented 'postmodern' aspect to his work. [ABSTRACT FROM AUTHOR]

Copyright of Teoría de la Educación. Revista Interuniversitaria is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sociologias is the property of Universidade Federal do Rio Grande do Sul and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims -- in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík -- to present a form of thinking about literature and its studies that would belong in some ways to the 'slow reading culture'. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the 'rhythm of constantly renewed acceleration'. The first part of the study, dedicated to Benjamin's reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka's short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin's tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík's reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík's Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader's interest. Opelík's methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading. [ABSTRACT FROM AUTHOR]

In 1943, Jean-Paul Sartre published several important articles of literary criticism on Blanchot, Camus and Bataille. In addition to propounding his own literary views, these articles functioned as a means of marking out his own version of existentialism, which risked being conflated with the Camusian absurd. Whereas Camus, according to Sartre, advocated a detached attitude in the face of the meaninglessness of existence, Sartre maintained that the subject cannot withdraw from the (historical) situation and that existence is ultimately meaningful. One author in particular, Franz Kafka, acts as the figurative 'prism' through which Sartre challenges rival versions of existential thinking. He does so by introducing the concept of le fantastique (the fantastic) on account of Kafka's work. In so doing, Sartre not only rebutted the dominant interpretation, according to which Kafka was an absurd author, but also uncovered a historical critique implicit in the Prague author's work. [ABSTRACT FROM AUTHOR]

This article explores the contact zone between Kafka's multilingual modernism and the until now overlooked modernist language politics of his first translators into English and thus world literature, the Scottish couple Edwin and Wilhelmina (Willa) Muir. Addressing the Muirs' multilingual modernism, it discusses this worldly wordiness that emerges from lifelong patterns of displacement and that is deeply connected with the Muirs' vexed relationship with the English language and participation in Scottish modernist vernacular debates. Despite the Muirs' controversial decision to write in Standard English, however, vernacular fragments repeatedly surface in their works. [ABSTRACT FROM AUTHOR]

Major writers belonging to what Christian Moraru calls the "Kafka network" are, as the critic argues, behind watershed realignments and redistributions in the literary and conceptual makeup of modernity. Specifically, the critic proposes that these rearrangements have been part and parcel of aesthetic modernism's transforming intervention in the structure of the modern onto-ecological imaginary - in how we see our humanity and its place in the "continuum" of human and nonhuman, organic and inorganic life. As Moraru shows, inside the domain in question, Schulz, Foer and others like them reshuffle the pieces on the ontological chessboard into a new, eye-opening scenario and web of material life. [ABSTRACT FROM AUTHOR]

Nel romanzo Das Schloß (1922) Kafka non si limita a perseguire l’eleganza del classicismo weimariano riducendo l’influenza esercitata, sulla lingua da lui usata, dal tedesco del sud e di Vienna, dal ceco e dallo yiddish. L’autore riprende anche alcuni accorgimenti stilistici tipici dell’ebraico biblico, finora trascurati dalla critica. L’accento posto dall’ebraico biblico su paratassi e ripetizione dà vita, nel romanzo, a una sorta di allucinazione acustica, anch’essa trascurata dalla critica.

La literatura fantástica ha sido investigada desde diversos puntos de vista: lo fantástico puede ser considerado como género y también como una particular estructura textual ambivalente que cuenta con elementos temáticos y motívicos específicos. La crítica literaria que se ocupa del complejo fenómeno de lo fantástico asimismo enfoca sus aspectos históricos, por ejemplo, la cuestión concerniente a la desaparición de lo fantástico en el siglo xx o a su persistencia en formas modificadas. Después de revisar una serie de diversas aproximaciones teóricas hacia lo fantástico y su “renacimiento” en lo neo-fantástico, el presente estudio propone ejemplos temáticamente vinculados con las modificaciones de la narrativa tanto fantástica como neo-fantástica de las literaturas húngara, alemana y catalana, de su construcción intertextual y metafórica, demostrando las diferencias, pero también los aspectos comunes de fantástico en sus variadas formas estructurales e históricas.

O presente “Ensaio” tem como finalidade básica analisar o tema do “absurdo” no seu “desenvolvimento histórico”, estruturado por Dostoievski em seus romances, desenvolvido por Franz Kafka no sentido transcendental e por Albert Camus no sentido imanente. Pretende ele analisar também o tema da incomunicabilidade ligado ao “absurdo”, partindo de textos considerados básicos na bibliografia kafkiana, quais sejam, “O Castelo” e seu “Diário”, evitando cair numa análise estilística tão a gosto dos adeptos do modern criticismcomo a uma redução sociologística da obra de arte, cultivada pelos epígonos modernos de Taine. Crê o autor, que o equilíbrio entre o aspecto psicológico, literário e histórico permite uma visão mais “integrativa” do universo literário, sem cair nos reducionismos atraentes, porque fáceis, de cunho estilístico ou sociologizante. Nessa linha de equilíbrios integram-se a obra de Antônio Cândido “Panorama da Literatura Brasileira” e a de Hugo Friedrich na sua Die struktur der modern lyrik (von Baudelaire bis zur Gegenwart).

This study deals with the comparison of Metamorphosis by Franz Kafka, a jewish origined Austrian writer, as a novella and a television movie. Jan Němec from Czech New Wave is the director of the movie who also wrote its screenplay in a slapstick style. In this process, following descriptions of its plot and importance, similarities and differences between the novella and the movie have been highlighted through some examples from both versions, by using the analyzing factors such as general features, plot, theme, characters, time, place, narrator and narrative point of view.

Novel America consists of a series of fragments. It is built on the principles of expansion and compression, where the writer describes in detail what happened to Carl Rosmman, the main character of the novel (for instance, the conversation in the captain's quarters on the ship, the departure and openings in the mansion near New York, the meeting with the Delamars and the Robinsons, the investigation against Carl Robinson, leaving the elevator in the hotel, departure and arrival at Delamars, Robinson and Brunelde), or it runs through certain events and connects them collectively (the time at his uncle's, working at Occidental), when the author describes a space much longer than the elapsed time (in both cases, approximately two months). Rosmann's character is completely built on contrasts and oddities.

In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper deals with some non- Czech literary reflections of Bohemia and its culture/cultures: in Central-European history the notion of Czech culture is not univocal and the perception of Czech Bohemia is not continual. The region, situated in the same centre of Europe, since medieval times has been the theatre of crossings and encounters, as well as the scene of conflicts and removals. Literature preserves and restores, recalls traces and restitutes values from oblivion, creating at the same time fictional characters and places, which can conceal the real ones or at least change their nature and shape. An elusive Bohemia, located somewhere else, thus mythical, is frequent in its German literary reflections. [ABSTRACT FROM AUTHOR]