178,442 research outputs found
Kafka on the Shore
No full textKafka On The Shore consists of three simple concrete letterforms floating on a gallery wall. Reminiscent of minimalist sculpture, the mathematical expression of the letterforms states that ‘r’ is greater than ‘g’. Despite this material simplicity, the solemn presentation of the formula suggests a sense of foreboding, a quiet menace. The work was created as a response to the economic theories of Thomas Piketty presented in his book Capital in the Twenty-First Century. The primary finding of Piketty’s data-driven research is the formula presented by the work; that historically, wealth and inequity both flourish when the rate of return on capital (r) is greater than the rate of economic growth (g). With this simple mathematical summary the book acts as a sobering indictment on the present state of economic inequality
Diagamma Kafka
No full textIl testo attraversa il lavoro letterario di Franza Kafka attraverso il concetto di diagramma elaborato da Gilles Deleuze
Haruki Murakami’s Deconstructive Reading of the Myth of Johnnie Walker and Colonel Sanders in Kafka on the Shore
No full textThis study aims to analyze how Haruki Murakami reads the real icons of Johnnie Walker and Colonel Sanders in Kafka on
the Shore deconstructively. First, we will focus on the signification process of the icon, which are to a great extent molded by advertisements, and then on the deconstruction of their signifieds. For the purpose, we will apply Barthes‟ idea of myth. We are also interested in revealing how Murakami constructs Johnnie Walker and Colonel Sanders to be characters in the novel. The analysis shows that the construction of the icons through advertisements leads to the creation of their mtyhs, and then Murakami reads them deconstructively to be opposite signifieds
Kurtág’s Kafka Fragments and Hommage à R. Sch.
No full textThis chapter examines two of Kurtág's compositions. It first considers the compositional genesis of Kafka Fragments and charts the deliberations over what pieces to include in the work and in what order. The chapter demonstrates how the sketches and drafts for “Du bist die Aufgabe” illustrate characteristic features of Kurtág's working procedure. This leads in turn to a consideration of the important links connecting the Kafka Fragments to another of Kurtág's major compositions, the Hommage à R. Sch. Finally, this chapter examines selected songs of the cycle in detail, giving special attention to “Der wahre Weg,” which forms the whole of part II of Kafka Fragments.</p
Kafka: la sovranità sensibile non merita rivoluzioni
No full textSi tratta di un capitolo di un volume dedicato alle forme di vita desumibili dall'opera letteraria di Kafka
L'avventore intempestivo. Alcune riflessioni sull'ultimo Kafka
No full textIl contributo individua la peculiarità dello stile di Franz Kafka nella capacità di rovesciare i concetti acquisiti della ratio greca per rifunzionalizzarli secondo coordinate che, neutralizzando la dialettica e la maieutica, fanno segno al machloqet di Rabbi Nachman e alle pratiche della Chassidut (Von den Gleichnissen). Articolando i concetti di gerut e galut l’ebraismo di Kafka traluce nella tarda produzione, in special modo a partire da Das Schloß. Seguendo il filo del narrare kafkiano, il contributo evidenzia, inoltre, convergenze e contrappunti nella ricerca di Franz Kafka con le interrogazioni di Ludwig Wittgenstein - dal Tractatus alle Logische Untersuchungen ai Diari : entrambi gli autori schiudono a una logica „altra“ che si dà a conoscere nella tensione di una scrittura che muove dall’ortoprassi e all’ortoprassi fa segno. L’autrice tiene conto della tradizione della qabbalah luriana e post-luriana, che Kafka fa convivere con le aporie della „westjüdische Zeit“. La presenza della “Dauerspur” freudiana - come rovescio e prosecuzione della memoria ebraica - è analizzata alla luce di Ein Hungerkünstler e Josefine die Sängeri
Max Brod, Franz Kafka : Un inedito di Franz Kafka (Traduzione e note con testo a fronte in originale)
No full textThis is the first translation onto Italian as well as the first parallel text edition (German / Italian) of Max Brod’s “Unpublished by Franz Kafka” (“Ungedrucktes von Franz Kafka”) originally printed on the weekly newspaper “Die Zeit” on 22.10.1965. The Text is also an Introduction to Kafka’s Fragment of 1906. The present translation has been compared with the three book-editions of “The Prague Circle” (1966; 1979; 2016) as well as with Kafka’s Fragment as it appears in the critical edition of his works: Franz Kafka, “Nachgelassene Schriften und Fragmente I” + “Apparatband”, hrsg. von Malcom Pasley, Fischer Taschebuch Verlag, Frankfurt am Main 1993). The translation is accompanied by explanatory and critical notes in order to signalize variations and, as for the only known Italian translation of 1971, an important oversight which needed emendation and greatly influences the reception of Kafka’s works and ideas
Micromechanical oscillator ground-state cooling via resonant intracavity optical gain or absorption
No full textWe suggest possibilities for manipulation and ground-state cooling of micromechanical oscillators by resonant coupling of the mirror vibrations to narrow optical transitions of a designed material ensemble within a cavity mode. Particles, modeled as a two-level ensemble, create intracavity narrow bandwidth loss or gain and induce tailored asymmetric structuring of the cavity noise spectrum interacting with the oscillator. This facilitates cooling via inhibition of the Stokes-scattering process or enhancement of anti-Stokes scattering even for short low-finesse optical cavities
Franz Kafka : Un frammento trascurato
No full textThe present Issue of the Academic Journal Materiali di Estetica is devoted to the only one known epistemic Fragment Franz Kafka expressly dedicated to aesthetical questions. Max Brod found it and edited it for the first time in 1965 in the newspaper Die Zeit. The translation we present after 45 years from the one published in the volume Confessioni e diari (1972) is also the first which emends the Italian “psicologico” of 1972 instead of the original “physiological”, an oversight which greatly influences the reception of Kafka’s thought and ideas. Also the concise introduction and comments, with which Brod accompanies his friend’s remarks in 1965, are here translated for the first time. In the Fragment Kafka contrasts and counters Brod’s equivalence of beauty as novelty and, conversely, novelty as beauty. We have gathered scholars of international prestige and fame in order to investigate Kafka’s arguments and style, to analyse them thoroughly and unreservedly, paying due attention to pages which have been forgotten and overlooked in Kafkian studies
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