715 research outputs found
John T. Hamilton, <em>France/Kafka: An Author in Theory</em>
No full textJohn T. Hamilton, France/Kafka: An Author in Theor
Vortrag : Erinnerungen an Kafka.
No full textLecture on Kafka and other members of the Prague circle of writers; personal encounters with Franz Kafka, Felix Weltsch, Max Brod, Franz Werfel, Oskar Baum, and Martin Buber; author's brother Friedrich Thieberger was teaching Hebrew to Kafka; contains poem in remembrance of Kafka.The writer Gertrude Urzidil (née Thieberger) was the sister of the author Friedrich Thieberger and the wife of Johannes Urzidil
Franz Kafka
No full textFrom his earliest book ( The Man Without Content ) to one of his latest ( The Use of Bodies ) Agamben’s work is inhabited by Kafka’s characters: messengers, assistants, land surveyors, students, courtroom clerks, the bobbin Odradek and the mythical horse Bucephalus which becomes an attorney. The references to Kafka are often brief but in strategic places: Kafka frequently pops up in the title of a chapter, or at the end of one of Agamben’s arguments to illustrate and further deepen the point he has just made. Agamben regularly states that Kafka is the author who has most coherently or profoundly addressed the issues that he is working on ( MC 112); however, the work of the Prague author has not only influenced the content of Agamben’s philosophy, but also his style
O MUNDO DE KAFKA
No full textIn this short story, we approach the literary doing and the work of fiction. The plot involves Kafka, author of the Metamorphosis.En este cuento, se aborda el hacer literario y la obra de ficción. La trama involucra a Kafka, autor de la obra a Metamorfosis.Neste conto, aborda-se o fazer literário e a obra de ficção. A trama envolve Kafka, autor da obra A Metamorfose
Franz Kafka
No full textFrom his earliest book ( The Man Without Content ) to one of his latest ( The Use of Bodies ) Agamben’s work is inhabited by Kafka’s characters: messengers, assistants, land surveyors, students, courtroom clerks, the bobbin Odradek and the mythical horse Bucephalus which becomes an attorney. The references to Kafka are often brief but in strategic places: Kafka frequently pops up in the title of a chapter, or at the end of one of Agamben’s arguments to illustrate and further deepen the point he has just made. Agamben regularly states that Kafka is the author who has most coherently or profoundly addressed the issues that he is working on ( MC 112); however, the work of the Prague author has not only influenced the content of Agamben’s philosophy, but also his style
Franz Kafka unmasked
No full textThere is no mention of Kafka in Heidegger's work. Did Heidegger ignore him, or pretend to? It's possible that he didn't read anything by Kafka until 1945. In 1933, Kafka was still little-known in Germany; then the Nazis banned and destroyed publications by Jews. From 1945 onwards, Kafka became a fashionable author. Heidegger didn't care about fashion. In 1950, Hannah Arendt, who had renewed her acquaintance with Heidegger, gave him the gift of a collection of Kafka's works. Hannah Arendt wrote two articles on Kafka, in 1944 and 1948. The first was published in Germany in 1948 (Heidelberg), in a collection entitled Sechs Essays. Heidegger must have read it, sooner or later. It's possible that he discovered Kafka after 1950, but we can't be sure. Yet Kafka's work, the one which he did not publish himself, foreshadows that of Heidegger. In particular, if Heidegger read A Dog’s search, he must have received a shock. He said nothing about it
Kafka Unchained: Returns beyond Biofiction
No full textAgainst the background of the 100th anniversary of Franz Kafka’s death, the article explores a branch of author-as-character fiction that escapes the generic restraints of biography and biofiction: unchained writer fiction. Using Steven Soderbergh’s film Kafka (1991), filmmaker Gil Kofman’s novel debut aKa (2023), and Haruki Murakami’s global bestseller Kafka on the Shore (2002/2005) as a provisional sample, different modes of unchaining Kafka from the fetters of biography and biofiction are brought to light and contrasted against each other
A psychoanalysis study in the main character representing franz kafka as the author in metamorphosis novella
No full textNurul Atikah, A Psychoanalysis Study In The Main Character Representing Franz Kafka As The Author In Metamorphosis Novella. Dibimbing oleh Herland Franley Manalu dan Diana Anggraeni. Penelitian ini menganalisa kondisi psikologis dari karakter utama yaitu Gregor samsa dalam metamorphosis yang ditulis oleh seorang eksistensialis yaitu Franz Kafka pada tahun 1912. Kondisi psikologis tersebut yang membentuk kepribadian karakter tersebut berupa kecemasan, kegalauan, dan kesedihan bisa sejalan dengan motivasi pengarang yang dilihat dari biography nya dan kondisi eksistensialis pengarang yang dituangkan didalam karya sastra ini. Di dalam cerita tersebut, penelitian ini menganalisa kepribadian karakter utama yaitu Gregor Samsa sebagai objek penelitian menggunakan teori kepribadian Id, Ego dan Superego dari Sigmund Freud kemudian mengaitkan relasi antara kepribadiaan karakter utama dengan pengalaman kehidupan Franz Kafka sebagai pengarang melalui psikologi sastra tentang psikologi pengarang. Penelitian ini menggunakan metode kualitatif analisis naratif yang merepresentasikan informasi dalam bentuk narasi dan dialog sebagai objek dari penelitian. Adapun isi dari analisis, sebagai berikut; (1) Kondisi kepribadian Gregor Samsa yang mengalami kegalauan, kecemasan, kesedihan dengan kehidupannya yang dipetakan melalui dialog dan monolog(2) Kepribadian Gregor Samsa yang dijelaskan dalam aliran karya sastra Kafka disebut sebagai Kafkaesque (3) Membuktikan pada kesimpulan melalui data yang telah dikumpulkan bahwa kondisipsikologis yang dialami oleh Gregor Samsa merupakan cerminan dari kehidupan Franz Kafka sebagai pengarang. Sebagai seorang pengarang, karya sastra Franz Kafka merepresentasikan konteks sosial pada era itu bahkan masih relevan sampai sekarang dalam tema-tema eksistensial seperti itu
The space of Kafka /
No full textThe following study investigates the fictional works of an early twentieth century Czechoslovakian writer named Franz Kafka. "The space of Kafka" is explored primarily through the "identity" of his characteristic monster figures and the temporally disjunctive narratives through which they travel. Monstrosity is qualified here as a principal mode of translation through which Kafka engaged the very terms of "identity" which an "individual" faces in the appearance of any "work". The intimations of a monstrous self are probed through Kafka's work in relation to human experience, intentionality, alterity and a "present" which is en-acted specifically as one form of the past. Through Kafka's paradigmatic "monster", "double" and "bachelor" figures, we find not "alternative" orientations of the "self" which contemporary literature and architecture may choose to undertake, but intrinsic re-presentations of the very relation which any self, any author, already is in the appearance of a "work"
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