Franz Kafka has given his name to a world of nightmare, but in Kafka's world, it is never completely clear just what the nightmare is. Kafka deals in dark and quirkily humorous terms with the insoluble dilemmas of a world which offers no reassurance, and no reliable guidance to resolving our existential and emotional uncertainties and anxieties.
The Judgment, Metamorphosis, In the Penal Colony, A Report to the Academy, A Country Doctor, The Burrow, Investigations of a Dog or On Substance, Hunger Artist, Josephine the Songstress or The Mouse Folk; Josef K.!, The Messenger & Nocturnal Deliberations -a newly expanded Second Edition (9 Stories & 3 Novel Excerpts) with a Postscript on the Translator's Art. This translation of Kafka has a dual purpose, for starters it intends to provide English readers with a much better translation: that Kafka's prose should find a more fitting analogy in modern (American) English whereby it should come to life to a greater degree, and that his underlying philosophy-and I say philosophy in the greater sense-thus, should be grasped more readily. The second purpose is to explore issues regarding translation per se: what is the proper role of the translator and why is it that the vast majority of translations tend to leave the typical reader perplexed and, quite frankly, dissatisfied? The stories and excerpts included in this second edition have been carefully chosen to really bring the reader to the core issues that make manifest Kafka's literary genius. This book also contains a short postscript on the art of translation that argues against the current modus operandi of translation theory, indeed, it goes so far as to quote from Kafka's diaries-on his state of mind in composing-as well as from Schleiermacher and early Roman translators on the responsibility of the translator to capture the spirit of the work in an imaginative manner. Kafka was struggling in his writings with matters that go beyond the normal concerns and my intention in this translation is to remain true to Kafka's aims. Thus, this translation may prove valuable not only for the general readership but likewise for those who wish to study the intricacies of translation of text that deals with the most important matters. All the same, one should never neglect the humorous side and the joy to be discovered in having the last laugh.
Why do images of entertainers abound in European literature and art since Romanticism? From Baudelaire to Picasso, from Daumier to Fellini, mimes, clowns, aerialists, and jesters recur in major works by continental artists. In Art as Spectacle, Naomi Ritter investigates this phenomenon and offers explanations that transcend the array of works discussed. Her analysis implies much about the triangle of creator, work, and audience that inevitably controls art. Although a broadly comparative study underlies Art as Spectacle, the book focuses mainly on examples from Germany and France. Three areas of argument-identification, primitivism, and transcendence-account for the performer's ubiquity in the arts of the last two centuries. Ritter shows that writers, painters, choreographers, and filmmakers have persistently identified with the entertainer, whose roots lie in primitive ritual: a source of all art. Accordingly, the artist also sees the player as morally or spiritually elevated. With three chapters on literature, a chapter comparing poetry to painting, and a chapter each on dance, the visual arts, and film, Art as Spectacle offers unprecedented scope on a compelling topic in comparative studies. By integrating such varied material into an original commentary on the image of the entertainers, this book provides an invaluable resource for all the disciplines it touches.
This book uses a Kafkaesque lens to study the public and legal features of the coverage of the Nisour Square shootings of 2007. It illustrates how most American communities were much more interested in regulating private security firms than they were in having legal discussions of potential war crimes.
Kiebuzinska, who teaches modern drama, comparative literature, and film at Virginia Tech, considers intertextuality in modern drama. In nine essays, she examines the connections between the works of modern playwrights such as Kundera, Jelinek, and Hampton and the texts of earlier writers such as Did
Franz Kafka wrote this letter to Hermann Kafka in November 1919; he was then thirty-six years old. Max Brod relates that Kafka actually gave it to his mother to hand to his father, hoping that it might renew a relationship that had disintegrated into tension and frustration on both sides. Kafka's probing of the abyss between them spared neither his father nor himself, and his cry for acceptance has an undertone of despair. He could not help seeing the lack of understanding between father and son as another moment in the universal predicament depicited in so much of his work. Probably realizing the futility of her son's gesture, his mother did not deliver the letter, but returned it to Kafka instead. Kafka died five years later, in 1924, of tuberculosis.
Theosophy, Cabala, and the Modern Spiritual Revival
Author: June O. Leavitt
Publisher: OUP USA
Category: Literary Criticism
June O. Leavitt offers a fascinating examination of the mystical in Franz Kafka's life and writings, showing that Kafka's understanding of the occult was not only a product of his own clairvoyant experiences but of the age in which he lived.
“A love letter to the book as a physical object, a source of intellectual ardor, and a form of emotional salvation” (Salon)—and a nod to U and I, Nicholson Baker’s classic memoir about John Updike—from an award-winning author called “wonderfully bright” by The New York Times Book Review. Nearly twenty-five years ago, Nicholson Baker wrote U and I, the fretful and handwringing—but also groundbreaking—tale of his literary relationship with John Updike. U and I inspired a whole sub-genre of engaging writing about reading, but what no story of this type has ever done is tell its tale from the moment of conception, that moment when you realize that there is writer out there in the world that you must read. B & Me is that story, the story of J.C. Hallman discovering and reading Nicholson Baker…and discovering himself in the process. Our relationship to books in the digital age, the role of art in an increasingly commodified world, the power great writing has to change us, these are at the core of Hallman’s investigation of Baker—questions he’s grappled with, values he’s come to doubt. But in reading Baker’s work, Hallman discovers the key to overcoming the malaise that had been plaguing him, through the books themselves and what he finds and contemplates in his attempts to understand them and their enigmatic author. B & Me is literary self-archaeology: an irreverent, incisive story of one reader’s desperate quest to restore passion to literature, and all the things he learns along the way. “A wide-ranging and idiosyncratic career survey for Nicholson Baker’s work, a love letter to the act of reading, and a commentary on the modern novel, this is a book that readers will absolutely adore” (Publishers Weekly, starred review).
Don Coles' Forests of the Medieval World (PQL 1993) won the Governor General's Award for poetry. Kurgan (PQL 2000) won the Trillum Prize in Ontario. The Essential Don Coles presents an affordable collection of the poet's very best work.