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Philosophy and Kafka
Philosophy and Kafka is a collection of original essays interrogating the relationship of literature and philosophy. The essays either discuss specific philosophical commentaries on Kafka’s work, consider the possible relevance of certain philosophical outlooks for examining Kafka’s writings, or examine Kafka’s writings in terms of a specific philosophical theme, such as communication and subjectivity, language and meaning, knowledge and truth, the human/animal divide, justice, and freedom.
Possessed
Silent cinema and contemporaneous literature explored themes of mesmerism, possession, and the ominous agency of corporate bodies that subsumed individual identities. At the same time, critics accused film itself of exerting a hypnotic influence over spellbound audiences. Stefan Andriopoulos shows that all this anxiety over being governed by an outside force was no marginal oddity, but rather a pervasive concern in the late nineteenth and early twentieth centuries. Tracing this preoccupation through the period’s films—as well as its legal, medical, and literary texts—Andriopoulos pays particular attention to the terrifying notion of murder committed against one’s will. He returns us ...
Kafka's the Trial
Kafka's novel The Trial, written from 1914 to 1915 and published in 1925, is a multi-faceted, notoriously difficult manifestation of European literary modernism, and one of the most emblematic books of the 20th Century. It tells the story of Josef K., a man accused of a crime he has no recollection of committing and whose nature is never revealed to him. The novel is often interpreted theologically as an expression of radical nihilism and a world abandoned by God. It is also read as a parable of the cold, inhumane rationality of modern bureaucratization. Like many other novels of this turbulent period, it offers a tragic quest-narrative in which the hero searches for truth and clarity (wheth...
Miniature Metropolis
Andreas Huyssen explores the history and theory of metropolitan miniatures—short prose pieces about urban life written for European newspapers. His fine-grained readings open vistas into German critical theory and the visual arts, revealing the miniature to be one of the few genuinely innovative modes of spatialized writing created by modernism.
Ar̲atjara
ARATJARA is the first collection of essays on Australian Aboriginal culture published and edited from Germany. A group of internationally renowned scholars and specialists in their fields have contributed original essays on political and cultural aspects of Aboriginal life today. These various essays treat the struggle of Aboriginal peoples for land rights, their music, and their achievements in theatre, in literature and in the creation of Aboriginal literary discourses, as well as Aboriginal film and television productions and the representation of Australia's indigenous peoples in the white media. Among Aboriginal writers who have contributed to ARATJARA are the politician Neville T. Bonner, the dramatist Bob Maza, the story-teller David Mowaljarlai and the poet Lionel Fogarty, who has been called the most authentic Aboriginal voice among writers using English as their medium of creative expression. The volume is dedicated to Oodgeroo (formerly Kath Walker, 1920-1993), one of the foremost Aboriginal political and cultural personalities, and also contains a number of poems by Lionel Fogarty.
Theodor Herzl: From Europe to Zion
In 2004 the one-hundredth anniversary of Theodor Herzl’s death was commemorated throughout the world. The myth of Herzl, as it has developed over the last century, has perhaps become more important than the historical figure. This volume contains revised and expanded essays, which were originally delivered as lectures at international Herzl centennial conferences in Antwerp, London, and Jerusalem. Topics treated include the Herzl myth, Herzl’s nationalism and Zionism, his self-understanding and image, his authorship of comedies and philosophical tales, Herzl and Africa, as well as his reception in Israeli and other literature. Zweig films are also considered within this same context.
Kafka’s Stereoscopes
In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives. Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.
Irony's Antics
Irony's Antics marks a major intervention into the underexplored role of the comic in German letters. At the book's heart is the relationship between the comic and irony. Weitzman argues that in the early twentieth century, irony, a key figure for the German Romantics, reemerged from its relegation to "nonsense" in a way that both rethought Romantic irony and dramatically extended its reach.
The Cambridge Introduction to Franz Kafka
An accessible, comprehensive introduction to the work, life and times of one of the twentieth century's most important writers.
Three Sons
Franz Kafka was a self-conscious writer whose texts were highly if mysteriously autobiographical. Three giants of contemporary fiction—J. M. Coetzee, Philip Roth, and W. G. Sebald—have all acknowledged their debt to the work of Kafka, both in interviews and in their own academic essays and articles for a general readership about him. In this striking feat of literary scholarship, Daniel Medin finds that the use of Kafka by Coetzee, Roth, and Sebald is similarly self-reflexive and autobiographical. That writers from such divergent national and ethnic traditions can have such unique critical readings of Kafka, and that Kafka could exert such a powerful influence over their oeuvres, Medin contends, attests to the central place of Kafka in the contemporary literary imagination.
