What does Kafka mean today?

 

 

 

What does Kafka mean today?

                       Kaj Bernhard Genell 2023

 

 

 

 

 

           What was unique about Kafka?

              Kafka – as a matter of fact - used high-Romantic Ästhetik des Schwebens and without this reference to the Romantic Tradition, there would have been no Kafkaesque. The Kafkawsque – of course – is what most of all interests us, when it comes to Kafka.

            But what - then - is meant by the term "Kafkaesque"? We are - as our prime object of study - looking into this Concept.
THUS Kafka - a Freudo-Structuralist Analysis is an analysis of Kafka's novels and short stories, with special regard to the concept of the Kafkaesque. This book concentrates on understanding what contributed to the famous Kafka effect. The author explains the structural triplicity of a discourse seen as consciousness. It also describes how Freud, Romantic irony, and Symbolistic literature simultaneously co-work as the mythical subtext of Kafka's work. Kafka created something that would become part of defining Modern Man. Understanding Kafka is the road to understanding Modernity.

    Many a Dissertation and many an Essay on Kafka have dealt with the strange "dreamlike character" or effect of Kafka´s novels and short stories. This has always been dealt with as if the "kafkaesque" was brought into the game by someone adding "Freudian symbols" to something. Nothing could be further from the truth! This is what Genell´s book Kafka - a Freudo-Structuralist Analysis (2021) shows.

 

                    Rather, the case is this:

Kafka's structural, literary form is based upon a refined mega-structural narrative split.

    
It is the split between subject-"voice" and object-"voice" on the one hand, and human conscious and uncons©ious mind, on the other. This is not easy either to describe or to understand! The uniqueness of the works of Franz Kafka and the perplexing historical accuracy of the concept of Kafkaesque are both phenomena that many readers and scholars have noticed over the years. Through the years, a fruitful explanation of the uniqueness and accuracy of these works has been missing.

Scholars have ever from the 1930ies been noticing the extraordinary qualities of Kafka text. Strange - Kafkaesque - features have been attributed to the short stories and the novels of Kafka. The Kafka hero has - rightly - been seen as a mere figure, and the “dream-like” landscape universe has been seen as a characteristic, and one has frequently been looking upon these entities, together with a few stylistic features, as technical dominants in the shaping of the concept of the Kafkaesque.
Genell´s Kafka - a Freudo-Structuralist Analysis displays a model, together with a biographical survey and a historical perspective on possible influences, that, reversely, forms a hermeneutic, actual explanation of these features, as well as to what is denoted by the concept, from the perspective of a dynamic contextual center, explained in a model containing three levels, levels forming the discourse, typical of Kafka.

This book tries to unravel the enigma of the concept by reference to the process of creation and by Kafka´s implicit use of TWO unconscious levels within the universe of his most important works. The veil of mystery may never be lifted regarding Kafka´s eerie classics of Modernity like it will never be lifted when it comes to literature as a whole. Still, it might be essential - in order not to fall into any metaphysical trap - to know about the technique behind the Kafkaesque to be able to reflect upon the Self-Consciousness of Modern Man of the 20ieth century, a century so intensely marked by a dialogue between society and the works and ideas of Sigmund Freud. Self-consciousness of Man, as it appeared with St. Augustine, the great Italian Renaissance writers, Erasmus, Shakespeare, Montaigne, the German secular Romantics, and Hegel, swiftly developed into something even much more complex with the appearance of Freud and the groundbreaking publication of his Traumdeutung in the year of 1900, and, more so, with the creation of the Kafkaesque, with the works of Kafka, around the year of 1912. The birth of the Kafkaesque can be dated to the night in the autumn of 1912 when Kafka wrote Das Urteil.

The book, Kafka - a Freudo-Structuralist Analysis revolves solely around this strange split of ©onsciousness and its ©onsequences.

    The Kafkaesque is brought about by two phenomena, and Genell is in his book discussing only the first one.
1.) A literary trick, built upon a split Unconscious ( strange as it of course may sound, and difficult -) and
2.) a unique mental sensibility.

 

WHAT IF one had a Dream of a Dream and the two of them could communicate?? That is what happens in a Franz Kafka story! The book Kafka - a Freudo-Structuralist Analysis deals with Kafka's novels and short stories from the aspect of the Kafkaesque, and it does so by looking for the means that create this effect. These means turn out to be largely technical. Thus, this book, Kafka - a Freudo-Structuralist Analysis, shows how Kafka uses a narratological split, split consciousness, and SPLIT Unconscious of the hero to create the Kafkaesque by a rare trick.


This new book shows how Kafka became one of the most prominent artists to create and define Modernity. Kafka took part in the thrilling creation of Self-conscience of the 20ieth century, marked by a constant dialogue with Freud and his works. Self-Conscience as Man knew it since St. Augustine, the Italian renaissance writers Erasmus, Shakespeare, and Montaigne, and later with the secular Romantics and Hegel swiftly developed within Modernism into something much more complex, primarily with the appearance of Freud's "Traumdeutung" in the year of 1900. And Kafka - rebutting Schnitzler - then set out to complete it all. The works of Kafka appeared as a reaction to 1.) Modern times, to 2.) his own personal alienation, and to 3.) Freud.

        Kafka's answer to Modernity – to the modern condition – was astonishingly complex, but it turned out to be very accurate and accomplished right from the beginning. When other reactions to the Modern Condition, like Hugo Ball, Appolinaire, and Dada, displayed a picture of a chaotic and rebellious attitude to reason and morals, Kafka, much like Rimbaud actually, showed a far more complex ability to make modern society's human-understandable itself, in a universal narrative. Kafka, in exploring the Unconscious, as by Freud, and in doing so using a Romantic "Ästhetik des Schwebens," is the unique discoverer of the marvels of mind, and is, in this, equal to Freud. Kafka - a Freudo-Structuralist Analysis sets out to explain how the Kafkaesque itself generates - even today, 100 years after its birth - an interrogation that scrutinizes the Freudian theory and our conception of the unique human consciousness.

    Kafka's relation to Freud was somewhat like a son's relation to the father. Hence, Kafka did not acknowledge Freud's discoveries, methods, and notions as truths. But he saw them – ironically enough – as facts. And in a sense, they were. Freud's views were historical facts in their profound influence on the Mind and Society of the century. Kafka used Freud as part of the revealing of Modern Myth,  and the myths used by Modernity.

Kafka used Freud, but Kafka added on top of Freud´s model of the human psyche another split to human consciousness in his literary universe. Kafka thus did not "believe in" Freud, but he was fascinated by him. Freud suited Kafka well. Almost too well. He did not look at all to Freud to a great extent, ... did not own several books by Freud ... but he had – like many others – acquired a sort of immediate understanding of Freud's ideas through a kind of everyday osmosis.

Kafka actually started as a writer of lyrical prose, short prose poems in the style of Goethe, Kleist, and Flaubert. But his dream was to write a novel, and it ought to be like the one Flaubert in his usual rage once claimed he wanted to write: a lovely book about nothing at all. So it happened that Kafka - not at all being highly intellectual or an eloquent philosopher - developed a technique for writing novels where he was extending a sole situation into a perfectly static ( i.e., nothingy ) drama displaying a struggle between conscious and unconscious. It also seems as he tried to develop the style of Tieck and the Romantics. Using his extraordinary ( perhaps autistic ) sensibility, Kafka's technique miraculously was born on one evening in 1912, writing the short story "The Verdict." The following day, he even asked his fiancée Felice for its meaning. Later, in 1912 with the writing of "The Metamorphosis" and, in 1913, the unfinished "The Trial," his technique of displaying the Kafkaesque was already full-fledged. Here he – almost FORCE by his own personal and social catastrophe - introduced a pseudo plot in a kind of pseudo novel displaying a story of a split, a struggle of a conscious instance of a person, shown as a hero-figure battling this person's OWN Unconscious. As it turned out, this battle caused a second unconscious part to appear in the universe of this fiction. ( Examples can be found in Kafka - a Freudo-Structuralist Analysis .) It seems that the hero-figure, devoid of his Unconscious, HAD TO develop such an unconscious to be able to handle his surrounding world, which was his original Unconscious. Here we thus are having a triadic structure and a strange meeting of two unconscious instances. This fictional condition primarily results in a double exposure of the unconscious and a strange transcendence of the Ego, which cannot easily be reflected upon since it has no equivalent in reality.

    This is NOT EASY TO UNDERSTAND!

       As a result of this Kafka-technique, which probably was unconscious (!) to Kafka himself, we are also – apart from the nausea of double Unconscious, a kind of self-consciousness of the Unconscious - experiencing a very intense poetry, depicting utter loneliness in a framework of a sad pseudo-protest, parallel to Weber´s, against the superpower of civil organization and law in general, as well as a hymn of the melancholy beauty of existence the like of which nobody else in the 20ieth Century has created: The concept of "Kafkaesque" has been created upon the experience of the works of Kafka by the Collective Mind, and in some yet not quite analyzed way, it also has extended our mode of perception. The concept of the Kafkaesque, and the Kafkaesque itself, AS IRONY, is vital for both the being and the understanding of our culture and being! The questions regarding this concept, raised in Kafka - a Freudo-Structuralist Analysis questions somewhat elusive, are mainly two: [ 1. ]: what IS the kafkaesque? (…that is caused by this split ) And [ 2. ]: how did Kafka DO to create this, the" Kafkaesque"?

 


    These questions are highly original and deal with ideological, cultural, and psychological matters and tacit knowledge, and complicated issues concerning the ontology of fiction. Perhaps the concept of "Kafka" is an ongoing question in Modernity itself that will prevail no matter how much Kaj Bernh. Genell - and others - keep trying to sort out the problem?....

 

 

Kaj Bernh. Genell 2023.

 

Copyright Kaj Bernh. Genell 2023.

 

 

 

Kaj Bernh. Genell was born in Gothenburg, Sweden, in 1944. After having endured an adventurous youth, he became interested in philosophy and, in 1983, after many years at the University of Gothenburg, published a book exclusively on existential ( in the Sartreian sense of the word ) Irony - “Ironi och existens.” Genell here established himself as a fighter for irony. This position was and is a rare one in Sweden. Soon hereafter, Genell, who since his teens had a great interest in one of the giants of Modernism, Franz Kafka, wrote a series of papers at the University of Gothenburg related to Kafka, partly under supervision of the renowned stark Marxist Kurt Aspelin, who then was a senior teacher and avid lecturer there. This would later result in the now disappeared ebook “Kafka och det Kafkaeska” (2018), an essay in Swedish on the Literary Technique of Kafka, and then later - published in English - an extended version of this book as “Kafka - a Freudo-Structuralist Analysis” (2021).

   As a fiction writer Genell started out with several books in the Swedish language, such as “Pistolen”, “Tavelstölden”, “Tegelkrona och skönheten”, ”Höstdrama” and the horror story “Skjuta sig fri”. These books – of course – have nothing to do with Kafka. Under the pseudo “ Bill Clactoe ”, the first novel in English by Genell appeared in 2021,” called Fell´s Point,” a small idyllic crime story set in Baltimore, USA. With “The Lion´s Disease,” Genell has under his own name in his second English novel created a psychological and philosophical comment on pandemics by describing an odyssey to Indonesia on a Bulk Cargo Carrier.
- Reading a book is to look into oneself.

In 2022 Kaj Bernh. Genell became a stipendiary, by being awarded a large sholarship from Sveriges Författarfond ( National Fund for Authors ).

www.kajgenell.com, Kaj Bernhard Genell Real Home Site. The main subject here is Kafka and the kafkaesque and the book, Kafka - a Freudo-Structuralist Analysis.

Kafka och det dubbla Omedvetna

 Försäkringsjuristen Franz Kafka - född i Prags Altstadt 1883 på Kejsar Franz Josef I.s tid - definierade, kanske mer än någon annan modernistisk fictionförfattare, det speciella med 1900-talet. Det skedde inte genom innehållet i vad han skrev, men mer genom ett stilgrepp i novellerna och romanfragmenten, nämligen i stor grad genom det som - så kryptiskt - kallas det "kafkaeska". Men vad är då det kafkaeska? Vad är det för ett slags stilbegrepp, och vad, exakt, denoterar detta begrepp? Hur kom begreppet till? Och hur kunde Kafka skapa något stilistiskt, eller stilistiskt stämningsmässigt, som var så unikt, så att det blev upphovet till ett begrepp?

Det är dessa frågor - och de som visar sig höra samman med dessa - som t.ex. Franz Kafkas egenartade förhållande till Sigmund Freuds verk - som denna bok försöker ge svar på. Även om Kafka stort sett inte läste Freud, mer än två essäer av denne, så tycks han ha tillägnat sig en kusligt djup insikt om vad Freud avsåg med begreppet "det omedvetna".
Boken inleds med ett biografiskt avsnitt om Kafka, som är nödvändigt för förståelsen av alla samband som begreppsförklaringen i sig ger upphov till. Sedan följer ett avsnitt innehållande en mer specifik, och helt teknisk, analys av det kafkaeska och av grundstrukturen i Kafkas litterära teknik. I denna teknik är "det dubbla omedvetna" något centralt. Så centreras bokens analys till detta, och författaren hävdar att just det kafkaeska är det bärande och unika i det författarskap som så tragiskt avbröts med Kafkas död i Österrike1924.

Boken Kafka och det Kafkaeska (2021) finns ( både som Ebook och Paperback ) på Adlibris, Bokus och Amazon.

KAFKA AND MARXIST THEORY.

 

 KAFKA AND MARXIST THEORY.

          

Many commentators of Kafka – especially in the 1950ies and 60ies - started out from a Marxist perspective and have seen FK as illustrator of the idea of Entfremdung, displayed by Marx in the Paris manuscripts ( in ”Nationalökonomie und Philosophie” ).

This idea of KM – an ontological/sociological one – probably erupts from another term: alienation, which can be found by the early Hegel, the important inspiratory of Marx.  Hegel - a philosopher of purely metaphysical kind, a philosopher of Conscience - introduced the concept of "Entfremdung", estrange-ment, in connection with an analysis of the division of labor. Karl Marx defines alienated labor as: labor in order to own. The prerequisite for this definition is class analysis and a criticism of existing capitalist bourgeois economics.

To Hegel – who was a solid bourgeois character, much to bourgeois even to Goethe …. - alienation was an experience of the outer world as hostile and strange, an experience that could be overcome with an inner maturing process. With Marx alienation was seen as only existent within a capitalist economy and could only be overcome with a social revolution.

Most clearly reflected is this kind of experienced estrangement with respect to Kafka´s works in the animal stories by Kafka, as well as in the history The building of the Great Wall of China, Bense for instance claims. In aesthetics we have come to speak, linked to the original concept of alienation, about the effect of Estrangement (not least through the works of Brecht) and we can meet this effect with Kafka too, and we might see the effect of estrangement as a part of the concept of the Kafkaesque. It is thus part of the effect of the technical efforts of Kafka. This very effect is typical of the genre of literary expressionism (Trakl, Brecht, Morgenstern), and expressionism in turn has long been associated with the works of Kafka, and it was early hinted by the historian Kasimir Edschmid that Kafka´s works belonged to Expressionism. The effect of estrangement was, acquired by artistic VERFREMDUNG ( making something or someone unfamiliar, strange, foreign - a literary trick ) according to him, describing alienation, reification, linked to modernity, modern technique and the effects of modern economy. Expressionism was however an individualist movement, and as such, according to Marxist theorists, alienated.

Alienation was seen as a symptom as well as the modern artist himself was. Kafka appeared in the midst of this debate on alienation, and he came to illustrate the lonely artist in an alienated world: The big debate around Kafka and alienation had started. It took place primarily in Germany, France and in the newly shaped Czechoslovakia. Important contributors were among others Goldstücker, Garaudy, Riemann, Mittenzwei, Seghers and Kusak.

Marxist writers have found Kafka's The Metamorphosis, The Trial, etc. in special to be descriptions of the alienated man in the high capitalist society.   Kusak:

 

 ”Kafka seems to me as the paramount realist of the 20ieth century, and he saw it [alienation] better than anybody else.”   ”/…. / he [ Kafka ] saw the horror of his time .”   /…../”As Marxists we must not only see the influence of reality upon Kafka, but also how Kafka can help us solve the enigma of reality.””.

 

Ernst Schumacher, around the year of 1968,  in 'Kafka vor der neuen Welt':

 

  “Has not this rightly rejected vulgar sociological approach been replaced, namely with the philosophically idealistic view, and finally with an existentialist, which does Kafka as little right as the other views? They set out with the man's estrangement, that Kafka as few other contemporaries could conceive and portray literary. It follows, that this estrangement would simultaneously be the eternal category of the human being and that human failure is inevitable and must be borne stoically, like Kafka's characters do. I think this kind of "philosophizing" is improper for a true Marxist. ".

 

                Paul Riemann:

 

”We commonly see Kafka, not as a discoverer of new worlds, but as the shipwrecked. Personally I have to say, that I cannot see the shipwrecked...”

 

                Roger Garaudy:

 

”Marxists have claimed that this conflict ( the inner versus family, the Jew, social society ) ultimately has character of a conflict between classes. Due to his personal situation Kafka experienced the oppositions between classes and the alienation in a more intensified form.” 

 

 

Main themes are, according to Garaudy, the following three: a.)The animal The theme of awakening: Man is a being, doubting his life. ( Report to an academy, The Metamorphosis, The Burrow.)  b.) The search – Theme of searching for a new and a truer life. ( The Trial, The Castle.). c.) Theme of the unfulfilled.  ( In all of Kafka´s works.) 

 

 ”Literary creation is to him the technique of overcoming alienation. Poetry is the opposite of alienation.” 

 

In the early 20ieth century, in the aftermath of the war, discussion on culture often was centered on the concept of disaster like with Spengler. The German sociologist Max Weber also played a part with his ideas of organization theory and was interested in what organization creates, and what can make this run wild.   Organization is in itself a potential iron cage for modern Man, according to Weber. The existence of organization, as well as of institution, might thus lead to revolt and chaos. Weber himself had a personal background  very similar to that of Kafka.

Thus Kafka often also is seen as a dystopian writer, alongside Orwell, prophesizing about a society marked by very little freedom for the common man.

 

 

"Kafka", an extensive analysis. NEWNEW NEWNEW NEWNEW 2021. Let´s make this a real Kafka-year!

 Kafka" is an analysis of Kafka´s novels and short stories The book deals in particular with the means contributing to the famous Kafka effekt, or - the kafkaesque. These means are found to be either technical, in that the author in this book tries to show how Kafka uses a split of consciousness, and moreover a split Unconscious, to - by a rare trick - create the Kafkaesque. The Kafkaesque itself also is found to create an interrogation. This interrogation is created by Kafka´s use of the unique device of the Kafkaesque together with his handling the Freudian theory and the Symbolic and the Romantic school as myths and undertexts. Kafka´s writings are essential to the definition of Modernity.

Författare: Kaj Bernhard Genell

ISBN: 9789180075909

Språk: Engelska

Vikt: 217 gram

Utgiven: 2021-01-11

Förlag: Books on Demand

Antal sidor: 194

Kafka and Judaism

Kafka and Judaism.

” I was not brought into life by the heavy

down-sinking hand of Christianity like

Kierkegaard was, and I have not caught the

remotest tab of the prayer mantle, floating

away, like the Zionists have. I am

the end or the beginning. ”

( Franz Kafka ) [1]

        The family Kafka was not religiously strictly practicing Jews. It was a divided family: the father was the Western Jew, secular, "Viertagejude" – i.e., he visited the synagogue the required four times per year - while his mother came from a Eastern Jewish sphere with more traditional Jewish values, which never became predominant. They were simply mainly bourgeois. Kafka had experienced - if not in person - the persecution and harassment of Jews in Prague. He could see from a window rioting directed against the Jews could read about lawsuits against people who murdered Jews. Comrades to him, like Oscar Baum, were beaten up in the streets by Czechs just because they were Jewish boys. His father's shop had escaped looting; only the mob did not believe that his father Herman's shop was actually Jewish, because it carried a Czech bird name. Kafka could also not have failed to be influenced by anti-Jewish trials like the French Dreyfus process and even more upset over some other processes with Jews as protagonists, including the utterly tragic Tisza affair and the so-called Hilsner trial, which concerned the ritual murder in 1899 of a Christian woman, Agnes Hurza. Both of these trials touched Kafka, as they did many, very strong. Many thoughts by FK emanates from the fact that he was a Jew, but his upbringing and schooling and socializing was strongly influenced by the German bourgeoisie, and a secular German classical tradition. There are very few traces from the works of FK that leads to the Torah. [2]One might track the rabbinical - sometimes, but then in what seems to me to as parodies, parodies for instance of rabbinical iterations, in Kafka's thinking, as well as in his letters, and parodies of Jewish reasoning and Jewish folklore in different passages in his works. One might also imagine that more than a "Jewish" homelessness syndrome, a rootlessness is displayed, which might refer more to his position of an existential outsider. It can´t be ruled out that it has been a necessary but not sufficient condition for many of the world's important innovators, that they belonged to a traditionally educated and sometimes vulnerable minority. But equally obvious is thus, in terms of the Jewish, that one can assert that Jewishness, being Jewish, was not at all a determinant factor regarding the uniqueness of Franz Kafka's works. Kafka's relationship to the Jewish was – judging from what we know of him - rather distanced, even frivolous, and often very ambivalent. [3] One may here, for example, read H. Binder´s extensive Kafka-Handbuch II, to make oneself clear of the comprehensive documentation of Kafka's irreligiousness and his lack of interest in Jewish studies, etc. That he towards the end of his life got increasingly interested in the Hebrew language, and that he occasionally discussed a possible emigration to Palestine, is a fact. He put forward a proposal to go to Palestine to Felice, at the first meeting, but many have regarded this more as a greeting phrase, He came up with this idea on their first meeting, at Brod´s and never discussed it again at great length. Kafka asked Dora to go to Paris, to settle there. Berlin, Munich, Paris o. Palestine, it was possible settlements, considered by FK. Kafka was not very fond of Prague...

                                              "/ ... / I admire Zionism and am disgusted by it." [4]

                                                                         (Kafka)

         It is often held the similarity between Kafka's short stories and the Jewish storytelling tradition. And the truth is that Kafka's head seems to have been full of parables of the kind often found in the Jewish tradition and Jewish penmanship. His attitude to this tradition seems to have been complicated. Zimmermann's reasonable conclusion regarding Kafka's relationship to the Jewish is:

          "Kafka is a heretic, as Scholem writes, a heretic who does not adhere to any creed: he is an individualist who educates his own beliefs." [5]

        Kafka's knowledge of Jewish religious tradition and mystique was very limited. He was not a "schooled mystic". Least of all, I dare say. Zimmermann´s view is too, like that of many other Kafka scholars, that it is now very well-researched fact that Kafka was not, and never, a Zionist. [6]  I think it would be wrong to say about Kafka that he was a Jewish author, because he does not at all write in the tradition of Jewish authors, but Kafka shapes his own style, all from the beginning. Zimmermann is very skeptical of Brod´s try to claim Kafka as a religious writer, but he nevertheless concludes that FK is something of a mystic. Franz Kafka was basically an almost constitutional skeptic. He was never religious, and never an explicit political writer either. The Jewish holocaust historian Friedländer asserts that there is no influence from the Jewish kabbalah on Kafka [7] That Kafka occasionally seems to portray the Jewish people does not mean that the Jewish are the premise for his uniqueness as a writer. He himself would not have liked to be defined as a "Jewish writer", in the sense that what he writes mainly ought to be seen in light of the Jewish tradition or the 'Jewish cause'. History has shown that Kafka is appreciated by a majority of the world's readers. Kafka, and numerous other Jews in Prague at that time, had become much too assimilated to secular Western culture to feel themselves residents of Judaism. They perhaps found no affiliation anywhere. [8]

        Many argue that The Trial and Before the Law are religious allegories as they claim that The Castle is, too, - not necessarily Jewish - and that Joseph K. is on the way to paradise! Death is equal to the heavenly light streaming towards Joseph K .. There is a glimmer of light in the parable, when the man is looking into “the law”, where it flows out from the gate that now should be closed. The light halo is indeed a universal symbol of something sacred. But that which shines from the inside through the opening might, ironically, be nothingness. In the centre of the law, beyond the commentators, it might be the case as it was with the centre of the ancient Hellenistic Pythagorean mysteries, which in fact consisted of nothing at all! A fact known to very few.

        Significant to Kafka´s way of writing parables and parable-like tales is no doubt the connection to the Jewish tradition, but in his treatment of this tradition he is almost harassing it. His parables most often are anti-parables, impossible to interpret.[9] The traditional Jewish parable is didactic and used mainly as commentary of authority and it represents a tradition which in turn becomes an authority in itself. In the cases where it is not didactic it is an intellectual pun or a joke. When Kafka uses the parable he refuses to be part of any tradition, or to transmit any ”truths” or even give any clue about the “proper interpretations”. He simply ridicules the parable as well as every authority... We might think of Montaigne´s words on commentaries as well as Kafka´s own treatment of the Prometeus myth and of the comments which has been the result of Kafka slight change of this myth[10]

---

[1]  FK, Febr. 25 .1918. HadL,p.89.

[2]  Cf. Karl-Erich Grötzingers Kafka und die Kabbala (1992).

[3]  HadL, p. 306-309 .

[4]  Letter to G. Bloch, 2/6 1914.

[5]   Ib.

[6]   HDZ, 1963, pp.190.f.

[7]   Cf. Binder.(1979) , p.491. Scholem, (1967) p.306.

[8]   Cf. H. Arendt, pp.31f.

[9]  … in the way parables should, according to their definition.

[10]   Cf: Menke,1988, p.115 ff..

En splitter ny bok om Franticek Kafka

Köp på Bokus https://www.bokus.com/bok/9789176998373/kafka-och-det-kafkaeska-det-dubbla-omedvetna/
eller:
på AdLibris  https://www.adlibris.com/se/bok/kafka-och-det-kafkaeska-det-dubbla-omedvetna-9789176998373

Nu har min bok om Kafka äntligen kommit på svenska. Boken är en bearbetning av min å Engelska skrivna Kafka and the kafkaesque från förra året (2017).
https://www.adlibris.com/se/e-bok/kafka-and-the-kafkaesque-9789177650591

INFORMATION OM BOKEN: "Kafka är en modern klassiker. Kanske mer än någon annan modernist definierade Kafka 1900-talet. Han gjorde det i mycket genom skapandet av det som kallas det "kafkaeska". Men vad är det kafkaeska?  Vad är det för ett begrepp? Hur kom begreppet till? Hur kunde Kafka skapa något som var så unikt, att det blev upphovet till ett begrepp? Det är bland annat dessa frågor som denna bok försöker ge svar på. Boken inleds med ett biografiskt avsnitt om Kafka. Sedan följer ett avsnitt innehållande en analys av det kafkaeska och av  grundstrukturen i Kafkas litterära teknik. I denna teknik är "det dubbla omedvetna" något centralt. Så blir också det då centrum för analysen."

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OM FÖRFATTAREN TILL STUDIEN:"Kaj Bernhard Genell är född 1944. Han har tidigare gett ut aforismsamlingar, Ironi och existens ( Korpen,1983 ), Splittringar ( Korpen,1985 ) samt - på engelska - Kafka and the kafkaesque ( e-bok, Recito, 2017 ), av vilken boken Kafka och det kafkaeska är en senare bearbetning. Han skriver även skönlitteratur, och har på BoD publicerat romanen Pistolen (2018). Kaj Bernhard Genell bor i Göteborg, där han bl.a. under ett decennium på 1900-talet studerat humaniora vid stadens universitet."