By James Rolleston

ISBN-10: 1571133364

ISBN-13: 9781571133366

No different 20th-century author of German-language literature has been as totally authorized into the canon of worldwide literature as Franz Kafka. The unsettlingly, enigmatically surreal international of Kafka's novels and tales keeps to fascinate readers and critics of every new iteration, who in flip proceed to discover new readings. something has develop into transparent: even supposing all theories try and applicable Kafka, there is not any one key to his paintings. The problem to critics has been to give a powerful standpoint whereas taking account of past Kafka study, a problem that has been met by way of the participants to this quantity. members: JAMES ROLLESTON, CLAYTON KOELB, WALTER H. SOKEL, JUDITH RYAN, RUSSELL A. BERMAN, RITCHIE ROBERTSON, HENRY SUSSMAN, STANLEY CORNGOLD, BIANCA THEISEN, ROLF J. GOEBEL, RICHARD T. grey, RUTH V. GROSS, SANDER L. GILMAN, JOHN ZILCOSKY, MARK HARMAN JAMES ROLLESTON is Professor of German at Duke college.

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Extra info for Companion to the Works of Franz Kafka (Studies in German Literature Linguistics and Culture)

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Mark Anderson. New York: Schocken, 1989. 201–14. Pawel, Ernst. The Nightmare of Reason: A Life of Franz Kafka. New York: Farrar, Straus, Giroux, 1984. Robertson, Ritchie. Kafka: Judaism, Literature and Politics. New York: Oxford UP, 1987. Stölzl, Christoph. Kafkas böses Böhmen. Munich: Text und Kritik, 1975. Wagenbach, Klaus. Franz Kafka: Eine Biographie seiner Jugend. Bern: Francke, 1958. Critical Editions I: The 1994 Paperback Edition James Rolleston A Kafka published in his lifetime, his most influential works were edited and published by Max Brod, his close friend and executor, in the years following his death in 1924.

In my interpretive quest the dreamlike or oneiric element in his writing provided my point of departure. Oneiric Functionalism As a native of the city of Freud, I found it natural to use the author of the classic text of dream interpretation as the first guide in my quest to understand and interpret Kafka’s work, which fascinated me on account of its dreamlike quality. Kafka himself, as I read in his diary, had found thinking of Freud quite “natural” when composing the work of his breakthrough (T 461).

This view of Kafka’s writing seemed to receive strong support from Friedrich Beissner’s theory of the “uni-mental” (einsinnige) perspective that he saw as characteristic of Kafka’s narrative art (Beissner 28). “Unimental perspective” implies that the entire content of a narrative, all events, actions, characters, and scenes represented in it, are perceived by a single consciousness, that of the protagonist. There is no omniscient narrator who allows the reader to enter the mind of any other character or who intrudes with information and opinions of his own.

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Companion to the Works of Franz Kafka (Studies in German Literature Linguistics and Culture) by James Rolleston

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