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MAN-ANIMAL-KAFKA (ZwierzoczlekoKafka)

100%
Musial L.
Konteksty - Polska Sztuka Ludowa
|
2009
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vol. 63
|
issue 4(287)
69-75
EN
The presented essay analyses the animals appearing in the works of Franz Kafka, particularly often in the last years of the life of the author of The Trial. The realised conceptions are anticipated to a great extent by one of Kafka's earlier stories, 'A Report to an Academy', whose narrator is a chimpanzee subjected to humanisation. The fate of the leading protagonist could be treated as a concise history of anthropogenesis and, by following the example of Giorgio Agamben (L'aperto. L'uomo e l'animale), as the history of the origin and activity of the so-called anthropological machine, a motor force of the historization of man that places him outside the natural order. The subsequent stories by the author of The Metamorphosis continue those motifs, at the same time transcending the horizon delineated by them. The animal characters become increasingly ambiguous and are no longer animals or people concealed behind animal facades. The have turned into 'deformed' creatures, to cite an expression coined by Walter Benjamin in relation to the world of Kafka's works. The closing fragments of the essay analyse this 'deformed' world and the amorphous creatures populating it, especially Odradek, the protagonist of a brief text entitled 'The Householder's Concern'.
2
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Hrst úvah nad knihou Marka Nekuly „…v jednom poschodí vnitřní babylonské věže…“ / Jazyky Franze Kafky

100%
Cermak J.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 6
56-81
EN
Essay, inspired by the book '... v jednom poschodi vnitrni babylonske veze...': Jazyky Franze Kafky ('...on one of the floors of the inner tower of Babylon'. Languages of Franz Kafka); by Marek Nekula. The author gives an account of recent research into Kafka's work.
3
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KAFKA AND BUBER. TESTIMONY AND IMPOSSIBILITY

80%
Czeglédi A.
ESPES
|
2021
|
vol. 10
|
issue 1
12 – 21
EN
“I also talked to Buber yesterday; as a person he is lively and simple and remarkable, and seems to have nothing to do with the lukewarm things he has written” – wrote Franz Kafka to his fiancée Felice Bauer in the early 1913. What is the meaning of this harsh, yet respectful portraiture of Buber? Was it a casual ironic remark – or was it rather the way Kafka really thought of Martin Buber? And to what extent was Kafka important for Buber? How can we understand the collaboration between the writer and philosopher? Close reading, contextualization and Begegnungsereign (encounter as fundamental event).
4
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KAFKA AS A PROBLEM - WHEN AUTHORS READ KAFKA (Kafka ako problem - ked autori citaju Kafku)

80%
Halfmann R.
World Literature Studies
|
2010
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vol. 2 (19)
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issue 3
3-16
EN
The lecture thematizes the authorial reception of Franz Kafka in world literature. The author concentrates on the question of 'influence' while noting a triviality of inter-textual filiations among many contemporary (esp. American) authors. The problem of authorial reception appears much more seriously in the context of active authorial reception among some Central European writers, who find it necessary to come to terms with Kafka as one of the most symptomatic phenomena of modern literature. Going beyond Kafka has thus become the program of I. Aichinger, as well as P. Handke or P. Roth, but it also forms the background of the confrontation with Kafka in E. Cantetti. Productive employment of motifs from Kafka's work as universal and global cultural topoi can be found in the Japanese writer H. Murakami, whose work Kafka on the shore has brought a new model of authorial relationship to Kafka's work, among others.
5
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POPULISM ON CONTEMPORARY THEATRE

80%
Hamon-Siréjols C.
Slovenské divadlo (Slovak Theatre)
|
2020
|
vol. 68
|
issue 3
267 – 275
EN
If the choice of plays such as Ubu Roi or Macbeth was not rare in productions denouncing dictatorship in Latin America or in some communist countries during the seventies and eighties of the 20th century, we can notice that during the last five years several classical texts have been chosen through Europe to speak about religious pressure and political hypocrisy (Tartuffe) or populist tendencies (Coriolanus). Some of them were theatre plays, some were novels (The Trial by Franz Kafka staged by Krystian Lupa), some productions strictly followed the text, and others widely adapted it (The Curse by Stanisław Wyspiański, staged by Oliver Frljić). I would like to examine a few examples of these performances and question their impact on theatre and society.
6
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KAFKOVA „PROMĚNA“ V TELEVIZNÍ ADAPTACI JANA NĚMCE

70%
Mikulášek A.
World Literature Studies
|
2019
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vol. 11
|
issue 3
63 – 79
EN
This article deals with the film adaptation of Franz Kafka’s ambiguous and multi-vocal story The Metamorphosis (Die Verwandlung, 1915), created by the Czech director Jan Němec for German and Austrian television (ZDF/ORF) in 1975. Nemec’s adaptation is remarkable for many innovations: the film version is “narrated” from Gregor Samsa’s perspective, with Gregor played by a first-person camera and off-screen voice. The spectator sees everything from the main protagonist’s viewpoint. This TV movie brings an interesting comparison of literary and film narrative structures. We can discuss values that have been added to Kafka’s piece, for example some kinds of absurdity, excellent stage design, and dramatic symbols.
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