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E-BookEPUBePub WasserzeichenE-Book
242 Seiten
Englisch
BoD - Books on Demanderschienen am29.04.20222. Auflage
"Kafka - a Freudo-Structuralist Analysis" deals with the stylistic effects of Kafka's Novels and Short Stories and concentrates mainly on understanding what contributed to the famous Kafka effect - the "Kafkaesque". The author - Kaj Bernh. Genell, born in Sweden, who is also an author of novels in English and Swedish, thoroughly explains the determining structural triplicity of a discourse seen as Consciousness. Important in this structure is how Freud, Romantic irony, and Symbolistic Literature simultaneously co-work as a mythical subtext. Kafka created what would become critical parts of the definition of Modern Man. Thus, according to the author, understanding Kafka - and his extraordinary technique - is the main road to understanding Modernity and our Future.

Kaj Bernhard Genell is a writer of facts and fiction. He is born in Sweden 1944, and has studied Philosophy and Literature at the University of Gothenburg.mehr
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Produkt

Klappentext"Kafka - a Freudo-Structuralist Analysis" deals with the stylistic effects of Kafka's Novels and Short Stories and concentrates mainly on understanding what contributed to the famous Kafka effect - the "Kafkaesque". The author - Kaj Bernh. Genell, born in Sweden, who is also an author of novels in English and Swedish, thoroughly explains the determining structural triplicity of a discourse seen as Consciousness. Important in this structure is how Freud, Romantic irony, and Symbolistic Literature simultaneously co-work as a mythical subtext. Kafka created what would become critical parts of the definition of Modern Man. Thus, according to the author, understanding Kafka - and his extraordinary technique - is the main road to understanding Modernity and our Future.

Kaj Bernhard Genell is a writer of facts and fiction. He is born in Sweden 1944, and has studied Philosophy and Literature at the University of Gothenburg.
Details
Weitere ISBN/GTIN9789180570244
ProduktartE-Book
EinbandartE-Book
FormatEPUB
Format HinweisePub Wasserzeichen
Erscheinungsjahr2022
Erscheinungsdatum29.04.2022
Auflage2. Auflage
Seiten242 Seiten
SpracheEnglisch
Dateigrösse270 Kbytes
Artikel-Nr.9224470
Rubriken
Genre9200

Inhalt/Kritik

Leseprobe

CHAPTER II
LITERARY TRADITION & ITS INFLUENCE
UPON KAFKA
A. GERMAN LITERARY
ROMANTICISM.
The German Romantic movement around the year 1800 was very complex in structure, composed of elements of both masked and distinct revolt as it was, and at the same time marked by various forms of Irony. Irony was the soul and the mark of Romanticism, and this Irony was, in turn, a very complex one, which the writers themselves seldom refrained from pointing out. Thus the assault from Romanticism on Man and society was twofold. It is easy to perceive that the Kunstmärchen is an assault on the ordinary Märchen. Beneath the surface of purest, seductive beauty, deep despair lurking almost everywhere. Kunstmärchen has traits of the modern genre of Dark fantasy. It is noteworthy that Kafka all his life returned to the German romantic authors, holding them in high esteem.

Among the authors of the Kunstmärchen were Ludwig Tieck, Novalis, Clemens Brentano, von Chamisso, and E.T.A. Hoffmann.

Tieck´s Der blonde Eckbert can be read in connection with Novalis´ Hyazint und Rosenblüte. Tieck´s strange landscape almost returns with Novalis. It resolves in a strange new supernatural - surreal - dimension, which might remind us of the ending of FK´s Amerika. The dimension in the fictive universe in H. und R.'s final scenes surpasses the ontology of the work. It is a kind of fiction within fiction.

In this small tale, the young man, Hyazinth, grows up in a flowering mountain landscape, and he early senses that he is in love with Rosenblüte, but is driven by strange anxiety to foreign countries, far away from home. Here with his heart pounding, he suddenly falls asleep on a meadow. Then the Dream brings him with music away to something very familiar. Out of the familiar, Rosenblüte springs forth. Hyazinth is reunited, not only with her, but also with his parents and homeland. H. and R. soon get several children, yes many, because - as stated in the end of the tale - : at that time, people got as many children as they liked.

It is a parody of the famous educational novel, Bildungsroman, and the fairy tale. The story is far too rash, and it tells its moral almost brutally. Strange is that the story ends within a dream. Reality vanishes. By ending within a dream, the story thus forms a solemn, heavenly, eternal cliffhanger. We might think of Novalis´ aphorisms: ... a Märchen [is] a dream-picture /.../ but without context. ; A Märchen is: ... a collection of wondrous things and happenings - for example, a musical phantasy. Kafka later came to surpass Romanticism in transforming it. He does so in multiple ways. R. Caillois in a classic investigation on the relationship between Romanticism and Modernity:

/...../ Romanticism essentially found itself incapable of producing myths. Of course, it perfunctorily produced tales and ghost stories and fooled itself into the fantastic; but, in doing this, it departed more and more from the myth.

Romanticism transcended itself in abandoning exotism, in looking for the center of power. It searched for myth, thrill, and meaning in the fantastic, elusive, in myth of itself, in the midst of the commonplace, just like Modernism did, creating its myth in the nexus of the new world in the great city. Now Kafka did not follow Modernism suit. The thrill and myth that Kafka created are about the intrapsychic and the inner life of Modern Man. The perception of this myth of Kafka will be condensed into the concept of Kafkaesque. However, we could not find a myth about Prague, modern Prague, in the works of Kafka. Kafka was not exclusively interested in a description of the city of Prague of 1910. ( Kafka had no interest at all in Nationalism. ) In his myth, Kafka incorporates episodes and figures from literature together with images of people, individuals appearing homeless and unconnected to each other. Kafka also uses allusions and other unique literary means to tell stories, where connections to real places and familiar milieus are impossible to find. He is severed from the other great modernists, who often underline that they live during the hectic life of the modern urban capital. We partly recognize phenomena in the world of F. Kafka, but as soon as we get closer to the familiar, we realize that we have been fooled. We find ourselves in a caricature of Modernity with trams, trains, and telephones, but we are in a void, and it is like an ancient world and a world surrounding us virtually beyond time. We find ourselves, and many critics have noticed this, in an eternal, greyishbrownish, shadowy Middle Age. Nothing new threatens to break in; nothing old yields for a revival. Nothing disastrous has occurred; nothing of the sort will ever come. The colorful novel Amerika is, of course, the exception. In one crucial respect, FK´s Amerika is very much a parody in advance of science fiction and Fantasy. Moreover, with Kafka, we are often in a particular sort of nausea. We always get the feeling that there is something subversive going on in the writings of Kafka.

If one cannot absorb and enjoy the interplay between different vertical layers appearing in the German romantic Märchen, it is improbable that one could accept Kafka's works. To read a Kunstmärchen by Tieck or others literally, flat makes reading fruitless.

Irony was characteristic of Romanticism. Irony may often have a highly critical dimension but may have been a passive game here. Philosophical speculation can look upon Irony as a form of knowledge, can suggest that Irony is questioning and implicitly also asking itself for meaning, at the same time, like some sort of the Self-consciousness of Self-consciousness. Selfconsciousness comes before Irony, which is a prerequisite of Irony. However, Irony can be a hint to others that I am in Self-Consciousness. Irony can sometimes be seen, as by Jankélévitch, as a happy consciousness. a Bonne Connaissance, a concept used by J. in opposite to the unhappy consciousness put forth by Hegel in his 1807 Phänomenologie. In its extended form, irony might be the intense enjoying of Selfconsciousness itself. This might be the case with Kafka. Irony is dynamic in its steady creation of new space. Irony is a rare species of live investigator for truth; - it questions standing as an intermédiare. Irony is a way of mental expansion.

Irony is, among other things, a perfect defense. It defends against every authority and implicitly insists that authority has never been of any use. The Irony is - in itself - never an authority. It is certainly never a compromise! Irony is seductive and contaigious: During certain periods in history, it sometimes becomes overexploited, and then it disappears and is replaced, at least for a while, by the straight discourse - before it re-enters the scene again, all fresh. Irony often comes forth in times of change, and often it inaugurates such an era. Irony may, in specific periods get a vanguard position and get a position where it has to take care of itself, and it then does not care much about anchoring new hope into new realities - it is ( Hegelian/Kierkegaardian) confinium, it is the transition itself and might act in hubris, running wild. It is not dangerous in this state but just fades away. Generally, Irony also has a built-in sustaining power in its antithetical, "dialectical" structure, and this gives the ironist in his confinium, his intermediary, a strong, dangerous sense of freedom; it can be a terrific weapon against oppressors, not for oppressors ..., and can ruin many a wall and rampart. The freedom of Irony is a kind of freedom that is freedom from, that is: it is determined as a negation, negative freedom for Kierkegaard Irony was situated between the aesthetic and the ethical stage on the long and winding road to being religious, just like the category of the interesting was. The aesthetic has, in the Irony not yet passed into the ethical, the "realization of the common /good/." Irony thus can be used for enjoyment and, as we have seen, more radical in the use of breaking new grounds. Irony is a Negation and a sibling to Adorno´s creative No of Negative Dialectics. When Irony serves as the preparer of the new, it is a kind of "double movement." It demands elasticity by its performer, it demands youthful powers, and it requires big funds of talent: the timing of the "ironic means." It is powerconsuming in its protracted tension! It is difficult to stop Irony once it has been born. The meaning of Irony is that it is not one. It utilizes the relative and, in its dynamism, it has a Utopian character. Thus it can be active, for instance, in the central parts of philosophy to re-evaluate and restructure meaning within such a cultural sphere. Irony is seldom the questioning of just one phenomenon; it almost immediately proceeds to subvert a whole cluster of objects. Irony is relation. It puts in question! It is a negation. Therefore Irony remains a Hegelian dialectical Confinium, because it is quite unable to assert anything new! It is qua Irony no more than a counterpart of something else. But it nevertheless IS and asserts! On a metalevel, it still asserts something. Irony has problematic variants: non-transparent, secret Irony, which is Irony known exclusively to the ironic in splendid isolation: In the non-transparency - i.e., if the ironist does not allow the recipient to notice the Irony - if the ironic means are omitted by the sender, only the...
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