FINE Yiddish BERGNER Hand SIGNED Hebrew ART BOOK Jewish KAFKA Autograph JUDAICA

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Vendeur: judaica-bookstore (1.995) 100%, Lieu où se trouve: TEL AVIV, Lieu de livraison: Worldwide, Numéro de l'objet: 273455327113 DESCRIPTION : Up for auction is a Hand SIGNED and INSCRIBED copy of the thrilling JEWISH ART BOOK by the acclaimed Israeli artist , One of the most important and influential JEWISH ISRAELI PAINTERS of Austrian-Polish descent - YOSL BERGNER who has passed away only a few months ago . The most expressive PAINTINGS are dedicated to FRANZ KAFKA and accompany his immortal pieces. These are not the usual BERGNER delicate paintings but strongly exciting PAINTED NIGHT MARES , Mind troubling and painful and resemble in spirit the GOYA's Disasters of War more than the peacefull Jewish Shtetl scenes. The copy is HAND SIGNED and INSCRIBED in YIDDISH to Bergner's friend HAIM HEFER , The legendary PALMACH period POET, SONG WRITER and PUBLICIST .Copies of this book can be found every now and then but never before I've met this LIMITED HAND SIGNED copy by BERGNER and in such MINT STATE . Throughout illustrated in VIVID COLORS . An EXQUISITE piece. ORIGINAL slipcase. Original illustrated chromo DJ. CLOTH HC with GILT headings . Original BERGNER autograph and YIDDISH INSCRIPTION with pen. SIZE 12 x 10" . 136 pp . Excellent quality heavy & thick paper. MINT - PRISTINE condition . Practicaly unused. Clean. Tightly bound. ( Pls look at scan for accurate AS IS images ) Will be sent inside a protective rigid envelope . PAYMENTS : Payment method accepted : Paypal . SHIPPMENT : SHIPP worldwide via registered airmail is $ 25. Will be sent inside a protective rigid envelope . Will be sent within 3-5 days after payment . Kindly note that duration of Int'l registered airmail is around 14 days. MORE DETAILS : ***** Yosl Bergner (Hebrew: יוסל ברגנר ; 13 October 1920 – 18 January 2017) was an Israeli painter. He was born in Vienna, Austria, grew up in Warsaw, Poland, lived in Melbourne, Australia from 1937 until 1948, when he moved to Israel. Contents [hide] 1Biography 2Works 3Awards 4See also 5References 6Further reading 7External links Biography[edit] Yosl Bergner was born in Vienna, Austria, in 1920 and grew up in Warsaw, Poland. With rampant anti-Semitism in Europe, the Freeland League for Jewish Territorial Colonization was formed in the United States in July 1935, to search for a potential Jewish homeland. Soon afterwards a pastoral firm in Australia offered the League about 16,500 square kilometres (6,400 sq mi) in the Kimberleys, stretching from the north of Western Australia into the Northern Territory. As history showed, the plans went nowhere. But for a time, the Australian idea was at least worth considering. Bergner's father, Melech Ravitch, became involved in a serious investigation of the Kimberley Plan. In this way the Bergner family moved to Australia. Yosl emigrated to Australia in 1937 and studied in the National Gallery School in Melbourne until the outbreak of World War II. He served for four and a half years in the Australian Army, and later continued his studies at the Art School. In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd.[1] Adrian Lawlor moved with his wife to a cottage at Warrandyte, an outer suburb of Melbourne, where they lived for 30 years. Bergner was a frequent visitor at their Warrandyte home. All the men socialized together. Bergner encouraged them to go beyond their traditional landscape style and introduced a more radical concern for working families, thus having an important impact on Australian art. Bergner may not have been prepared for the plight of many struggling Australians. Yet he felt a strong connection between the suffering of people everywhere, whether they were the Jews that he remembered from Europe, landless blacks in the heart of Australia or hungry children in inner urban Melbourne. He left Australia in 1948 and after two years of traveling and exhibiting in Paris, Montreal and New York City, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957. Works[edit] Bergner designed scenery and costumes for the Yiddish and Hebrew theatres, particularly for the plays of Nissim Aloni, and has illustrated many books. The acme of Bergner's paintings is his allegorical works; he uses kitchen tools such as squashed pots, oil lamps, wrecks and cracked jugs and he anthropomorphizes them. These old instruments symbolize distorted and poor world of wars, secrets and darkness. Awards[edit] In 1956, Bergner was a co-recipient of the Dizengoff Prize for painting.[2] In 1980, he was awarded the Israel Prize for painting.[3] ****Yosl Bergner, painter, born 1920, Vienna, Austria. Son of Yiddish poet, Melech Ravitch of Vienna. 1937 Left Vienna for Australia. Participated in group, ''Social Realism''. Upon returning to Israel in 1951, he lived in Safed, and thereafter in Tel Aviv. He illustrated books, and designed theatre sets. Education 1937 Art School of the National Gallery of Victoria, Melbourne, Australia. Awards And Prizes 1955 Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv-Jaffa 1956 Dizengoff Prize for Painting and Sculpture, Municipality of Tel Aviv-Jaffa 1980 Israel Prize for Painting 2006 Worthy Citizen of Tel Aviv Award, Municipality of Tel Aviv-Jaffa ***(1920- ) born in Vienna and grew up in Warsaw. he immigrated to Australia in 1937, where he studied at the National Gallery Art School until the outbreak of War World One. Bergner served for four and a half years in the Australian Army, and later continued his studies at the Art School. He left Australia in 1948 and after two years of traveling and exhibiting in Paris, Montreal and New York, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957. The acme of Bergner's paintings are his allegorical works; paintings of squashed pots, oil lamps, wrecks and cracked jugs- all symbolyze distorted and poor world of wars, secrets and darkness. Bergner's also known for his unique human portraits- disturbing portraits of triangle headed, elliptic eyed and black staring people, who arouse a feeling of restlessness- even anxiety- as if those eyes look at us from infinite depths. Bergner has designed scenery and costumes for the Yiddish and Hebrew Theatres, particularly for the plays of Nissim Aloni, and also illustrated many books. In 1980 Yosl Bergner won the Israel Prize. *** YOSL BERGNER DEAD AT 96 > CLASSICAL REVIEW: ASHDOD ANDALUSIAN ORCHESTRA Nini and More BY GREER FAY CASHMAN JANUARY 18, 2017 18:22 Yosl joined the army where he served for four and a half years, after which he resumed his art studies. 2 minute read. Share on facebook Share on twitter Theater Masks. (photo credit:INGIMAGE / ASAP) Artist, theater set and costume designer, book illustrator and Israel Prize laureate Yosl Bergner, perhaps best known for his individual and group portraits in which the subjects are featured with long pale faces, pointed chins and huge dark, soulful eyes that mirror both the sadness and the joy of the Jewish experience, died in Tel Aviv on Wednesday at age 96. Much of his work for the theater was for plays by Nissim Aloni. He also designed sets and costumes for Yiddish Theater. Be the first to know - Join our Facebook page. His father, Melech Ravitch, was a famous Yiddish journalist, poet and novelist, and his uncle Hertz Bergner was an internationally renowned Yiddish novelist and playwright who had a close friendship with Isaac Bashevis Singer despite the geographic distance between them. During World War I, the Bergner family left their Polish township and settled in Vienna where Melech met Yosl’s mother, a singer from Lodz. Yosl was born in Austria. Antisemitism was rife in Europe, so Yosl’s father went to Australia in 1933, initially to raise funds for Jewish schools in Poland. While he was there, he became interested in the Kimberley Project, which was similar to the Uganda Proposal, namely that it provided a settlement option for Jews where they could be free of persecution. Like the Uganda Proposal, it was buried beneath the dust of history. Melech returned to Warsaw with exotic photographs of Australia which generated great excitement and curiosity in his family and then went back down under. The rest of the Bergner family soon followed. Yosl had already displayed an aptitude for art in Poland and had studied with Hirsch Altman in Warsaw. After arriving in Melbourne, in 1937, he enrolled at the National Gallery Art School where the future icons of the Australian art scene were his fellow students and friends. His studies were disrupted by the outbreak of World War II. Like many young Jewish immigrants from Europe who felt that they owed something to Australia, Yosl joined the army where he served for four-and-a-half years, after which he resumed his art studies. In 1948, he decided to leave Australia and traveled for two years in Europe and North America. In 1950, he came to Israel, settling initially in Safed where he lived for seven years before moving to Tel Aviv. Within four years of settling in Israel, he won the Herman Struck Prize. A year later he was awarded the Dizengoff Prize. Over the years, he won several other prizes and was named an honored citizen of Tel Aviv. His studio was adjacent to his apartment, and he was very disciplined about going there each day to paint, and did so almost to the last day of his life. In 1987, after an absence of half a century, he went back to Australia for a retrospective exhibition which largely featured scenes of the Warsaw and the Melbourne of his youth. Inasmuch as he was a great artist, Bergner was also an engaging raconteur and could keep people spellbound for hours. ** Franz Kafka[a] (3 July 1883 – 3 June 1924) was a German-speaking Bohemian Jewish novelist and short story writer, widely regarded as one of the major figures of 20th-century literature. His work, which fuses elements of realism and the fantastic,[4] typically features isolated protagonists faced by bizarre or surrealistic predicaments and incomprehensible social-bureaucratic powers, and has been interpreted as exploring themes of alienation, existential anxiety, guilt, and absurdity.[5] His best known works include "Die Verwandlung" ("The Metamorphosis"), Der Process (The Trial), and Das Schloss (The Castle). The term Kafkaesque has entered the English language to describe situations like those in his writing.[6] Kafka was born into a middle-class, German-speaking Jewish family in Prague, the capital of the Kingdom of Bohemia, then part of the Austro-Hungarian Empire, today part of the Czech Republic. He trained as a lawyer, and after completing his legal education he was employed by an insurance company, forcing him to relegate writing to his spare time. Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and formal relationship. He became engaged to several women but never married. He died in 1924 at the age of 40 from tuberculosis. Few of Kafka's works were published during his lifetime: the story collections Betrachtung (Contemplation) and Ein Landarzt (A Country Doctor), and individual stories (such as "Die Verwandlung") were published in literary magazines but received little public attention. Kafka's unfinished works, including his novels Der Process, Das Schloss and Der Verschollene (translated as both Amerika and The Man Who Disappeared), were ordered by Kafka to be destroyed by his friend Max Brod, who nonetheless ignored his friend's direction and published them after Kafka's death. His work went on to influence a vast range of writers, critics, artists, and philosophers during the 20th century. Contents 1Life 1.1Early Life 1.2Education 1.3Employment 1.4Private life 1.5Personality 1.6Political views 1.7Judaism and Zionism 1.8Death 2Works 2.1Stories 2.2Novels 2.3Publishing history 2.3.1Max Brod 2.3.2Modern editions 2.3.3Unpublished papers 3Critical response 3.1Critical interpretations 3.2Translations 3.3Translation problems to English 4Legacy 4.1Literary and cultural influence 4.2"Kafkaesque" 4.3Commemoration 5See also 6Notes 7References 7.1Citations 7.2Sources 8Further reading 9External links Life[edit] Early Life[edit] Hermann and Julie Kafka Kafka was born near the Old Town Square in Prague, then part of the Austro-Hungarian Empire. His family were German-speaking middle-class Ashkenazi Jews. His father, Hermann Kafka (1854–1931), was the fourth child of Jakob Kafka,[7][8] a shochet or ritual slaughterer in Osek, a Czech village with a large Jewish population located near Strakonice in southern Bohemia.[9] Hermann brought the Kafka family to Prague. After working as a travelling sales representative, he eventually became a fashion retailer who employed up to 15 people and used the image of a jackdaw (kavka in Czech, pronounced and colloquially written as kafka) as his business logo.[10] Kafka's mother, Julie (1856–1934), was the daughter of Jakob Löwy, a prosperous retail merchant in Poděbrady,[11] and was better educated than her husband.[7] Plaque marking the birthplace of Franz Kafka in Prague, designed by Karel Hladík and Jan Kaplický, 1966 Kafka's parents probably spoke a German influenced by Yiddish that was sometimes pejoratively called Mauscheldeutsch, but, as the German language was considered the vehicle of social mobility, they probably encouraged their children to speak High German.[12] Hermann and Julie had six children, of whom Franz was the eldest.[13] Franz's two brothers, Georg and Heinrich, died in infancy before Franz was seven; his three sisters were Gabriele ("Ellie") (1889–1944), Valerie ("Valli") (1890–1942) and Ottilie ("Ottla") (1892–1943). They all died during the Holocaust of World War II. Valli was deported to the Łódź Ghetto in occupied Poland in 1942, but that is the last documentation of her. Ottilie was his favourite sister.[14] Hermann is described by the biographer Stanley Corngold as a "huge, selfish, overbearing businessman"[15] and by Franz Kafka as "a true Kafka in strength, health, appetite, loudness of voice, eloquence, self-satisfaction, worldly dominance, endurance, presence of mind, [and] knowledge of human nature".[16] On business days, both parents were absent from the home, with Julie Kafka working as many as 12 hours each day helping to manage the family business. Consequently, Kafka's childhood was somewhat lonely,[17] and the children were reared largely by a series of governesses and servants. Kafka's troubled relationship with his father is evident in his Brief an den Vater (Letter to His Father) of more than 100 pages, in which he complains of being profoundly affected by his father's authoritarian and demanding character;[18] his mother, in contrast, was quiet and shy.[19] The dominating figure of Kafka's father had a significant influence on Kafka's writing.[20] The Kafka family had a servant girl living with them in a cramped apartment. Franz's room was often cold. In November 1913 the family moved into a bigger apartment, although Ellie and Valli had married and moved out of the first apartment. In early August 1914, just after World War I began, the sisters did not know where their husbands were in the military and moved back in with the family in this larger apartment. Both Ellie and Valli also had children. Franz at age 31 moved into Valli's former apartment, quiet by contrast, and lived by himself for the first time.[21] Education[edit] From 1889 to 1893, Kafka attended the Deutsche Knabenschule German boys' elementary school at the Masný trh/Fleischmarkt (meat market), now known as Masná Street. His Jewish education ended with his Bar Mitzvah celebration at the age of 13. Kafka never enjoyed attending the synagogue and went with his father only on four high holidays a year.[16][22][23] Kinský Palace where Kafka attended gymnasium and his father owned a shop After leaving elementary school in 1893, Kafka was admitted to the rigorous classics-oriented state gymnasium, Altstädter Deutsches Gymnasium, an academic secondary school at Old Town Square, within the Kinský Palace. German was the language of instruction, but Kafka also spoke and wrote in Czech.[24][25] He studied the latter at the gymnasium for eight years, achieving good grades.[26] Although Kafka received compliments for his Czech, he never considered himself fluent in Czech, though he spoke German with a Czech accent.[1][25] He completed his Matura exams in 1901.[27] Admitted to the Deutsche Karl-Ferdinands-Universität of Prague in 1901, Kafka began studying chemistry, but switched to law after two weeks.[28] Although this field did not excite him, it offered a range of career possibilities which pleased his father. In addition, law required a longer course of study, giving Kafka time to take classes in German studies and art history.[29] He also joined a student club, Lese- und Redehalle der Deutschen Studenten (Reading and Lecture Hall of the German students), which organised literary events, readings and other activities.[30] Among Kafka's friends were the journalist Felix Weltsch, who studied philosophy, the actor Yitzchak Lowy who came from an orthodox Hasidic Warsaw family, and the writers Oskar Baumand Franz Werfel.[31] At the end of his first year of studies, Kafka met Max Brod, a fellow law student who became a close friend for life.[30] Brod soon noticed that, although Kafka was shy and seldom spoke, what he said was usually profound.[32] Kafka was an avid reader throughout his life;[33] together he and Brod read Plato's Protagoras in the original Greek, on Brod's initiative, and Flaubert's L'éducation sentimentale and La Tentation de St. Antoine (The Temptation of Saint Anthony) in French, at his own suggestion.[34] Kafka considered Fyodor Dostoyevsky, Flaubert, Nikolai Gogol, Franz Grillparzer,[35] and Heinrich von Kleist to be his "true blood brothers".[36] Besides these, he took an interest in Czech literature[24][25] and was also very fond of the works of Goethe.[37][38] Kafka was awarded the degree of Doctor of Law on 18 July 1906[b] and performed an obligatory year of unpaid service as law clerk for the civil and criminal courts.[6] Employment[edit] Former home of the Worker's Accident Insurance Institute On 1 November 1907, Kafka was hired at the Assicurazioni Generali, an insurance company, where he worked for nearly a year. His correspondence during that period indicates that he was unhappy with a working time schedule—from 08:00 until 18:00[41][42]—making it extremely difficult to concentrate on writing, which was assuming increasing importance to him. On 15 July 1908, he resigned. Two weeks later he found employment more amenable to writing when he joined the Worker's Accident Insurance Institute for the Kingdom of Bohemia. The job involved investigating and assessing compensation for personal injuryto industrial workers; accidents such as lost fingers or limbs were commonplace at this time owing to poor work safety policies at the time. It was especially true of factories fitted with machine lathes, drills, planing machines and rotary saws which were rarely fitted with safety guards.[43] The management professor Peter Drucker credits Kafka with developing the first civilian hard hat while employed at the Worker's Accident Insurance Institute, but this is not supported by any document from his employer.[44][45] His father often referred to his son's job as an insurance officer as a Brotberuf, literally "bread job", a job done only to pay the bills; Kafka often claimed to despise it. Kafka was rapidly promoted and his duties included processing and investigating compensation claims, writing reports, and handling appeals from businessmen who thought their firms had been placed in too high a risk category, which cost them more in insurance premiums.[46] He would compile and compose the annual report on the insurance institute for the several years he worked there. The reports were received well by his superiors.[47] Kafka usually got off work at 2 P.M., so that he had time to spend on his literary work, to which he was committed.[48] Kafka's father also expected him to help out at and take over the family fancy goods store.[49] In his later years, Kafka's illness often prevented him from working at the insurance bureau and at his writing. Years later, Brod coined the term Der enge Prager Kreis ("The Close Prague Circle") to describe the group of writers, which included Kafka, Felix Weltsch and him.[50][51] In late 1911, Elli's husband Karl Hermann and Kafka became partners in the first asbestos factory in Prague, known as Prager Asbestwerke Hermann & Co., having used dowry money from Hermann Kafka. Kafka showed a positive attitude at first, dedicating much of his free time to the business, but he later resented the encroachment of this work on his writing time.[52] During that period, he also found interest and entertainment in the performances of Yiddish theatre. After seeing a Yiddish theatre troupe perform in October 1911, for the next six months Kafka "immersed himself in Yiddish language and in Yiddish literature".[53] This interest also served as a starting point for his growing exploration of Judaism.[54] It was at about this time that Kafka became a vegetarian.[55] Around 1915 Kafka received his draft notice for military service in World War I, but his employers at the insurance institute arranged for a deferment because his work was considered essential government service. Later he attempted to join the military but was prevented from doing so by medical problems associated with tuberculosis,[56] with which he was diagnosed in 1917.[57] In 1918 the Worker's Accident Insurance Institute put Kafka on a pension due to his illness, for which there was no cure at the time, and he spent most of the rest of his life in sanatoriums.[6] Private life[edit] Kafka never married. According to Brod, Kafka was "tortured" by sexual desire[58] and Kafka's biographer Reiner Stach states that his life was full of "incessant womanising" and that he was filled with a fear of "sexual failure".[59] He visited brothels for most of his adult life[60][61][62] and was interested in pornography.[58] In addition, he had close relationships with several women during his life. On 13 August 1912, Kafka met Felice Bauer, a relative of Brod, who worked in Berlin as a representative of a dictaphone company. A week after the meeting at Brod's home, Kafka wrote in his diary: Miss FB. When I arrived at Brod's on 13 August, she was sitting at the table. I was not at all curious about who she was, but rather took her for granted at once. Bony, empty face that wore its emptiness openly. Bare throat. A blouse thrown on. Looked very domestic in her dress although, as it turned out, she by no means was. (I alienate myself from her a little by inspecting her so closely ...) Almost broken nose. Blonde, somewhat straight, unattractive hair, strong chin. As I was taking my seat I looked at her closely for the first time, by the time I was seated I already had an unshakeable opinion.[63][64] Shortly after this, Kafka wrote the story "Das Urteil" ("The Judgment") in only one night and worked in a productive period on Der Verschollene (The Man Who Disappeared) and "Die Verwandlung" ("The Metamorphosis"). Kafka and Felice Bauer communicated mostly through letters over the next five years, met occasionally, and were engaged twice.[65] Kafka's extant letters to her were published as Briefe an Felice (Letters to Felice); her letters do not survive.[63][66][67] According to biographers Stach and James Hawes, around 1920 Kafka was engaged a third time, to Julie Wohryzek, a poor and uneducated hotel chambermaid.[65][68] Although the two rented a flat and set a wedding date, the marriage never took place. During this time Kafka began a draft of the Letter to His Father, who objected to Julie because of her Zionist beliefs. Before the date of the intended marriage, he took up with yet another woman.[69] While he needed women and sex in his life, he had low self-confidence, felt sex was dirty, and was shy—especially about his body.[6] Stach and Brod state that during the time that Kafka knew Felice Bauer, he had an affair with a friend of hers, Margarethe "Grete" Bloch,[70] a Jewish woman from Berlin. Brod says that Bloch gave birth to Kafka's son, although Kafka never knew about the child. The boy, whose name is not known, was born in 1914 or 1915 and died in Munich in 1921.[71][72] However, Kafka's biographer Peter-André Alt claims that, while Bloch had a son, Kafka was not the father as the pair were never intimate.[73][74] Stach states that Bloch had a son, but there is not solid proof and moreover contradictory evidence that Kafka was the father.[75] Kafka was diagnosed with tuberculosis in August 1917 and moved for a few months to the Bohemian village of Zürau (Siřem in the Czech language), where his sister Ottla worked on the farm of her brother-in-law Karl Hermann. He felt comfortable there and later described this time as perhaps the best time in his life, probably because he had no responsibilities. He kept diaries and Oktavhefte (octavo). From the notes in these books, Kafka extracted 109 numbered pieces of text on Zettel, single pieces of paper in no given order. They were later published as Die Zürauer Aphorismen oder Betrachtungen über Sünde, Hoffnung, Leid und den wahren Weg(The Zürau Aphorisms or Reflections on Sin, Hope, Suffering, and the True Way).[76] In 1920 Kafka began an intense relationship with Milena Jesenská, a Czech journalist and writer. His letters to her were later published as Briefe an Milena.[77] During a vacation in July 1923 to Graal-Müritz on the Baltic Sea, Kafka met Dora Diamant, a 25-year-old kindergarten teacher from an orthodox Jewish family. Kafka, hoping to escape the influence of his family to concentrate on his writing, moved briefly to Berlin and lived with Diamant. She became his lover and caused him to become interested in the Talmud.[78] He worked on four stories, which he prepared to be published as Ein Hungerkünstler (A Hunger Artist).[77] Personality[edit] Kafka feared that people would find him mentally and physically repulsive. However, those who met him found him to possess a quiet and cool demeanor, obvious intelligence, and a dry sense of humour; they also found him boyishly handsome, although of austere appearance.[79][80][81] Brod compared Kafka to Heinrich von Kleist, noting that both writers had the ability to describe a situation realistically with precise details.[82] Brod thought Kafka was one of the most entertaining people he had met; Kafka enjoyed sharing humour with his friends, but also helped them in difficult situations with good advice.[83] According to Brod, he was a passionate reciter, who was able to phrase his speaking as if it were music.[84] Brod felt that two of Kafka's most distinguishing traits were "absolute truthfulness" (absolute Wahrhaftigkeit) and "precise conscientiousness" (präzise Gewissenhaftigkeit).[85][86] He explored details, the inconspicuous, in depth and with such love and precision that things surfaced that were unforeseen, seemingly strange, but absolutely true (nichts als wahr).[87] Although Kafka showed little interest in exercise as a child, he later showed interest in games and physical activity,[33] as a good rider, swimmer, and rower.[85] On weekends he and his friends embarked on long hikes, often planned by Kafka himself.[88] His other interests included alternative medicine, modern education systems such as Montessori,[85] and technical novelties such as airplanes and film.[89] Writing was important to Kafka; he considered it a "form of prayer".[90] He was highly sensitive to noise and preferred quiet when writing.[91] Pérez-Álvarez has claimed that Kafka may have possessed a schizoid personality disorder.[92] His style, it is claimed, not only in "Die Verwandlung" ("The Metamorphosis"), but in various other writings, appears to show low to medium-level schizoid traits, which explain much of his work.[93] His anguish can be seen in this diary entry from 21 June 1913:[94] The tremendous world I have in my head. But how to free myself and free them without ripping apart? And a thousand times rather tear in me they hold back or buried. For this I'm here, that's quite clear to me.[95] and in Zürau Aphorism number 50: Man cannot live without a permanent trust in something indestructible within himself, though both that indestructible something and his own trust in it may remain permanently concealed from him.[96] Though Kafka never married, he held marriage and children in high esteem. He had several girlfriends.[97] He may have suffered from an eating disorder. Doctor Manfred M. Fichter of the Psychiatric Clinic, University of Munich, presented "evidence for the hypothesis that the writer Franz Kafka had suffered from an atypical anorexia nervosa",[98] and that Kafka was not just lonely and depressed but also "occasionally suicidal".[80] In his 1995 book Franz Kafka, the Jewish Patient, Sander Gilman investigated "why a Jew might have been considered 'hypochondriac' or 'homosexual' and how Kafka incorporates aspects of these ways of understanding the Jewish male into his own self-image and writing".[99] Kafka considered committing suicide at least once, in late 1912.[100] Political views[edit] Prior to World War I,[101] Kafka attended several meetings of the Klub mladých, a Czech anarchist, anti-militarist, and anti-clerical organization.[102] Hugo Bergmann, who attended the same elementary and high schools as Kafka, fell out with Kafka during their last academic year (1900–1901) because "[Kafka's] socialism and my Zionism were much too strident".[103][104] "Franz became a socialist, I became a Zionist in 1898. The synthesis of Zionism and socialism did not yet exist".[104]Bergmann claims that Kafka wore a red carnation to school to show his support for socialism.[104] In one diary entry, Kafka made reference to the influential anarchist philosopher Peter Kropotkin: "Don't forget Kropotkin!"[105] During the communist era, the legacy of Kafka's work for Eastern bloc socialism was hotly debated. Opinions ranged from the notion that he satirised the bureaucratic bungling of a crumbling Austria-Hungarian Empire, to the belief that he embodied the rise of socialism.[106] A further key point was Marx's theory of alienation. While the orthodox position was that Kafka's depictions of alienation were no longer relevant for a society that had supposedly eliminated alienation, a 1963 conference held in Liblice, Czechoslovakia, on the eightieth anniversary of his birth, reassessed the importance of Kafka's portrayal of bureaucracy.[107] Whether or not Kafka was a political writer is still an issue of debate.[108] Judaism and Zionism[edit] Further information on Franz Kafka and Judaism: Franz Kafka and Judaism Kafka in 1910 Kafka grew up in Prague as a German-speaking Jew.[109] He was deeply fascinated by the Jews of Eastern Europe, who he thought possessed an intensity of spiritual life that was absent from Jews in the West. His diary is full of references to Yiddish writers.[110] Yet he was at times alienated from Judaism and Jewish life: "What have I in common with Jews? I have hardly anything in common with myself and should stand very quietly in a corner, content that I can breathe".[111] In his adolescent years, Kafka had declared himself an atheist.[112] Hawes suggests that Kafka, though very aware of his own Jewishness, did not incorporate it into his work, which, according to Hawes, lacks Jewish characters, scenes or themes.[113][114][115] In the opinion of literary critic Harold Bloom, although Kafka was uneasy with his Jewish heritage, he was the quintessential Jewish writer.[116] Lothar Kahn is likewise unequivocal: "The presence of Jewishness in Kafka's oeuvre is no longer subject to doubt".[117] Pavel Eisner, one of Kafka's first translators, interprets Der Process (The Trial) as the embodiment of the "triple dimension of Jewish existence in Prague ... his protagonist Josef K. is (symbolically) arrested by a German (Rabensteiner), a Czech (Kullich), and a Jew (Kaminer). He stands for the 'guiltless guilt' that imbues the Jew in the modern world, although there is no evidence that he himself is a Jew".[118] In his essay Sadness in Palestine?!, Dan Miron explores Kafka's connection to Zionism: "It seems that those who claim that there was such a connection and that Zionism played a central role in his life and literary work, and those who deny the connection altogether or dismiss its importance, are both wrong. The truth lies in some very elusive place between these two simplistic poles".[110] Kafka considered moving to Palestine with Felice Bauer, and later with Dora Diamant. He studied Hebrew while living in Berlin, hiring a friend of Brod's from Palestine, Pua Bat-Tovim, to tutor him[110] and attending Rabbi Julius Grünthal's[119] and Rabbi Julius Guttmann's classes in the Berlin Hochschule für die Wissenschaft des Judentums (College for the Study of Judaism).[120] Livia Rothkirchen calls Kafka the "symbolic figure of his era".[118] His contemporaries included numerous Jewish, Czech, and German writers who were sensitive to Jewish, Czech, and German culture. According to Rothkirchen, "This situation lent their writings a broad cosmopolitan outlook and a quality of exaltation bordering on transcendental metaphysical contemplation. An illustrious example is Franz Kafka".[118] Towards the end of his life Kafka sent a postcard to his friend Hugo Bergman in Tel Aviv, announcing his intention to emigrate to Palestine. Bergman refused to host Kafka because he had young children and was afraid that Kafka would infect them with tuberculosis.[121] Death[edit] Franz Kafka's grave in Prague-Žižkov designed by Leopold Ehrmann Kafka's laryngeal tuberculosis worsened and in March 1924 he returned from Berlin to Prague,[65] where members of his family, principally his sister Ottla, took care of him. He went to Dr. Hoffmann's sanatorium in Kierling just outside Vienna for treatment on 10 April,[77] and died there on 3 June 1924. The cause of death seemed to be starvation: the condition of Kafka's throat made eating too painful for him, and since parenteral nutrition had not yet been developed, there was no way to feed him.[122][123] Kafka was editing "A Hunger Artist" on his deathbed, a story whose composition he had begun before his throat closed to the point that he could not take any nourishment.[124] His body was brought back to Prague where he was buried on 11 June 1924, in the New Jewish Cemetery in Prague-Žižkov.[61] Kafka was virtually unknown during his own lifetime, but he did not consider fame important. He rose to fame rapidly after his death,[90] particularly after World War II. The Kafka tombstone was designed by architect Leopold Ehrmann.[125] Works[edit] Further information on Franz Kafka's bibliography: Franz Kafka bibliography First page of Kafka's Letter to His Father All of Kafka's published works, except some letters he wrote in Czech to Milena Jesenská, were written in German. What little was published during his lifetime attracted scant public attention. Kafka finished none of his full-length novels and burned around 90 percent of his work,[126][127] much of it during the period he lived in Berlin with Diamant, who helped him burn the drafts.[128] In his early years as a writer, he was influenced by von Kleist, whose work he described in a letter to Bauer as frightening, and whom he considered closer than his own family.[129] Stories[edit] Kafka's earliest published works were eight stories which appeared in 1908 in the first issue of the literary journal Hyperion under the title Betrachtung (Contemplation). He wrote the story "Beschreibung eines Kampfes" ("Description of a Struggle")[c] in 1904; he showed it to Brod in 1905 who advised him to continue writing and convinced him to submit it to Hyperion. Kafka published a fragment in 1908[130] and two sections in the spring of 1909, all in Munich.[131] In a creative outburst on the night of 22 September 1912, Kafka wrote the story "Das Urteil" ("The Judgment", literally: "The Verdict") and dedicated it to Felice Bauer. Brod noted the similarity in names of the main character and his fictional fiancée, Georg Bendemann and Frieda Brandenfeld, to Franz Kafka and Felice Bauer.[132] The story is often considered Kafka's breakthrough work. It deals with the troubled relationship of a son and his dominant father, facing a new situation after the son's engagement.[133][134] Kafka later described writing it as "a complete opening of body and soul",[135] a story that "evolved as a true birth, covered with filth and slime".[136]The story was first published in Leipzig in 1912 and dedicated "to Miss Felice Bauer", and in subsequent editions "for F."[77] In 1912, Kafka wrote "Die Verwandlung" ("The Metamorphosis", or "The Transformation"),[137] published in 1915 in Leipzig. The story begins with a travelling salesman waking to find himself transformed into a ungeheures Ungeziefer, a monstrous vermin, Ungeziefer being a general term for unwanted and unclean animals. Critics regard the work as one of the seminal works of fiction of the 20th century.[138][139][140] The story "In der Strafkolonie" ("In the Penal Colony"), dealing with an elaborate tortureand execution device, was written in October 1914,[77] revised in 1918, and published in Leipzig during October 1919. The story "Ein Hungerkünstler" ("A Hunger Artist"), published in the periodical Die neue Rundschau in 1924, describes a victimized protagonist who experiences a decline in the appreciation of his strange craft of starving himself for extended periods.[141] His last story, "Josefine, die Sängerin oder Das Volk der Mäuse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.[142] Novels[edit] He began his first novel in 1912;[143] its first chapter is the story "Der Heizer" ("The Stoker"). Kafka called the work, which remained unfinished, Der Verschollene (The Man Who Disappeared or The Missing Man), but when Brod published it after Kafka's death he named it Amerika.[144] The inspiration for the novel was the time spent in the audience of Yiddish theatre the previous year, bringing him to a new awareness of his heritage, which led to the thought that an innate appreciation for one's heritage lives deep within each person.[145] More explicitly humorous and slightly more realistic than most of Kafka's works, the novel shares the motif of an oppressive and intangible system putting the protagonist repeatedly in bizarre situations.[146] It uses many details of experiences of his relatives who had emigrated to America[147]and is the only work for which Kafka considered an optimistic ending.[148] During 1914, Kafka began the novel Der Process (The Trial),[131] the story of a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Kafka did not complete the novel, although he finished the final chapter. According to Nobel Prize winner and Kafka scholar Elias Canetti, Felice is central to the plot of Der Process and Kafka said it was "her story".[149][150] Canetti titled his book on Kafka's letters to Felice Kafka's Other Trial, in recognition of the relationship between the letters and the novel.[150] Michiko Kakutani notes in a review for The New York Times that Kafka's letters have the "earmarks of his fiction: the same nervous attention to minute particulars; the same paranoid awareness of shifting balances of power; the same atmosphere of emotional suffocation—combined, surprisingly enough, with moments of boyish ardor and delight."[150] According to his diary, Kafka was already planning his novel Das Schloss (The Castle), by 11 June 1914; however, he did not begin writing it until 27 January 1922.[131]The protagonist is the Landvermesser (land surveyor) named K., who struggles for unknown reasons to gain access to the mysterious authorities of a castle who govern the village. Kafka's intent was that the castle's authorities notify K. on his deathbed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was to be permitted to live and work there".[151] Dark and at times surreal, the novel is focused on alienation, bureaucracy, the seemingly endless frustrations of man's attempts to stand against the system, and the futile and hopeless pursuit of an unobtainable goal. Hartmut M. Rastalsky noted in his thesis: "Like dreams, his texts combine precise "realistic" detail with absurdity, careful observation and reasoning on the part of the protagonists with inexplicable obliviousness and carelessness."[152] Publishing history[edit] First edition of Betrachtung, 1912 Kafka's stories were initially published in literary periodicals. His first eight were printed in 1908 in the first issue of the bi-monthly Hyperion.[153] Franz Blei published two dialogues in 1909 which became part of "Beschreibung eines Kampfes" ("Description of a Struggle").[153] A fragment of the story "Die Aeroplane in Brescia" ("The Aeroplanes at Brescia"), written on a trip to Italy with Brod, appeared in the daily Bohemia on 28 September 1909.[153][154] On 27 March 1910, several stories that later became part of the book Betrachtung were published in the Easter edition of Bohemia.[153][155] In Leipzig during 1913, Brod and publisher Kurt Wolff included "Das Urteil. Eine Geschichte von Franz Kafka." ("The Judgment. A Story by Franz Kafka.") in their literary yearbook for the art poetry Arkadia. In the same year, Wolff published "Der Heizer" ("The Stoker") in the Jüngste Tag series, where it enjoyed three printings.[156]The story "Vor dem Gesetz" ("Before the Law") was published in the 1915 New Year's edition of the independent Jewish weekly Selbstwehr; it was reprinted in 1919 as part of the story collection Ein Landarzt (A Country Doctor) and became part of the novel Der Process. Other stories were published in various publications, including Martin Buber's Der Jude, the paper Prager Tagblatt, and the periodicals Die neue Rundschau, Genius, and Prager Presse.[153] Kafka's first published book, Betrachtung (Contemplation, or Meditation), was a collection of 18 stories written between 1904 and 1912. On a summer trip to Weimar, Brod initiated a meeting between Kafka and Kurt Wolff;[157] Wolff published Betrachtung in the Rowohlt Verlag at the end of 1912 (with the year given as 1913).[158] Kafka dedicated it to Brod, "Für M.B.", and added in the personal copy given to his friend "So wie es hier schon gedruckt ist, für meinen liebsten Max — Franz K." ("As it is already printed here, for my dearest Max").[159] Kafka's story "Die Verwandlung" ("The Metamorphosis") was first printed in the October 1915 issue of Die Weißen Blätter, a monthly edition of expressionist literature, edited by René Schickele.[158] Another story collection, Ein Landarzt (A Country Doctor), was published by Kurt Wolff in 1919,[158] dedicated to Kafka's father.[160]Kafka prepared a final collection of four stories for print, Ein Hungerkünstler (A Hunger Artist), which appeared in 1924 after his death, in Verlag Die Schmiede. On 20 April 1924, the Berliner Börsen-Courier published Kafka's essay on Adalbert Stifter.[161] Max Brod[edit] First edition of Der Prozess, 1925 Kafka left his work, both published and unpublished, to his friend and literary executor Max Brod with explicit instructions that it should be destroyed on Kafka's death; Kafka wrote: "Dearest Max, my last request: Everything I leave behind me ... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread".[162][163] Brod ignored this request and published the novels and collected works between 1925 and 1935. He took many papers, which remain unpublished, with him in suitcases to Palestine when he fled there in 1939.[164] Kafka's last lover, Dora Diamant (later, Dymant-Lask), also ignored his wishes, secretly keeping 20 notebooks and 35 letters. These were confiscated by the Gestapo in 1933, but scholars continue to search for them.[165] As Brod published the bulk of the writings in his possession,[166] Kafka's work began to attract wider attention and critical acclaim. Brod found it difficult to arrange Kafka's notebooks in chronological order. One problem was that Kafka often began writing in different parts of the book; sometimes in the middle, sometimes working backwards from the end.[167][168] Brod finished many of Kafka's incomplete works for publication. For example, Kafka left Der Process with unnumbered and incomplete chapters and Das Schloss with incomplete sentences and ambiguous content;[168] Brod rearranged chapters, copy edited the text, and changed the punctuation. Der Processappeared in 1925 in Verlag Die Schmiede. Kurt Wolff published two other novels, Das Schloss in 1926 and Amerika in 1927. In 1931, Brod edited a collection of prose and unpublished stories as Beim Bau der Chinesischen Mauer (The Great Wall of China), including the story of the same name. The book appeared in the Gustav Kiepenheuer Verlag. Brod's sets are usually called the "Definitive Editions".[169] Modern editions[edit] In 1961, Malcolm Pasley acquired most of Kafka's original handwritten work for the Oxford Bodleian Library.[170][171] The text for Der Process was later purchased through auction and is stored at the German Literary Archives in Marbach am Neckar, Germany.[171][172] Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit and Jürgen Born) which reconstructed the German novels; S. Fischer Verlag republished them.[173] Pasley was the editor for Das Schloss, published in 1982, and Der Process (The Trial), published in 1990. Jost Schillemeit was the editor of Der Verschollene (Amerika) published in 1983. These are called the "Critical Editions" or the "Fischer Editions".[174] Unpublished papers[edit] When Brod died in 1968, he left Kafka's unpublished papers, which are believed to number in the thousands, to his secretary Esther Hoffe.[175] She released or sold some, but left most to her daughters, Eva and Ruth, who also refused to release the papers. A court battle began in 2008 between the sisters and the National Library of Israel, which claimed these works became the property of the nation of Israel when Brod emigrated to British Palestine in 1939. Esther Hoffe sold the original manuscript of Der Process for US$2 million in 1988 to the German Literary Archive Museum of Modern Literature in Marbach am Neckar.[126][176] Only Eva was still alive as of 2012.[177] A ruling by a Tel Aviv family court in 2010 held that the papers must be released and a few were, including a previously unknown story, but the legal battle continued.[178] The Hoffes claim the papers are their personal property, while the National Library argues they are "cultural assets belonging to the Jewish people".[178] The National Library also suggests that Brod bequeathed the papers to them in his will. The Tel Aviv Family Court ruled in October 2012 that the papers were the property of the National Library.[179] Critical response[edit] Critical interpretations[edit] The poet W. H. Auden called Kafka "the Dante of the twentieth century";[180] the novelist Vladimir Nabokov placed him among the greatest writers of the 20th century.[181] Gabriel García Márquez noted the reading of Kafka's "The Metamorphosis" showed him "that it was possible to write in a different way".[111][182] A prominent theme of Kafka's work, first established in the short story "Das Urteil",[183] is father–son conflict: the guilt induced in the son is resolved through suffering and atonement.[18][183] Other prominent themes and archetypes include alienation, physical and psychological brutality, characters on a terrifying quest, and mystical transformation.[184] Kafka's style has been compared to that of Kleist as early as 1916, in a review of "Die Verwandlung" and "Der Heizer" by Oscar Walzel in Berliner Beiträge.[185] The nature of Kafka's prose allows for varied interpretations and critics have placed his writing into a variety of literary schools.[108] Marxists, for example, have sharply disagreed over how to interpret Kafka's works.[102][108] Some accused him of distorting reality whereas others claimed he was critiquing capitalism.[108] The hopelessness and absurdity common to his works are seen as emblematic of existentialism.[186] Some of Kafka's books are influenced by the expressionist movement, though the majority of his literary output was associated with the experimental modernist genre. Kafka also touches on the theme of human conflict with bureaucracy. William Burroughs claims that such work is centred on the concepts of struggle, pain, solitude, and the need for relationships.[187] Others, such as Thomas Mann, see Kafka's work as allegorical: a quest, metaphysical in nature, for God.[188][189] According to Gilles Deleuze and Félix Guattari, the themes of alienation and persecution, although present in Kafka's work, have been over-emphasised by critics. They argue Kafka's work is more deliberate and subversive—and more joyful—than may first appear. They point out that reading the Kafka work while focusing on the futility of his characters' struggles reveals Kafka's play of humour; he is not necessarily commenting on his own problems, but rather pointing out how people tend to invent problems. In his work, Kafka often created malevolent, absurd worlds.[190][191] Kafka read drafts of his works to his friends, typically concentrating on his humorous prose. The writer Milan Kundera suggests that Kafka's surrealist humour may have been an inversion of Dostoyevsky's presentation of characters who are punished for a crime. In Kafka's work a character is punished although a crime has not been committed. Kundera believes that Kafka's inspirations for his characteristic situations came both from growing up in a patriarchal family and living in a totalitarian state.[192] Attempts have been made to identify the influence of Kafka's legal background and the role of law in his fiction.[193][194] Most interpretations identify aspects of law and legality as important in his work,[195] in which the legal system is often oppressive.[196] The law in Kafka's works, rather than being representative of any particular legal or political entity, is usually interpreted to represent a collection of anonymous, incomprehensible forces. These are hidden from the individual but control the lives of the people, who are innocent victims of systems beyond their control.[195] Critics who support this absurdist interpretation cite instances where Kafka describes himself in conflict with an absurd universe, such as the following entry from his diary: Enclosed in my own four walls, I found myself as an immigrant imprisoned in a foreign country;... I saw my family as strange aliens whose foreign customs, rites, and very language defied comprehension;... though I did not want it, they forced me to participate in their bizarre rituals;... I could not resist.[197] However, James Hawes argues many of Kafka's descriptions of the legal proceedings in Der Process—metaphysical, absurd, bewildering and nightmarish as they might appear—are based on accurate and informed descriptions of German and Austrian criminal proceedings of the time, which were inquisitorial rather than adversarial.[198] Although he worked in insurance, as a trained lawyer Kafka was "keenly aware of the legal debates of his day".[194][199] In an early 21st-century publication that uses Kafka's office writings as its point of departure,[200] Pothik Ghosh states that with Kafka, law "has no meaning outside its fact of being a pure force of domination and determination".[201] Translations[edit] The earliest English translations of Kafka's works were by Edwin and Willa Muir, who in 1930 translated the first German edition of Das Schloss. This was published as The Castle by Secker & Warburg in England and Alfred A. Knopf in the United States.[202] A 1941 edition, including a homage by Thomas Mann, spurred a surge in Kafka's popularity in the United States during the late 1940s.[203] The Muirs translated all shorter works that Kafka had seen fit to print; they were published by Schocken Books in 1948 as The Penal Colony: Stories and Short Pieces,[204] including additionally The First Long Train Journey, written by Kafka and Brod, Kafka's "A Novel about Youth", a review of Felix Sternheim's Die Geschichte des jungen Oswald, his essay on Kleist's "Anecdotes", his review of the literary magazine Hyperion, and an epilogue by Brod. Later editions, notably those of 1954 (Dearest Father. Stories and Other Writings), included text, translated by Eithne Wilkins and Ernst Kaiser,[205] which had been deleted by earlier publishers.[173] Known as "Definitive Editions", they include translations of The Trial, Definitive, The Castle, Definitive, and other writings. These translations are generally accepted to have a number of biases and are considered to be dated in interpretation.[206] Published in 1961 by Schocken Books, Parables and Paradoxes presented in a bilingual edition by Nahum N. Glatzer selected writings,[207] drawn from notebooks, diaries, letters, short fictional works and the novel Der Process. New translations were completed and published based on the recompiled German text of Pasley and Schillemeit — The Castle, Critical by Mark Harman (Schocken Books, 1998),[171] The Trial, Critical by Breon Mitchell (Schocken Books, 1998),[208] and Amerika: The Man Who Disappeared by Michael Hofmann (New Directions Publishing, 2004).[209] Translation problems to English[edit] Further information: Franz Kafka bibliography § English translations Kafka often made extensive use of a characteristic particular to the German language which permits long sentences that sometimes can span an entire page. Kafka's sentences then deliver an unexpected impact just before the full stop—this being the finalizing meaning and focus. This is due to the construction of subordinate clauses in German which require that the verb be positioned at the end of the sentence. Such constructions are difficult to duplicate in English, so it is up to the translator to provide the reader with the same (or at least equivalent) effect found in the original text.[210] German's more flexible word order and syntactical differences provide for multiple ways in which the same German writing can be translated into English.[211] An example is the first sentence of Kafka's "The Metamorphosis", which is crucial to the setting and understanding of the entire story:[212] Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt. (original) As Gregor Samsa one morning from restless dreams awoke, found he himself in his bed into an enormous vermin transformed. (literal word-for-word translation)[213] Another difficult problem facing translators is how to deal with the author's intentional use of ambiguous idioms and words that have several meanings which results in phrasing that is difficult to translate precisely.[214][215] One such instance is found in the first sentence of "The Metamorphosis". English translators often render the word Ungeziefer as "insect"; in Middle German, however, Ungeziefer literally means "an animal unclean for sacrifice";[216] in today's German it means vermin. It is sometimes used colloquially to mean "bug" —a very general term, unlike the scientific "insect". Kafka had no intention of labeling Gregor, the protagonist of the story, as any specific thing, but instead wanted to convey Gregor's disgust at his transformation.[138][139] Another example is Kafka's use of the German noun Verkehr in the final sentence of "Das Urteil". Literally, Verkehr means intercourse and, as in English, can have either a sexual or non-sexual meaning; in addition, it is used to mean transport or traffic. The sentence can be translated as: "At that moment an unending stream of traffic crossed over the bridge".[217] The double meaning of Verkehr is given added weight by Kafka's confession to Brod that when he wrote that final line, he was thinking of "a violent ejaculation".[136][218] Legacy[edit] Literary and cultural influence[edit] Unlike many famous writers, Kafka is rarely quoted by others. Instead, he is noted more for his visions and perspective.[219] Shimon Sandbank, a professor, literary critic, and writer, identifies Kafka as having influenced Jorge Luis Borges, Albert Camus, Eugène Ionesco, J. M. Coetzee and Jean-Paul Sartre.[220] A Financial Timesliterary critic credits Kafka with influencing José Saramago,[221] and Al Silverman, a writer and editor, states that J. D. Salinger loved to read Kafka's works.[222] In 1999 a committee of 99 authors, scholars, and literary critics ranked Der Process and Das Schloss the second and ninth most significant German-language novels of the 20th century.[223] Sandbank argues that despite Kafka's pervasiveness, his enigmatic style has yet to be emulated.[220] Neil Christian Pages, a professor of German Studies and Comparative Literature at Binghamton University who specialises in Kafka's works, says Kafka's influence transcends literature and literary scholarship; it impacts visual arts, music, and popular culture.[224] Harry Steinhauer, a professor of German and Jewish literature, says that Kafka "has made a more powerful impact on literate society than any other writer of the twentieth century".[6] Brod said that the 20th century will one day be known as the "century of Kafka".[6] Michel-André Bossy writes that Kafka created a rigidly inflexible and sterile bureaucratic universe. Kafka wrote in an aloof manner full of legal and scientific terms. Yet his serious universe also had insightful humour, all highlighting the "irrationality at the roots of a supposedly rational world".[184] His characters are trapped, confused, full of guilt, frustrated, and lacking understanding of their surreal world. Much of the post-Kafka fiction, especially science fiction, follow the themes and precepts of Kafka's universe. This can be seen in the works of authors such as George Orwell and Ray Bradbury.[184] The following are examples of works across a range of literary, musical, and dramatic genres which demonstrate the extent of cultural influence: TitleYearMediumRemarksRef "A Friend of Kafka"1962short storyby Nobel Prize winner Isaac Bashevis Singer, about a Yiddish actor called Jacques Kohn who said he knew Franz Kafka; in this story, according to Jacques Kohn, Kafka believed in the Golem, a legendary creature from Jewish folklore[225] The Trial1962filmthe film's director, Orson Welles, said, "Say what you like, but The Trial is my greatest work, even greater than Citizen Kane"[226][227] Watermelon Man1970filmpartly inspired by "The Metamorphosis", where a white bigot wakes up as a black man[228] Klassenverhältnisse1984filmfilm adaptation of Amerika directed by Straub-Huillet Kafka-Fragmente, Op. 241985musicby Hungarian composer György Kurtág for soprano and violin, using fragments of Kafka's diary and letters[229] Kafka's Dick1986playby Alan Bennett, in which the ghosts of Kafka, his father Hermann and Brod arrive at the home of an English insurance clerk (and Kafka aficionado) and his wife[230] Kafka1991filmstars Jeremy Irons as the eponymous author; written by Lem Dobbs and directed by Steven Soderbergh, the movie mixes his life and fiction providing a semi-biographical presentation of Kafka's life and works; Kafka investigates the disappearance of one of his colleagues, taking Kafka through many of the writer's own works, most notably The Castle and The Trial [231] Das Schloß1992operaGerman-language opera by Aribert Reimann who wrote his own libretto based on Kafka's novel and its dramatization by Max Brod, premiered on 2 September 1992 at the Deutsche Oper Berlin, staged by Willy Decker and conducted by Michael Boder.[232] Franz Kafka's It's a Wonderful Life1993filmshort comedy film made for BBC Scotland, won an Oscar, was written and directed by Peter Capaldi, and starred Richard E. Grant as Kafka[233] Bad Mojo1996computer gameloosely based on The Metamorphosis, with characters named Franz and Roger Samms, alluding to Gregor Samsa[234] In the Penal Colony2000operaby Philip Glass[235] Kafka on the Shore2002novelby Japanese writer Haruki Murakami, on The New York Times 10 Best Books of 2005 list, World Fantasy Award recipient[236] Kafka's Trial2005operaby Danish composer Poul Ruders, based on the novel and parts of Kafka's life; first performed in 2005, released on CD [237] Kafka's Soup2005bookby Mark Crick, is a literary pastiche in the form of a cookbook, with recipes written in the style of a famous author[238] Introducing Kafka2007graphic novelby Robert Crumb and David Zane Mairowitz, contains text and illustrations introducing Kafka's life and work A Country Doctor2007short filmby Kōji Yamamura "Kafkaesque"2010TV seriesBreaking Bad Season 3 episode written by Peter Gould & George Mastras. Jesse Pinkman, at a group therapy meeting, describes his new workplace as a dreary, "totally corporate" laundromat mired in bureaucracy. He complains about his boss and that he's not worthy to meet the owner, whom everyone fears. "Sounds kind of Kafkaesque," responds the group leader. Kafka the Musical2011radio playby BBC Radio 3 produced as part of their Play of the Week programme. Franz Kafka was played by David Tennant[239] Sound Interpretations – Dedication To Franz Kafka2012musicHAZE Netlabel released musical compilation Sound Interpretations — Dedication To Franz Kafka. In this release musicians rethink the literary heritage of Kafka[240] Google Doodle2013internet cultureGoogle had a sepia-toned doodle of a roach in a hat opening a door, honoring Kafka's 130th birthday [241] The Metamorphosis2013danceRoyal Ballet production of The Metamorphosis with Edward Watson[242] Café Kafka2014operaby Spanish composer Francisco Coll on a text by Meredith Oakes, built from texts and fragments by Franz Kafka; Commissioned by Aldeburgh Music, Opera North and Royal Opera Covent Garden[243] "Kafkaesque"[edit] Kafka's The Metamorphosis was even reprinted in the June 1953 issue of the pulp magazine Famous Fantastic Mysteries The term "Kafkaesque" is used to describe concepts and situations reminiscent of his work, particularly Der Process (The Trial) and "Die Verwandlung" (The Metamorphosis). Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu which evokes feelings of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape a labyrinthine situation. Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre, or illogical.[6][226][244][245] Jaroslav Róna's bronze Statue of Franz Kafka in Prague Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this genre that have been thus described include Patrick Bokanowski's 1982 film The Angel, Terry Gilliam's 1985 film Brazil, and the 1998 science fiction film noir, Dark City. Films from other genres which have been similarly described include The Tenant (1976) and Barton Fink (1991).[246] The television series The Prisoner and The Twilight Zoneare also frequently described as Kafkaesque.[247][248] However, with common usage, the term has become so ubiquitous that Kafka scholars note it's often misused.[249] More accurately then, according to author Ben Marcus, paraphrased in "What it Means to be Kafkaesque" by Joe Fassler in The Atlantic, "Kafka’s quintessential qualities are affecting use of language, a setting that straddles fantasy and reality, and a sense of striving even in the face of bleakness—hopelessly and full of hope." [250] Commemoration[edit] The Franz Kafka Museum in Prague is dedicated to Kafka and his work. A major component of the museum is an exhibit The City of K. Franz Kafka and Prague, which was first shown in Barcelona in 1999, moved to the Jewish Museum in New York City, and was finally established in 2005 in Prague in Malá Strana (Lesser Town), along the Moldau. The museum calls its display of original photos and documents Město K. Franz Kafka a Praha (City K. Kafka and Prague) and aims to immerse the visitor into the world in which Kafka lived and about which he wrote.[251] The Franz Kafka Prize is an annual literary award of the Franz Kafka Society and the City of Prague established in 2001. It recognizes the merits of literature as "humanistic character and contribution to cultural, national, language and religious tolerance, its existential, timeless character, its generally human validity, and its ability to hand over a testimony about our times".[252] The selection committee and recipients come from all over the world, but are limited to living authors who have had at least one work published in the Czech language.[252] The recipient receives $10,000, a diploma, and a bronze statuette at a presentation in Prague's Old Town Hall on the Czech State Holiday in late October.[252] San Diego State University (SDSU) operates the Kafka Project, which began in 1998 as the official international search for Kafka's last writings.[165] **** Franz Kafka GERMAN-LANGUAGE WRITER WRITTEN BY: The Editors of Encyclopaedia Britannica See Article History Franz Kafka, (born July 3, 1883, Prague, Bohemia, Austria-Hungary [now in Czech Republic]—died June 3, 1924, Kierling, near Vienna, Austria), German-language writer of visionary fictionwhose works—especially the novel Der Prozess (1925; The Trial) and the story Die Verwandlung(1915; The Metamorphosis)—express the anxieties and alienation felt by many in 20th-century Europe and North America. READ MORE ON THIS TOPIC German literature: Franz Kafka The works of Franz Kafka, especially his two stories Das Urteil (1913; The Judgment) and Die Verwandlung (1915; The Metamorphosis), owe much to Expressionism and are often considered in the context of that movement. But his writing is better understood as an early… Life Franz Kafka, the son of Julie Löwy and Hermann Kafka, a merchant, was born into a prosperous middle-class Jewish family. After two brothers died in infancy, he became the eldest child and remained, for the rest of his life, conscious of his role as elder brother; Ottla, the youngest of his three sisters, became the family member closest to him. Kafka strongly identified with his maternal ancestors because of their spirituality, intellectual distinction, piety, rabbinical learning, melancholy disposition, and delicate physical and mental constitution. He was not, however, particularly close to his mother. Subservient to her overwhelming ill-tempered husband and his exacting business, she shared with her spouse a lack of comprehension of their son’s unprofitable and, they feared, unhealthy dedication to the literary “recording of [his]…dreamlike inner life.” Kafka and his father The figure of Kafka’s father overshadowed his work as well as his existence. The figure is, in fact, one of his most impressive creations. In his imagination this coarse, practical, and domineering shopkeeper and patriarch who worshipped nothing but material success and social advancement belonged to a race of giants and was an awesome, admirable, but repulsive tyrant. In Kafka’s most important attempt at autobiography, Brief an den Vater (written 1919; Letter to Father), a letter that never reached the addressee, Kafka attributed his failure to live, to cut loose from parental ties and establish himself in marriage and fatherhood, as well as his escape into literature, to the prohibitive father figure, which instilled in him the sense of his own impotence. He felt his will had been broken by his father. The conflict with the father is reflected directly in Kafka’s story Das Urteil (1913; The Judgment). It is projected on a grander scale in Kafka’s novels, which portray in lucid, deceptively simple prose a man’s desperate struggle with an overwhelming power, one that may persecute its victim (as in The Trial) or one that may be sought after and begged in vain for approval (as in Das Schloss [1926; The Castle]). Yet the roots of Kafka’s anxiety and despair go deeper than his relationship with his father and family, with whom he chose to live in close and cramped proximity for the major part of his adult life. The source of Kafka’s despair lies in a sense of ultimate isolation from true communion with all human beings—the friends he cherished, the women he loved, the job he detested, the society he lived in—and with God, or, as he put it, with true indestructible Being. The son of an assimilated Jew who held only perfunctorily to the religious practices and social formalities of the Jewish community, Kafka was German both in language and culture. He was a timid, guilt-ridden, and obedient child who did well in elementary school and in the Altstädter Staatsgymnasium, an exacting high school for the academic elite. He was respected and liked by his teachers. Inwardly, however, he rebelled against the authoritarian institution and the dehumanized humanistic curriculum, with its emphasis on rote learning and classical languages. Kafka’s opposition to established society became apparent when, as an adolescent, he declared himself a socialist as well as an atheist. Throughout his adult life he expressed qualified sympathies for the socialists, he attended meetings of Czech anarchists (before World War I), and in his later years he showed marked interest and sympathy for a socialized Zionism. Even then he was essentially passive and politically unengaged. As a Jew, Kafka was isolated from the German community in Prague, but, as a modern intellectual, he was also alienated from his own Jewish heritage. He was sympathetic to Czech political and cultural aspirations, but his identification with German culture kept even these sympathies subdued. Thus, social isolation and rootlessness contributed to Kafka’s lifelong personal unhappiness. Kafka’s double life Kafka did, however, become friendly with some German Jewish intellectuals and literati in Prague, and in 1902 he met Max Brod. This minor literary artist became the most intimate and solicitous of Kafka’s friends, and eventually, as Kafka’s literary executor, he emerged as the promoter, saviour, and interpreter of Kafka’s writings and as his most influential biographer. The two men became acquainted while Kafka was studying law at the University of Prague. He received his doctorate in 1906, and in 1907 he took up regular employment with an insurance company. The long hours and exacting requirements of the Assicurazioni Generali, however, did not permit Kafka to devote himself to writing. In 1908 he found in Prague a job in the seminationalized Workers’ Accident Insurance Institute for the Kingdom of Bohemia. There he remained until 1917, when tuberculosis forced him to take intermittent sick leaves and, finally, to retire (with a pension) in 1922, about two years before he died. In his job he was considered tireless and ambitious; he soon became the right hand of his boss, and he was esteemed and liked by all who worked with him. In fact, generally speaking, Kafka was a charming, intelligent, and humorous individual, but he found his routine office job and the exhausting double life into which it forced him (for his nights were frequently consumed in writing) to be excruciating torture, and his deeper personal relationships were neurotically disturbed. The conflicting inclinations of his complex and ambivalent personality found expression in his sexual relationships. Inhibition painfully disturbed his relations with Felice Bauer, to whom he was twice engaged before their final rupture in 1917. Later his love for Milena Jesenská Pollak was also thwarted. His health was poor and office work exhausted him. In 1917 he was diagnosed as having tuberculosis, and from then onward he spent frequent periods in sanatoriums. In 1923 Kafka went to Berlin to devote himself to writing. During a vacation on the Baltic coast later that year, he met Dora Dymant (Diamant), a young Jewish socialist. The couple lived in Berlin until Kafka’s health significantly worsened during the spring of 1924. After a brief final stay in Prague, where Dymant joined him, he died of tuberculosis in a clinic near Vienna. Works Sought out by leading avant-garde publishers, Kafka reluctantly published a few of his writings during his lifetime. These publications include two sections (1909) from Beschreibung eines Kampfes (1936; Description of a Struggle) and Betrachtung (1913; Meditation), a collection of short prose pieces. They also include other works representative of Kafka’s maturity as an artist: The Judgment, written in 1912 and published a year later; two other long stories, The Metamorphosis (published in 1915) and In der Strafkolonie (1919; In the Penal Colony); and a collection of short prose, Ein Landarzt (1919; A Country Doctor). Ein Hungerkünstler (1924; A Hunger Artist), four stories exhibiting the concision and lucidity characteristic of Kafka’s late style, had been prepared by the author but did not appear until after his death. In fact, misgivings about his work caused Kafka before his death to request that all of his unpublished manuscripts be destroyed; Brod, as his literary executor, disregarded his instructions and published the novels The Trial, The Castle, and Amerika in 1925, 1926, and 1927, respectively, and a collection of shorter pieces, Beim Bau der chinesischen Mauer (The Great Wall of China), in 1931. Such early works by Kafka as Description of a Struggle (begun about 1904) and Meditation, though their style is more concretely imaged and their structure more incoherent than that of the later works, are already original in a characteristic way. The characters in these works fail to establish communication with others, they follow a hidden logic that flouts normal everyday logic, and their world erupts in grotesque incidents and violence. Each character is only an anguished voice, vainly questing for information and understanding of the world and for a way to believe in his own identity and purpose. Many of Kafka’s fables contain an inscrutable, baffling mixture of the normal and the fantastic, though occasionally the strangeness may be understood as the outcome of a literary or verbal device, as when the delusions of a pathological state are given the status of reality or when the metaphor of a common figure of speech is taken literally. Thus, in The Judgment a son unquestioningly commits suicide at the behest of his aged father. In The Metamorphosis the son, Gregor Samsa, wakes up to find himself transformed into a monstrous and repulsive insect; he slowly dies, not only because of his family’s shame and its neglect of him but because of his own guilty despair. Many of the tales are even more unfathomable. In the Penal Colony presents an officer who demonstrates his devotion to duty by submitting himself to the appalling (and clinically described) mutilations of his own instrument of torture. This theme, the ambiguity of a task’s value and the horror of devotion to it—one of Kafka’s constant preoccupations—appears again in A Hunger Artist. The fable Vor dem Gesetz (1914; Before the Law, later incorporated into The Trial) presents both the inaccessibility of meaning (the “law”) and humankind’s tenacious longing for it. A group of fables written in 1923–24, the last year of Kafka’s life, all centre on the individual’s vain but undaunted struggle for understanding and security. Many of the motifs in the short fables recur in the novels. In the unfinished Amerika, for example, the boy Karl Rossmann has been sent by his family to America. There he seeks shelter with a number of father figures. His innocence and simplicity are everywhere exploited, and a last chapter describes his admission to a dreamworld, the “nature-theatre of Oklahoma”; Kafka made a note that Rossmann was ultimately to perish. In The Trial, Joseph K., an able and conscientiousbank official and a bachelor, is awakened by bailiffs, who arrest him. The investigation in the magistrate’s court turns into a squalid farce, the charge against him is never defined, and from this point the courts take no further initiative. But Joseph K. consumes himself in a search for inaccessible courts and for an acquittal from his unknown offense. He appeals to intermediaries whose advice and explanations produce new bewilderment; he adopts absurd stratagems; squalor, darkness, and lewdness attend his search. Resting in a cathedral, he is told by a priest that his protestations of innocence are themselves a sign of guilt and that the justice he is forced to seek must forever be barred to him. A last chapter describes his execution as, still looking around desperately for help, he protests to the last. This is Kafka’s blackest work: evil is everywhere, acquittal or redemption is inaccessible, and frenzied effort only indicates an individual’s real impotence. In The Castle, one of Kafka’s last works and also unfinished, the setting is a village dominated by a castle. Time seems to have stopped in this wintry landscape, and nearly all the scenes occur in the dark. K. arrives at the village claiming to be a land surveyor appointed by the castle authorities. His claim is rejected by the village officials, and the novel recounts K.’s efforts to gain recognition from an authority that is as elusive as Joseph K.’s courts. But K. is not a victim: he is an aggressor, challenging both the petty, arrogant officials and the villagers who accept their authority. All of his stratagems fail. Like Joseph K., he makes love to a servant, the barmaid Frieda, but she leaves him when she discovers that he is simply using her. Brod observes that Kafka intended that K. should die exhausted by his efforts but that on his deathbed he was to receive a permit to stay. There are new elements in this novel. It is tragic, not desolate. While the majority of Kafka’s characters are mere functions, Frieda is a resolute person, calm and matter-of-fact. K. gains through her personality some insight into a possible solution of his quest, and, when he speaks of her with affection, he seems himself to be breaking through his sense of isolation. Kafka’s stories and novels have provoked a wealth of interpretations. Brod and Kafka’s first English translators, Edwin Muir and his wife, Willa, viewed the novels as allegories of divine grace. Existentialists have seen Kafka’s environment of guilt and despair as the ground upon which to construct an authentic existence. Some have seen his neurotic involvement with his father as the heart of his work. Others have emphasized the social criticism, the inhumanity of the powerful and their agents, the violence and barbarity that lurk beneath normal routine. Some have found an imaginative anticipation of totalitarianism in the random and faceless bureaucratic terror of The Trial. The Surrealists delighted in the persistent intrusions of the absurd. There is evidence in both the works and the diaries for each of these interpretations, but Kafka’s work as a whole transcends them all. One critic may have put it most accurately when he wrote of the works as “open parables” whose final meanings can never be rounded off. But Kafka’s oeuvre is also limited. Each of his works bears the marks of a man suffering in spirit and body, searching desperately, but always inwardly, for meaning, security, self-worth, and a sense of purpose. Kafka himself looked upon his writing and the creative act it signified as a means of “redemption,” as a “form of prayer” through which he might be reconciled to the world or might transcend his negative experience of it. The lucidly described but inexplicable darkness of his works reveal Kafka’s own frustrated personal struggles, but through his powerless characters and the strange incidents that befall them the author achieved a compelling symbolism that more broadly signifies the anxiety and alienation of the 20th-century world itself. At the time of his death, Kafka was appreciated only by a small literary coterie. His name and work would not have survived if Brod had honoured Kafka’s testament—two notes requiring his friend to destroy all unpublished manuscripts and to refrain from republishing the works that had already appeared in print. Brod took the opposite course, and thus the name and work of Kafka gained worldwide posthumous fame. This development took place first in France and the English-speaking countries during the regime of Adolf Hitler, at the very time when Kafka’s three sisters were deported and killed in concentration camps. After 1945 Kafka was rediscovered in Germany and Austria and began to greatly influence German literature. By the 1960s this influence became global and extended even to the intellectual, literary, and political life of Kafka’s place of birth, what had become communist Czechoslovakia. *** Haim Hefer (Hebrew: חיים חפר { ; 29 October 1925 – 18 September 2012) was an Israeli songwriter, poet and writer. Contents 1Biography 2Music career 3Controversy 4Awards 5Gallery 6See also 7References 8External links Biography[edit] Haim Feiner (later Hefer) was born in Sosnowiec, Poland in 1925 to Issachar Feiner, a chocolate salesman, and Rivka Herzberg, a housewife. He had a private Hebrew tutor. His family immigrated to Palestine in 1936 and settled in Raanana. He began writing at the age of 13, as part of a national contest. He never finished high school and joined the Palmach in 1943.[1] He took part in smuggling illegal immigrants through Syria and Lebanon. During the 1948 Arab-Israeli War, he was one of the founders of the Chizbatron, the Palmach army troupe, and was its chief songwriter.[2] Hefer owned a house in Ein Hod,[3] but resided in Tel Aviv. He was married to Ruti Haramati, with whom he had a daughter, Mimi.[1][4] In 1975−1978 Hefer was a cultural attaché at the Israeli Consulate in Los Angeles.[4][5] On 18 September 2012 (the second day of Rosh Hashanah, 5773), Hefer died at Sourasky Medical Center in Tel Aviv, after a long illness.[6] Music career[edit] In the 1950s, Hefer and Dahn Ben-Amotz wrote A Bag of Fibs, a collection of tall tales made up in the Palmach, and founded the "Hamam" club in Jaffa. During that time, he founded "Revi'iat Moadon HaTeatron" (Theater Club Quartet). He wrote a weekly column for Yediot Aharonot, which included maqamas on current affairs.[2] A Bag of Fibs achieved cult status in Israel.[7] He was later made a cultural attache to the Israeli consul in Los Angeles.[8] He wrote for dozens of composers, including Sasha Argov, Moshe Wilensky and Dubi Seltzer. Artists who performed his songs include Arik Lavie, Yehoram Gaon, Shoshana Damari and Yafa Yarkoni, as well as The High Windows and most Israeli military bands.[2] He wrote lyrics for musicals, including Kazablan and I Like Mike. Many of his songs, such as "Hafinjan" (The Billy Kettle), "Hayu Zmanim" (In Those Days) and "Hamilkhama Ha'achrona" (The Last War) are considered Israeli classics. He also published several collections of his verses. Shortly before the 1948 war, he wrote a song titled "Between the Borders", about immigration. It included the words "We are here, a defensive shield". In 2002, the Israel Defense Forces (IDF) launched an operation in the West Bank and named it Operation Defensive Shield.[9] Controversy[edit] In 2002, Hefer described Moroccan Jewish culture as inferior to that of the Polish Jews. He called Aviv Geffen a phony and criticized Yaffa Yarkoni for badmouthing the IDF.[10] His remarks were condemned as racist and criticized by then President of Israel, Moshe Katsav, members of the Moroccan community, and representatives of the Shas Party,[11] as well as Mizrahi musicians such as Margalit Tzan'ani.[10] Hefer made a public apology and wrote a song for singer Zehava Ben.[12] Awards[edit] In 1983, Hefer was awarded the Israel Prize, for Hebrew song (words),[13] for his contribution to the Music of Israel.[14] In 2008 in Poland was published a book, "Chaim Chefer—Memorable Days"("Chaim Chefer - Pamiętne Dni"), the development of the graphic made by Pawel Slota under the artistic supervision of Agnieszka Tyrman. The book was out of admiration and respect for the work of Chaim Chefer in the jubilee year the 60th anniversary of the State of Israel.[15]****** ebay4212 Country/Region of Manufacture: Israel

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