, and attempts a “bio-political” interpretation that avoids a merely historical or existential reading. In conjunction with an exploration of the term “post-Holocaust” literature, Wolff identifies Kafkaesque elements and strategies as well as connections to Kafka’s life and suggests that the fate of the protagonist, Joseph Kramer (J. ), who is subjected to forces alleging his guilt, continues to be highly relevant today. Because of his familiarity with Jewish culture and Holocaust history, Schulz joins the Zionist partisans and becomes an Israeli citizen.
Johnson expects the inclusion of a post-Holocaust perspective to reveal hitherto unrecognized forms of passive resistance, even “under conditions of abjection.” discusses the transition in Adler’s oeuvre from Holocaust documentation (on Theresienstadt and Auschwitz) to fiction, notably the modernist episodic novel “Panorama” (1948, publ. She raises the question of the prophetic quality of Kafka’s work with regard to the bureaucratization and dehumanization under Nazism and beyond. The provocative plot is informed by the concept of a fluid identity (as a role play), reminiscent of Kafka.
Coming to terms with the “Naïveté and Arrogance of the Guardian” as well as the “childish fantasies” as regards the Interior Realm—its appearance and meaning.
Modern man’s befuddlement and retreat before the spiritual realm is foreordained by Kafka in Josef K.’s haste to leave the Cathedral. Kafka’s enduring importance is also evident from the production of second- and third-generation post-Shoah writers and filmmakers.
: A comparative analysis of the role of music in “The Metamorphosis”, “The Silence of the Sirens” and “Josephine the Singer”, drawing on ideas by Charles Rosen, Walter Benjamin, and Judith Butler for the argument that Gregor’s sister Grete’s mediocre violin playing and, in a different way, the silent sirens, point to a fleeting fragile utopia, whereas Josephine’s “piping” creates an image of communal solidarity.
Tone-deaf Kafka’s fascination with the idea of music (rather than its execution) showed an affinity with modernist musical techniques, notably, the “Sprechgesang” and utopian “unheard melodies”.
The novel could be read as the product of Kafka’s experimentation with alternative narrative forms, a carefully crafted hypertext without beginning and ending, proliferating into different directions. is integral to the text and at the same time its creator.
will focus on Kafka’s “Das Urteil”, and its relation to his journals in which Kafka wrote the story.
Walter Sokel’s research also includes aspects of memory in and about Kafka.
For the MLA Session Roundtable, we invite presentations on cultural memories in Kafka scholarship; Kafka’s modernist texts; Kafka in comparison with his contemporaries; and Kafka’s distinct “direct style”.