By James Rolleston
No different 20th-century author of German-language literature has been as absolutely authorised into the canon of global literature as Franz Kafka. The unsettlingly, enigmatically surreal international of Kafka's novels and tales maintains to fascinate readers and critics of every new iteration, who in flip proceed to discover new readings. something has develop into transparent: even supposing all theories try to acceptable Kafka, there is not any one key to his paintings. The problem to critics has been to provide a robust viewpoint whereas taking account of past Kafka learn, a problem that has been met via the individuals to this quantity. members: JAMES ROLLESTON, CLAYTON KOELB, WALTER H. SOKEL, JUDITH RYAN, RUSSELL A. BERMAN, RITCHIE ROBERTSON, HENRY SUSSMAN, STANLEY CORNGOLD, BIANCA THEISEN, ROLF J. GOEBEL, RICHARD T. grey, RUTH V. GROSS, SANDER L. GILMAN, JOHN ZILCOSKY, MARK HARMAN JAMES ROLLESTON is Professor of German at Duke collage.
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Additional resources for Companion to the Works of Franz Kafka (Studies in German Literature Linguistics and Culture)
Stuttgart: Kröner, 1976. INTRODUCTION: KAFKA BEGINS K 19 ———, ed. Kafka-Handbuch. Stuttgart: Kröner, 1979. Kafka, Franz. Briefe 1902–1924. Ed. Max Brod. Frankfurt am Main: S. Fischer; New York: Schocken, 1958. (B) ———. Briefe an Felice. Ed. Erich Heller, Jürgen Born. Frankfurt am Main: S. Fischer; New York: Schocken, 1967. (F) ———. The Complete Stories. Ed. Nahum N. Glatzer. New York: Schocken, 1983. (CS) ———. Tagebücher. Ed. Hans-Gerd Koch, Michael Müller, Malcolm Pasley. Frankfurt am Main: S.
Bonn: Bouvier, 1966. ———. Kafka in neuer Sicht. Stuttgart: Kröner, 1976. INTRODUCTION: KAFKA BEGINS K 19 ———, ed. Kafka-Handbuch. Stuttgart: Kröner, 1979. Kafka, Franz. Briefe 1902–1924. Ed. Max Brod. Frankfurt am Main: S. Fischer; New York: Schocken, 1958. (B) ———. Briefe an Felice. Ed. Erich Heller, Jürgen Born. Frankfurt am Main: S. Fischer; New York: Schocken, 1967. (F) ———. The Complete Stories. Ed. Nahum N. Glatzer. New York: Schocken, 1983. (CS) ———. Tagebücher. Ed. Hans-Gerd Koch, Michael Müller, Malcolm Pasley.
Kafka may well have been terrified by the purity of his own aesthetics; for the concept of autonomous art, an article of faith for Flaubert and so many modernists, was ultimately unavailable to him. The “spiritual” telos of his stories simply cannot be circumscribed by the categories of aesthetics. As Clayton Koelb has it, Kafka must imagine his readers, must somehow integrate the process of dissolution with the potential of reception. Among Kafka’s early readers it was Walter Benjamin who saw most clearly that interpretation is not just a secondary activity provoked by the enigma of the primary texts.