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The judgement and kafka's life
The life of Franz Kafka
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Franz Kafka's Use of Humor
Franz Kafka, born on July 3, 1883 in Bohemia, in the city of Prague, has been recognized as one of the greatest writers of the twentieth century. His works have been called "cloudy, mysterious, inexplicable" (Oates ix). Most people hear the term Kafkan or Kafkaesque and think of dark, fantastic tales with almost no basis in our known reality. But what of Kafka's sense of humor? I personally laughed out loud several times while reading Kafka's Amerika. Were these snippets of humor part of Kafka's plan or mere accidents?
According to Roy Pascal, author of Kafka's Narrators: A Study of His Stories and Sketches, "There is a good deal of humour in these early stories, as in the novels and later stories, but it is often ambiguous and can be overlooked" (Pascal 40). The humor that Pascal refers to is not the usual vaudeville, slap- stick so common in today's society. "Kafka never laughed so much as he did with [Felix] Weltsch, and it was Weltsch who first stressed the role of humor in Kafka's work - gallows humor spiked with desperation, but liberating for them both (Pawel 131). Kafka was a man who was more subtle than most and preferred his humor in a more deliberate vein. Irony was a flavor that seemed to work better for Kafka. By taking a look at some of Kafka's works we can see this irony more clearly.
In Kafka's short story entitled, "The Judgement," written in 1912, we see one of the unusual uses of irony by Kafka. The central figure, Georg Bendemann, has just gotten into a long and somewhat heated argument with his aging and infirm father. Suddenly Georg's father "threw the blankets off with a strength that sent them all flying in a moment and sprang erect in bed. Only one hand touched the ...
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...afka used humor, as shown here, he used it to further emphasize the horror of what was going on in his worlds.
Works Cited
Gray, Ronald. Franz Kafka. London: Cambridge University Press, 1975. 74-75.
Janouch, Gustav. Conversations with Kafka. Trans. Goronwy Rees. New York: New Directions Publishing Corporation, 1971. 33.
Kafka, Franz. The Complete Stories & Parables. Trans. Willa and Edwin Muir. New York: Quality Paperback Book Club, n.d.
- - -, Amerika, Trans. Willa and Edwin Muir. New York, Schoken Books, 1974.
Oates, Joyce Carol. Foreword to: The Complete Stories & Parables. Trans. Willa and Edwin Muir. New York: Quality Paperback Book Club, n.d.
Pascal, Roy. Kafka's Narrators: A Study of His Stories and Sketches. Cambridge: Cambridge University Press, 1982. 189-230.
Pawel, Ernst. The Nightmare of Reason. New York: Farrar, Straus, Giroux, 1984.
Marked by two world wars and the anxiety that accompanies humanity's knowledge of the ability to destroy itself, the Twentieth Century has produced literature that attempts to depict the plight of the modern man living in a modern waste land. If this sounds dismal and bleak, it is. And that is precisely why the dark humor of Kurt Vonnegut, Jr. shines through our post-modern age. The devastating bombing of Dresden, Germany at the close of World War II is the subject of Vonnegut's most highly acclaimed work, Slaughterhouse-Five or The Children's Crusade: A Duty Dance with Death. Vonnegut's experience as an American POW in Dresden fuels the narrative that unconventionally defines his generation through the life and death of Billy Pilgrim. The survival of Billy Pilgrim at Dresden and his re-entry to the shell-shocked world reveal a modern day journey of the anti-hero. Vonnegut's unusual style and black satire provide a refreshing backdrop for a vehement anti-war theme and enhance his adept ability to depict the face of humanity complete with all of its beauty and blemishes. Likewise, Vonnegut adds his own philosophy concerning time, our place in it, and connection (or disconnection) to it and one other. Perhaps the most crucial step in understanding this intriguing work is to start with its title, which holds the key to Vonnegut's most prevailing theme.
Fort, Keith. “The Function of Style in Franz Kafka’s ‘The Trial’.” Sewanee Review 72 (1964): 643-51. Rpt. in Twentieth-Century Literary Criticism. Ed. Dennis Poupard and Paula Kepos. Vol. 29. Detroit: Gale Research Company, 1988. 198-200.
Bruce, Iris. "Elements of Jewish Folklore in Kafka's Metamorphosis." The Metamorphosis: Translation, Backgrounds and Contexts, Criticism. New York: W.W. Norton, 1996. 107-25. Print.
Reed, Peter J. and Marc Leeds eds. The Vonnegut Chronicles: Interviews and Essays. Westport, CT: Greenwood Press, 1996.
There is a theory that dream and myth are related which is conveyed through the writing of Douglas Angus’ Kafka's Metamorphosis and "The Beauty and the Beast" Tale and supported by Franz Kafka’s Metamorphosis. The stories are very symbolic when conveying the metamorphosis of a human being. Unlike Beauty and the Beast, in the Metamorphosis some suggest love is received through acts of cruelty yet in actuality it appears that cruelty results in heartache. Due to being a beast, the repulsiveness requires genuine love which can achieve the “magical transformation.” This “magical transformation” is not achieved and creates a twist in the plot derived from the concepts in the “Beauty and the Beast.”
Aldiss, Brian W. “Franz Kafka: Overview.” St. James Guide to Science Fiction Writers. Ed. Jay P. Pederson. 4th ed. New York: St. James Press, 1996.
Bernstein, Richard. “A VOYAGE THROUGH KAFKA'S AMBIGUITIES”. New York Times 02 May 1983. : n. pag. ProQuest Platinum.
The Metamorphosis is said to be one of Franz Kafka's best works of literature. It shows the difficulties of living in a modern society and the struggle for acceptance of others when in a time of need. In this novel Kafka directly reflects upon many of the negative aspects of his personal life, both mentally and physically. The relationship between Gregor and his father is in many ways similar to Franz and his father Herrman. The Metamorphosis also shows resemblance to some of Kafka's diary entries that depict him imagining his own extinction by dozens of elaborated methods. This paper will look into the text to show how this is a story about the author's personal life portrayed through his dream-like fantasies.
Franz Kafka’s “Before the Law” is often referred to as a parable. Thus, it is logical to approach Kafka’s work as an allegory and search for the deeper meaning underneath the story. We can then try to uncover the identity of the characters; of the gatekeeper, the man from the country, and the Law and subsequently relating them to something that fits the example of the plot; a man’s confused search for god, a man’s quest for happiness but never accomplishing it, a academic’s quest for recognition which never comes. Any given number of innovative readers...
Kafka, Franz. "The Metamorphosis". The Metamorphosis. Trans. Donna Freed and Ed. George Stade. New York: Barnes and Nobles, 2003.
Kafka, Franz. ?A Hunger Artist.? Literature and its Writers. Ed. Karen S. Henry. 3rd ed. Bedford/St. Martin?s, Boston/New York 2004. 255-262
Neumann, Gerhard. "The Judgement, Letter to His Father, and the Bourgeois Family." Trans. Stanley Corngold. Reading Kafka. Ed. Mark Anderson. New York: Schocken, 1989. 215-28.
individual’s existence, freedom, and choice. Kafka is best known for his works such as Die
As a bildungsroman, Charles Dickens’ Great Expectations presents the growth and development of Philip Pirrip, better known as Pip. Pip is both the main character in the story and the narrator, telling his tale many years after the events take place. Pip goes from being a young boy living in poverty in the marsh country of Kent, to being a gentleman of high status in London. Pip’s growth and maturation in Great Expectations lead him to realize that social status is in no way related to one’s real character.