Wyniki wyszukiwania - Biblioteka Nauki

1

K nejnovějšímu českému překladu Kafkovy povídky Vor dem gesetz (Před zákonem)

100%

Ruberová I.

|

2013

|

nr 70/2

101-114

PL

Artykuł ten jest poświęcony badaniom najnowszego tłumaczenia opowiadania Franza Kafki Vor dem Gesetz (Před zákonem) w celu odkrycia jego aktualnej wartości estetycznej w czeskim środowisku literackim. Wyjątkowość danego tłumaczenia, które wykonał Josef Čermák, polega na tym, że tłumacz ustosunkowuje się do tekstu krytycznego i tym samym zastępuje tłumaczenie Vladimíra Kafki (1964). To tłumaczenie pochodzące sprzed 33 lat opierało się na wydaniu Maxa Broda, gdzie można wyśledzić zdecydowane, lecz nie zawszestosowne interwencje edytora. Biorąc pod uwagę fakt, że tłumaczenie Vladimíra Kafki ma znaczenie kultowe, Čermák w swoim tłumaczeniu respektuje je do pewnej miary. Dzięki temu, że w nastawieniu wobec Kafki istniały pewne uprzedzenia, publiczność czeska znała jego twórczość bardzo powierzchownie. Do dnia dzisiejszego słowo Kafka często służy jako modna naklejka. W ogólnej świadomości słowa takie jak „kafkowski“, lub „kafkárna“ używają się w znaczeniu absurdalna, nie dająca się wyjaśnić sytuacja. Biorąc powyżej przedstawione fakty pod uwagę, trzeba przyznać, że trudno jestnam ocenić wpływ Kafki, w tym i jego opowiadania Před zákonem (Przed prawem) na twórczość literacką w swoim kraju. Kautman twierdzi, że można znaleźć tylko pewne powiązania, zwłaszcza w ideowej i estetycznejdziedzinie. Kautman szuka tych powiązań u Nezvala (Kronika z konce tisíciletí), Holana (Lemurie) lub Ortena (Deníky). Sam Hrabal odwołuje się do Kafki bezpośrednio (Kafkárna). Wydaje się tak, że Kafka jeszcze się niedoczekał zrozumienia swego dzieła. Być może jego pierwsze wydanie zebranych dzieł w Czechach, gdzie jest zawarte również tłumaczenie Čermáka, przyczyni się do większego odzewu w czeskiej twórczości literackiej.

2

Hlaváček a Kafka

89%

Stewart N.

|

nr 36

183-200

EN

The following text represents a chapter taken from my 2019 monograph on the journal Moderní revue (Modern Review), which was published in Prague between 1894 and 1925 and significantly contributed to the modernisation of Czech culture at that time. Moderní revue strove to overcome the narrow nationalist focus and ethnic segregation that had characterised so much 19th-century literature and art in Bohemia. The editors specifically sought to acquaint their readership with the Decadent trend then en vogue in Western Europe and one of the journal’s most important contributors, the poet and graphic artist Karel Hlaváček (1874–1898), has indeed been variously described as a typical representative of that particular brand of Modernism. My close reading of his prose poem Subtilnost smutku (‘The Subtlety of Sadness’, 1896), where a captive ‘cretin’ is introduced whose extremely refined sensibility has him metaphorically degenerate into a spider, is an attempt to establish in concrete detail what actually is Decadent about Hlaváček’s writing, how Decadence in literature may be defined in general terms, and what the application of such a label may tell us about a given text and its place in literary history. In order to do so, I contrast this piece with Franz Kafka’s classic story Die Verwandlung (‘The Metamorphosis’, 1912), a thematically comparable work that was written just sixteen years later, also in Prague, but one that cannot be plausibly described as Decadent. In my analysis, I also draw on a famous essay by the French authors Gilles Deleuze and Félix Guattari, who in 1975 presented Kafka and his specific milieu as an example of what they called ‘littérature mineure’ (minor literature). The assumptions of the two postmodernist critics, controversial and partly outdated as they may be, provide us with some methodologically useful cues, most importantly the systematic connection established by them between the historical-cultural context of turn-of-the-century Prague and specific uses of language. In the end, Hlaváček thus emerges from the comparison as a Decadent writer not so much because of his predilection for certain subjects and motifs (many of which are also to be found in Kafka), but because he has a way of taking things literally, of employing and arranging words, most notably his beloved Gallicisms, as if they were not just arbitrary, symbolic referents, but concrete collector’s items: separate and precious objects on public display.

3

Romana Ingardena opalizacje i oscylacje literackie

89%

Mordka A.

|

2022

|

nr 8: "Filozofia w Galicji III"

284-305

EN

The aim of this article is to present Roman Ingarden’s concept of literary opalization and oscillation. The problem of specific literary ambiguity, vagueness, variability will be considered on two complementary planes. The first plane will describe the phenomenon of opalescence and oscillation of the sound and meaning of a linguistic expression, while the second plane will focus on the layer of literary appearances and represented objects. Adopting such an order of considerations will make it possible to indicate those ‘places’ of a literary work of art in which this phenomenon is clearly present and sometimes determines its aesthetic value.

PL

Celem tego artykułu jest prezentacja Romana Ingardena koncepcji opalizacji i oscylacji literackich. Problem specyficznej literackiej niejednoznaczności, niejasności, zmienności zostanie rozważony na dwóch uzupełniających się płaszczyznach. Na płaszczyźnie pierwszej opisane zostanie zjawisko opalizacji i oscylacji brzmienia i znaczenia wyrażenia językowego, zaś na płaszczyźnie drugiej zostanie ono uchwycone w warstwie literackich wyglądów i przedmiotów przedstawionych. Przyjęcie takiego porządku rozważań pozwoli wskazać na te „miejsca” literackiego dzieła sztuki, w których zjawisko to jest wyraźnie obecne i niekiedy przesądza o jego wartości estetycznej.

4

Un hombre de Zapotlán colgado de Kafka: La literatura kafkiana de Juan José Arreola

88%

Brescia P.

|

nr Special Issue

85-95

EN

The literary poetics of Mexican writer Juan José Arreola (1918–2001), one of the great figures of 20th century Latin American narrative, rests on three pillars: his inscription in a specific literary tradition, an authorial position as a “cultural megaphone” and his preference for fantastic literature. Within that literary tradition, for Arreola Kafka, perhaps like no other author, provides a possible literary lens to examine in depth the human being of our time. The purpose of this paper is to traverse this Arreola-Kafka literary bridge and to read some edges of the Kafkaesque in Arreola’s work, paying special attention to the possible communicating vessels between the two literary projects.

5

Transnarodowy modernizm a problem temporalnej spacjalizacji w Budowie chińskiego muru Franza Kafki

87%

Sriratana V.

Forum Poetyki

|

2015

|

nr 2

66-79

EN

It is often understood that time can only be perceived in terms of space and that spatialisation of time limits the power of the abstract, or the virtual, by making it strictly dependent on material conditions. Modernist literature, it is often understood, appropriates this conceptual paradigm while hinting at a possibility that space can also be perceived in terms of time and that temporalisation of space deconstructs the façade of fixed and codified spatial meanings. Derrida defines this spatio-temporal (inter)reaction and logical co-signification as spacing (espacement). However, analysis of time and temporality, as well as analysis of space/place and spatiality, in modernist writing often falls into the pitfall of the problem of temporal succession and, subsequently, of the misconception that space is fixed. The problem of succession lies in the notion that time passes and ceases to be instant(ly), leaving only a Derridean “trace”, which is spatial. This notion is problematic as it is based on the implications that space is firmly fixed and passive despite temporal “spacing”, or succession, and that space is passively imprinted upon with traces of time. I argue that space is far from fixed and passive. Its dynamism renders spatialisation of time problematic. I propose that Franz Kafka’s “The Great Wall of China” (written in 1917) is a fine example of a modernist writing which not only problematises the concepts of time and temporality as well as of space and spatiality, but also puts on centre stage the problem of spatialisation of time. With its physical and ideological gaps and fragments as well as traces of illusory and unfinished signification, the “piecemeal” construction of the Great Wall of China in Kafka’s short story not only exposes the process of spatialising time, but also reflects the modernist subtle re-evaluation of such a conceptual paradigm.

PL

Zazwyczaj przyjmuje się, że czas postrzegany może być tylko w kategoriach przestrzennych i że spacjalizacja czasu, uzależniając go ściśle od tego, co materialne, ogranicza moc jego abstrakcyjności lub wirtualności. Literatura modernistyczna, tak jak zwykle ją się rozumie, przyswaja ten paradygmat, sugerując jednocześnie, że również przestrzeń tłumaczyć można w kategoriach czasowych, temporalizacja przestrzeni dekonstruuje fasadę trwałych oraz skodyfikowanych znaczeń przestrzennych. Derrida definiuje tę czasoprzestrzenną (inter)reakcję i logiczną współznaczenie jako „rozsunięcie” (espacement). Niemniej jednak analizy czasu i czasowości, jak również przestrzeni/miejsca i przestrzenności w twórczości modernistycznej często wpadają w pułapkę z powodu problemu czasowego następstwa, a następnie z powodu błędnego przekonania, że przestrzeń jest nieruchoma. Problem następstwa znajduje się w przekonaniu, że czas płynie i przestaje być natychmiast(owy), pozostawiając po sobie tylko Derriański „ślad”, który jest przestrzenny. Pojęcie to jest problematyczne, ponieważ opiera się na implikacjach, że przestrzeń jest nieruchoma i pasywna, wbrew temporalnej „rozsunięcie” czy temporalnemu następstwu, i że ślady czasu są w niej biernie odciśnięte. Dowodzę, że przestrzeń daleka jest od nieruchomości i pasywności. Jej dynamika czyni spacjalizację czasu problematyczną. Opowiadanie Franza Kafki „Budowa Chińskiego Muru” (napisane w 1917 roku) jest dobrym przykładem modernistycznej twórczości, która nie tylko problematyzuje pojęcia czasu i czasowości oraz przestrzeni i przestrzenności, ale stawia w centrum problem spacjalizacji czasu.

6

Stojąc przed zamkniętymi drzwiami. Franz Kafka Piotra Dumały

87%

Kościelski K.

|

nr 24

275-291

EN

Directed by Piotr Dumala, Franz Kafka is a very unusual example of a biographical movie. The film is composed of carefully thought-out poetic images which, according to the director himself, reflect the “psychic landscape” of the title character. Thus scenes inspired by Kafka's life and his Diaries intertwine with episodes that refer to his literary works. Dumala shows deep understand-ing of the writer’s characteristic way of depicting reality and the unusual perspective of narration indicates his thorough knowledge of Kafka’s works. Dumala draws on this heritage and creates an emotional portrait of the writer, while at the same time providing a universal reflection on the human condition.

7

Literatura jest sprawą ludu. Recenzja Kafki. Ku literaturze mniejszej Gillesa Deleuze’a i Feliksa Guttariego

87%

Bednarek J.

|

tom 22

|

nr 4

203-212

EN

The article is a review of the polish translation of Deleuze and Guattari’s Kafka. Toward a Minor Literature, with special emphasis on the problems of literary experiment and the politics of literature.

PL

Artykuł jest recenzją polskiego przekładu pracy Deleuze’a i Guattariego Kafka. Ku literaturze mniejszej. Autorka szczególny nacisk kładzie na zagadnienia eksperymentu literackiego i polityki/polityczności literatury.

8

Jewish thinkers of the 20th century. In search of identity – Franz Kafka

75%

Urban M.

|

tom 11

|

nr 2

203-223

EN

Franz Kafka’s life and work have been the subject of many research papers. While the interpreters of his works knew that he was a Jew, they did not always fully realize the significance of this fact. Some would treat this issue as a marginal one, failing to see that it was the pivot of his existence and work. Kafka kept wandering about in search of his own identity. As a lost agnostic who “lapsed” from the hand of God, lived without Him in the darkness of atheism and tried to discern His light, Franz Kafka was not really dependent on any specific religious denomination. However, Judaism is so strongly related to the Mosaic revelation – like Christianity is related to Christ’s Revelation – that it cannot be here omitted or forgotten, as this would result in some misunderstandings. In a sense it is impossible to separate the fact of being Jewish from the religion. Kafka’s life, as well as his writing, resulted from his continual reference to the Absolute. There are two worlds far removed from each other: the world of spirit and the world of man. Kafka believed that there is a world of that which is spiritual, absolute, pure, true, unchanging and indestructible – the world devoid of sin, but full of perfection; therefore, there exists that which man tends to encapsulate in the concept of God.

9

Viaje por el abismo: Kafka en la antipoesía de Nicanor Parra

75%

Filová M.

|

nr Special Issue

135-141

XX

The presence of Franz Kafka’s influence in various Latin American narrative writers is well known and studied. Less known is the influence Kafka had on the Chilean (anti)poet Nicanor Parra. Some of the most prominent critics of Parra’s work mention it, but it has not been studied in depth. This present article tries to shine light on the antiheroism, dark humor and the anxiety of mortality which are common for both Parra and Kafka.

10

Jewish thinkers of the 20th century. In search of identity – Franz Kafka

75%

Urban M.

|

nr 2

203-223

EN

Franz Kafka’s life and work have been the subject of many research papers. While the interpreters of his works knew that he was a Jew, they did not always fully realize the significance of this fact. Some would treat this issue as a marginal one, failing to see that it was the pivot of his existence and work. Kafka kept wandering about in search of his own identity. As a lost agnostic who “lapsed” from the hand of God, lived without Him in the darkness of atheism and tried to discern His light, Franz Kafka was not really dependent on any specific religious denomination. However, Judaism is so strongly related to the Mosaic revelation – like Christianity is related to Christ’s Revelation – that it cannot be here omitted or forgotten, as this would result in some misunderstandings. In a sense it is impossible to separate the fact of being Jewish from the religion. Kafka’s life, as well as his writing, resulted from his continual reference to the Absolute. There are two worlds far removed from each other: the world of spirit and the world of man. Kafka believed that there is a world of that which is spiritual, absolute, pure, true, unchanging and indestructible – the world devoid of sin, but full of perfection; therefore, there exists that which man tends to encapsulate in the concept of God.

11

Dwa wymiary nicości. Gershom Scholem i paradoksy mistyki żydowskiej

71%

Sawczyński P.

|

nr 2

EN

The article analyzes Gershom Scholem’s kabbalistic philosophy through the notionof nothingness, being a crucial notion of Jewish kabbalah. I argue that Scholem’s thoughtmight be called the “two dimensions of nothingness” which correspond to the concepts ofcreation and revelation. I analyze the nothingness of creation against the backgroundof the Lurianic kabbalah whereas the nothingness of revelation is analyzed through theprism of Franz Kafka’s literature. The result of the analysis is the original interpretation ofScholem’s thought, in which nothingness fails to connote nihilism, having instead a substantialpotential of productivity.

PL

Artykuł jest próbą analizy kabalistycznej filozofii Gershoma Scholema w kontekście pojęcia nicości, które odgrywa w żydowskiej kabale kluczową rolę. Stawiam tezę, że myśl Scholema można określić mianem „dwóch wymiarów nicości”, odpowiadających pojęciom stworzenia i objawienia. Koncepcję nicości stworzenia omawiam na podstawie kabały Luriańskiej, będącej dla Scholema jednym z głównych źródeł inspiracji, zaś nicość objawienia odczytuję przez pryzmat twórczości Franza Kafki, której Scholem również poświęcił wiele uwagi. Pozwala to na oryginalną interpretację myśli Scholema, w której nicość nie konotuje nihilizmu, lecz zdradza znaczący potencjał produktywności.

12

„den letzten Zipfel des Gebetsmantels“ – Komische Inkongruenzen und ‚religiöser Humor‘ in Franz Kafkas Tagebuchaufzeichnungen und Briefen

71%

Sommerfeld B.

|

nr 29

5-26

DE

Kafkas Humor und die spezifische Komik seiner Texte sind in den letzten Jahren verstärkt in den Fokus der Forschung getreten. Beide kommen insbesondere in Kafkas Auseinandersetzung mit seinem religiösen Umfeld zum Tragen. Dies soll anhand der Tagebuchaufzeichnungen und Briefe Kafkas nachgewiesen werden. In Anlehnung an Henri Bergson wird Kafkas Komik in den Inkongruenzen zwischen dem assimilierten Westjudentum und dem Chassidismus aufgespürt. Unter Berufung auf Felix Weltsch und Sören Kierkegaard wird Kafkas Humor als Ausdruck seiner geistigen Suche herausgestellt.

EN

Kafka’s humor and the comic aspects of his texts recently have been focused extensively by scholars. Both can be observed particularly in Kafka’s confrontation with his religious environment. This is pointed out on the example of his diaries and letters. Referring to Henri Bergson, Kafka’s specific comical imagery is shown as an effect of the observed incongruencies between assimilated Western Judaism and Hasidic Judaism. With reference to Felix Weltsch and Søren Kierkegaard, Kafka’s humor is emphasized as an expression of his own religious inquiries.

PL

Humor Kafki i specyficzny komizm jego tekstów w ostatnich latach coraz częściej były przedmiotem badań w kafkologii. Oba ujawniają się ze szczególną ostrością w konfrontacji Kafki ze swoim środowiskiem religijnym. Artykuł bada te kwestie na przykładzie dzienników oraz listów Kafki. Odwołując się do Henri’ego Bergsona, komizm Kafki jest ukazany jako efekt inkongruencji występujących w relacji zasymilowanego zachodniego judaizmu do chasydyzmu. W świetle tekstów przyjaciela Kafki, Feliksa Weltscha, oraz filozofa Sørena Kierkegaarda humor Kafki jawi się jako wyraz jego własnych religijnych poszukiwań.

13

Synové Kafky: Kafkovské intertexty v díle Pétera Esterházyho, Mihálye Kornise a Szilárda Borbélye

71%

Szarka S.

|

2024

|

tom 34

|

nr 69

10-22

EN

The study focuses on three authors of contemporary Hungarian literature who enter into a dialogue with Kafka’s texts through intertextual references and elevate these intertexts to the level of textforming elements in their own works. It examines Kafkaesque intertexts in Péter Esterházy’s Indirect (Függő) and The Book of Hrabal (Hrabal könyve), Mihály Kornis’s drama Punishments (Büntetések), Szilárd Borbély’s poetry collection Berlin — Hamlet and his posthumously published fragmentary novel Kafka’s Son (Kafka fia). Based on the analyses carried out, it can be concluded that Kafka’s significance for contemporary Hungarian literature is not limited to the simplistic category of literary influence, but involves multifaceted and complex interactions that, in the case of all three authors under study, are related to the desire to transcend the prevailing literary discourse.

14

El misterio de las puertas y las puertas del misterio en Kafka

63%

Martínez Salazar E.

|

nr Special Issue

45-58

EN

The striking recurrence of the door image in Kafka’s works was highlighted in an article published in Buenos Aires in 1944 by Carlos Sandelín. This text was plagiarized years later by the Salvadorean writer Mario Hernández Aguirre. The present essay proves this misappropriation, analyses the characteristics and relevance of Sandelín’s thesis and concludes with a contribution of its own: the recognition of the concept of threshold as the center of Kafkaesque aesthetics.

15

Bajki dla dialektyków. Kafka i Benjamin między mitem a wyzwoleniem.

51%

Nikodem J.

|

nr 37

209-226

EN

In this paper my goal is to examine and re-read these places in works of Kafka, in which Walter Benjamin finds hope and utopian promise of emancipation. I try to determine whether those places can possibly be able to provide individual or universal emancipation; whether they are just false promises or simply ineffective personal tactics – or, on the contrary, they can be comprehended as conditions of possibility for revolutionary politics of the oppressed. In order to do this I supplement Benjamin’s discourse with concepts and ideas of Adorno, Horkheimer and Brecht. My conclusion is that Benjamin’s reading of Kafka is too optimistic in finding hope and fight against oppression in such works as The Trial, The Castle, The America, and in short stories like The Silence of the Sirens or The Great Wall of China. Benjamin finds the source of hope and victory over the mythical fate in solely humane attributes of cunning and audacity, represented – according to him – in protagonists of fairy-tales (Benjamin describes Kafka’s stories as ‘fairy tales for dialecticians’). But he undervalues power of fate, which lies in its own cunning, not only in its physical strength. If we comprehend mythical fate in much more dialectical way – as our capitalist, alienating modernity – we can find that its powers lie in its own conatus, self-preservation aimed to conserve the reality of oppression. In this sense Kafka’s work – if we read it as a diagnose of modernity and some kind of prophecy of a near future – evinces a dual cunning, which mechanism is as follows: the more a protagonist tries to outsmart the system, the more the system outsmarts him and thereby enslaves him.

16

Proces – co nowego?

51%

Musiał Ł.

|

tom 60(4 (455))

83-94

PL

In the first part, the article discusses selected aspects of the history of the first Polish translation of F. Kafka’s novel The Trial, and indicates that numerous and significant changes were introduced into it anonymously, starting from the first post-war issue in 1957. The author claims that in fact we are not dealing with one and the same translation, but a translation palimpsest. The second part of the article presents the interpretation of The Trial which states that while writing his novel Kafka considerably referred to the anthroposophical ideas included in the book How to Know Higher Worlds by Rudolf Steiner, then regarding that it analyzes The Trial as a variant of a folktale (a mythical story) about a hero based on the findings of Vladimir Propp (Morphology of the Folktale) and Joseph Campbell (The Hero with Thousand Faces).

17

Dvě lekce studia literatury aneb o pomalosti

45%

Málek P.

|

nr 29

13-56

EN

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.