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FRANZ KAFKA/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0134 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a monstrous vermin.
Original: Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt.
From The Metamorphosis (1915) by Franz Kafka
-en.wikiquote.org/wiki/Franz_Kafka
Franz Kafka -
Franz Kafka (German pronunciation: [ˈfʀants ˈkafka]; 3 July 1883 – 3 June 1924) was one of the major fiction writers of the 20th century. He was born to a middle-class German-speaking Jewish family in Prague, Bohemia (presently the Czech Republic), Austria–Hungary. His unique body of writing—much of which is incomplete and which was mainly published posthumously—is considered to be among the most influential in Western literature.[1]
His stories include The Metamorphosis (1912) and In the Penal Colony (1914), while his novels are The Trial (1925), The Castle (1926) and Amerika (1927).
Judaism and Zionism:
Kafka was not formally involved in Jewish religious life, but he showed a great interest in Jewish culture and spirituality. He was well-versed in Yiddish literature, and loved the Yiddish theater.[11] He was deeply fascinated by the Jews of Eastern Europe whom he regarded as having an intensity of spiritual life Western Jews did not have. His diary is full of references to Yiddish writers, known and unknown.[11] 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."
On the other hand, Kafka dreamed of moving to Palestine with Felice Bauer, and later Dora Diamant, to live in the Land of Israel.[11] He studied Hebrew in Berlin, and hired Pua Bat-Tovim, a university student from Palestine, to teach him, although he never became proficient in the language. Kafka attended Rabbi Julius Grünthal’s class in the Berlin Hochschule für die Wissenschaft des Judentums. The critic Hans Keller interviewed Grünthal’s son, the Israeli composer Josef Tal:
..."A little story [Josef] Tal told me which contained some new, first-hand information about Franz Kafka, which throws old light on the genius – shows how utterly incapable he was of behaving uncharacteristically: he put the whole of Kafka into a few understanding words – the kind of understatement, downright daring in its humour, which Kafka alone was able to invent. Tal's father, [Julius] Grünthal by name, was a rabbi and an international authority on Semitic languages, in which capacity he taught at the Berlin Hochschule für die Wissenschaft des Judentums (College for Judaic Science), as institute of world-wide reputation. The grown-up, indeed mature Kafka sat in one of his classes, but Grünthal's knowledge of contemporary literature had its gaps, and he didn't know of Kafka's existence. What he did notice was this pale, thin man in the last row, quiet with burning eyes, who came out with piercing, pertinent questions, invariably of original interest. The day came when the professor could no longer contain his curiosity: "Excuse me, sir, who are you? What do you do in life?" "I am a journalist." In private conversation, the essence of Kafka's style (by no means always apparent in the inadequate English translations) was compressed into these four words: the smiling paradox used towards extreme understatement, the Freudian 'representation through the opposite' transferred from the unconscious's primary process to conscious conscientiousness – for the absurdity of describing himself as a journalist, with all the implications of superficiality, ephemerality, the sheer bad writing which the concept inevitably carries, was well-balanced, amusingly outbalanced by the firm fact that all his greatest stories had appeared in journals – stories which indeed 'reported' on the deepest and darkest events in the human mind as if they were everyday occurrences in so-miscalled real life. I would calmly describe this answer as a masterpiece, and I am therefore happy that one has been able to recover it. Tal himself was a child at the time and is therefore unable to recount, in any detail, Kafka's subsequent visit to his father's house. All he remembers in his turn is the slim, exceedingly pale ("white") man with those piercing eyes – who, however, was obtrusively quiet, while his striking girl friend, whom he had brought along, was all vivacity."[12]
He also spent a week attending the Eleventh Zionist Congress, and read the reports of the Jewish agricultural colonies in Palestine with great interest. [11]
In the opinion of literary critic Harold Bloom, author of The Western Canon, "Despite all his denials and beautiful evasions, [Kafka's writing] quite simply is Jewish writing."[8]
Published works:
Short stories
* Description of a Struggle (Beschreibung eines Kampfes, 1904-1905)
* Wedding Preparations in the Country (Hochzeitsvorbereitungen auf dem Lande, 1907-1908)
* Contemplation (Betrachtung, 1904-1912)
* The Judgment (Das Urteil - 22-23 September 1912)
* The Stoker
* In the Penal Colony (In der Strafkolonie, October 1914)
* The Village Schoolmaster (The Giant Mole) (Der Dorfschullehrer or Der Riesenmaulwurf, 1914-1915)
* Blumfeld, an Elderly Bachelor (Blumfeld, ein älterer Junggeselle, 1915)
* The Warden of the Tomb (Der Gruftwächter, 1916-1917), the only play Kafka wrote
* The Hunter Gracchus (Der Jäger Gracchus, 1917)
* The Great Wall of China (Beim Bau der Chinesischen Mauer, 1917)
* A Report to an Academy (Ein Bericht für eine Akademie, 1917)
* Jackals and Arabs (Schakale und Araber, 1917)
* A Country Doctor (Ein Landarzt, 1919)
* A Message from the Emperor (Eine kaiserliche Botschaft, 1919)
* An Old Leaf (Ein altes Blatt, 1919)
* The Refusal (Die Abweisung, 1920)
* A Hunger Artist (Ein Hungerkünstler, 1924)
* Investigations of a Dog (Forschungen eines Hundes, 1922)
* A Little Woman (Eine kleine Frau, 1923)
* First Sorrow (Erstes Leid, 1921-1922)
* The Burrow (Der Bau, 1923-1924)
* Josephine the Singer, or The Mouse Folk (Josephine, die Sängerin, oder Das Volk der Mäuse, 1924)
Many collections of the stories have been published, and they include:
* The Penal Colony: Stories and Short Pieces. New York: Schocken Books, 1948.
* The Complete Stories, (ed. Nahum N. Glatzer). New York: Schocken Books, 1971.
* The Basic Kafka. New York: Pocket Books, 1979.
* The Sons. New York: Schocken Books, 1989.
* The Metamorphosis, In the Penal Colony, and Other Stories. New York: Schocken Books, 1995.
* Contemplation. Twisted Spoon Press, 1998.
* Metamorphosis and Other Stories. Penguin Classics, 2007
Novellas
* The Metamorphosis (Die Verwandlung - November-December 1915)
Novels
* The Trial (Der Prozeß - 1925) (includes short story Before the Law)
* The Castle (Das Schloß - 1926)
* Amerika (Amerika or Der Verschollene - 1927)
Diaries and notebooks
* Diaries 1910-1923
* The Blue Octavo Notebooks
Letters
* Letter to His Father
* Letters to Felice
* Letters to Ottla
* Letters to Milena
* Letters to Family, Friends, and Editors
References
1. ^ a b (Spanish)Contijoch, Francesc Miralles (2000) "Franz Kafka". Oceano Grupo Editorial, S.A. Barcelona. ISBN 84-494-1811-9.
8. ^ a b "Kafka and Judaism". Victorian.fortunecity.com. http://victorian.fortunecity.com/vermeer/287/judaism.htm. Retrieved 2009-05-28.
11. ^ a b c d "Sadness in Palestine". Haaretz.com. http://www.haaretz.com/hasen/spages/1040561.html. Retrieved 2009-05-28.
12. ^ Hans Keller: The Jerusalem Diary - Music, Society and Politics, 1977 and 1979, The Hans Keller Trust in ass. with Plumbago Books, 2001 ISBN 0-9540123-0-5, p156
-en.wikipedia.org/wiki/Franz_Kafka
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