By Carolin Duttlinger
"By a long way the main usually and largely mentioned visible medium in Kafka's texts, images is paradigmatic of his courting to visuality extra quite often. This examine not just explores photography's recurrence as a subject inside his texts however it can be the 1st to take systematic account of Kafka's use of photos as literary resource material." "Kafka and images offers probably the most important Read more...
summary: "By some distance the main usually and broadly mentioned visible medium in Kafka's texts, images is paradigmatic of his courting to visuality extra in most cases. This examine not just explores photography's recurrence as a subject inside of his texts however it is additionally the 1st to take systematic account of Kafka's use of photos as literary resource material." "Kafka and images provides some of the most vital smooth writers from a wholly new viewpoint; it sheds new gentle on accepted works and uncovers unexplored points of Kafka's engagement along with his time and context. offering a chronological account of key prose works, in addition to the non-public writings, this research is obtainable to scholars and lay readers. it is going to be of curiosity not just to literary students but in addition to these operating in images, media, and cultural reports. Its distinctive textual analyses are set opposed to a richly documented ancient context which illustrates Kafka's curiosity in modern tradition via a variety of visible fabric taken from public in addition to deepest resources - a few of which has only in the near past develop into on hand. As this ebook demonstrates, images had a profound influence on Kafka's literary mind's eye and as such is helping to provide an explanation for the captivating depth of enigmatic visible aspect that's a trademark of his narratives."--Jacket
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Extra resources for Kafka and photography
Example text
Benjamin here draws on an argument by his friend, the critic and photographer Gisèle Freund whose study of nineteenth-century photography, La Photographie en France au dix-neuvième siècle (1936), argues that its formulaic props, overbearing costume, and predetermined poses are used ‘to distract the viewer from the subject in order to suggest a type rather than an individual’ (Photography & Society (London: Gordon Fraser, 1980), 61). ²⁰ Hamilton and Hargreaves, The Beautiful and the Damned, 15. Kafka and Photography 27 otherness.
Written almost thirty years after Kracauer’s essay, Adorno’s ‘Aufzeichnungen zu Kafka’ (‘Notes on Kafka’, 1953) argues that photographic fragmentation can be mobilized to critical effect. ¹² Indeed, Kafka’s texts are informed by a fundamental tension, whereby the discursive continuity of the narrative is recurrently disrupted by static visual scenes: ‘Vorgestrig grelle Tableaux … sind vielfach in sein Werk eingelassen; vielleicht hätte alles Tableau werden sollen, und einzig ein Überschuß an Intention hat es durch lange Dialoge verhindert’ [‘Yesterday’s gaudy tableaux … are frequently inserted into his work; perhaps everything was originally supposed to become a tableau and only an excess of intention prevented ⁸ Kracauer wrote various pieces on Kafka during his time as literary editor of the Frankfurter Zeitung.
Levin (Cambridge, MA: Harvard University Press, 1995), 47–63: 50. For a more general account of Kracauer’s theory of photography in relation to historical consciousness, see Dagmar Barnouw, Critical Realism: History, Photography, and the Work of Siegfried Kracauer (Baltimore, London: Johns Hopkins University Press, 1994). ² Kracauer, ‘Photographie’, 32; ‘Photography’, 56–7. ⁴ Yet this is not a purely negative process; at the end of his essay, Kracauer revalorizes this development, highlighting its constructive, emancipatory potential.
