From a historiographical perspective, modern literature fostered a unique construct in which to personify the existentialism of the author’s imagination. In examining the turbulent events of the twentieth century, the literature of Franz Kafka delivered a synthesized dimension of fiction that scrutinized the political and social discordance of Czech society during his lifetime. Born in Prague, Kafka lived much his life sequestered by the tectonic conflagration of his religious, social, and national identities. As a German-speaking Jew living in Czech lands, Kafka’s sobering existence as a disillusioned minority provided him with ample inspiration for the visceral parables of dystopian bureaucracies and incandescent visions that defined his brand of literature. In a previous examination, I underwrote Kafka’s rampant use of absurdity and aesthetic imagery as a mechanism of social critique, designed to augment his own critical perception of Czech-national society in the 1910s and 1920s. Kafka’s fiction is inextricably linked to its historical context, as the author’s reconstruction of real life events plays an important role to the development of the fictional worlds and characters. However, in constructing an appropriate interpretation of Kafka’s life in Prague, the author’s surreal visions of dystopian landscapes impose a deliberate critique of Czech society that lacks a particular degree of historical authenticity. While Kafka’s stories disseminate tremendous insight into
In the book “Letter From Rifka” Rifka changed throughout the book. This choice and challenge will discuss how Rifka changed from when her family left their home in Berdichev to America. One of the ways that Rifka changed is that she became braver throughout the story. Another way she changed is that the more challenges she faced to get to America and the longer she waited, the more and more she wanted to enter America.
Solitary, thinking of this event made my blood boil, for thousands of Lithuanians had died solely because of the Soviets and their ethnocentric views. Additionally, I also felt thankful that we live in much sophisticated time, a time where people from different identities belong. Cleary, we mustn’t come back to these absurd views, for humanity depends on it. “Between Shades of Gray” is brimming with these types of events. Constantly, leaving you increasingly mournful as you continue
Therefore, despite the horrors of Stalin’s regime, one could argue that the socialist realism paintings could ‘mould the consciousness of the people’ into believing that Stalin was a great and wise leader, a kind and humble man, and the father of all Soviet people, thus reinforcing his cult of personality that tries to portray him in that light. However, while art might have the power to do this, one must not forget about other visual representations of life such as photographs and posters. Their relative power and influence will be discussed later in the
In Maus by Art Spiegelman, Spiegelman conveys his father’s story of surviving the Holocaust through a graphic novel. The graphic novel recounts the truth of the war and how one family and the people who helped them along the way survived the war even if they didn’t live to see the end. The author’s narrative choices in this novel help realistically tell this story and the use of a non realistic medium to represent a nonfiction story helps convey the accuracy of the novel itself. While refusing a purely realistic medium to represent his father’s story, Spiegelman effectively utilizes his use of portraying humans as animals to convey the truth of his father’s story.
Analysis of: The Zookeeper’s Wife: A War Story “I don't understand all the fuss. If any creature is in danger, you save it, human or animal” (Ackerman 113). Compassion is a major theme in the book, The Zookeeper’s Wife: A War Story written by Diane Ackerman and published in 2007. The book tells the true story of a polish couple in WWII who owned a zoo and hid over 300 Jewish people inside their empty cages, closets, and even in their basement.
It is a book written in 1915 by Franz Kafka and depicts life of a man who in one night goes through a
It might surprise readers to know that, by the use of this lens, traces of these subjects can be found in almost any work despite the original nature and intent of the tale. A prime example demonstrating the power of the Marxist lens can be seen when the lens is applied to Kate Chopin’s short story, “The Story of an Hour”. This short conte depicts the brief sentiment of freedom felt by the fictitious character Mrs. Mallard as she learns that her husband has been killed in a railroad accident. However, her blissful reverie is put to death by death itself when her husband, alive and well, walks through the doors of their home to meet her. On the surface, this would appear to be a tale void of social, political, or economic association; how could such logical themes develop in such an emotional tale?
“I'm of that generation of Jews still deeply influenced by the Holocaust. Certainly the notion that the state power to kill can be subject to such extraordinary abuse is always lurking beneath the surface for me. Certainly my experience and identity as a Jew is there,” a quote said by Scott Turow, an American author and lawyer. The Holocaust is tragedy that scarred not only the survivors, but generations to come; it also erased part of the future.
Transforming and Romanticizing a Storyline The Metamorphosis, a novella written by Franz Kafka, attracted the attention of many of its readers due to the writing framework and shocking concepts. The story depicts a man named Gregor Samsa who has befallen the fate of a cockroach- literally. After being transformed into a large bug, Gregor goes through the struggles of misunderstanding, neglect, and loss of his family relationships.
Die Kapuzinergruft, German for ‘The Capuchin Crypt’ describes the traditional burial ceremonies of the Imperial Hapsburgs. In his 1938 novel of the same name, author Joseph Roth describes the parallel symbolic death and burial of an Empire in the waning days of the Habsburg Monarchy. The Overlook Press published an English translation by John Hoare in 1984; The Emperor’s Tomb describes the life of a Slovenian national during the waning days of the Austro-Hungarian Empire, and through this use of a minority, he conveys the struggle for self identity that a great many states and countries went through as a result of their dissolutions at the end of the First World War. At the beginning of the book, Franz Ferdinand Trotta, or Herr Trotta, as he is referred to in much of the book, is a strong and decisive man.
The irony in Kate Chopin’s “The Story of an Hour” enhances the protagonist’s situation by revealing a deeper meaning. The quote, “She had loved him - sometimes. Often she did not. What did it matter!”
There Is More Than One Type of Hero In “Notes from the Underground”, a fiction book by Fyodor Dostoyevsky, the Underground Man is not like the traditional main character in most other fiction books. Often books have a tragic hero where he or she either saves the days or unfortunately is killed. But that is not the case for this book, the main character shows characteristics that do not fit along the lines of a tragic hero at all. This paper argues that the Underground Man is most definitely not the tragic hero, but instead an anti-hero.
Economic Drive in Franz Kafka’s The Metamorphosis Franz Kafka was raised in early twentieth century Prague where, for Jewish families, economic status was of utmost importance. Approximately sixteen percent of the members of the German corporate network was Jewish. Yet, Jews composed less than one percent of the population (Windolf 2). The Kafka’s were part of that sixteen percent in German corporate.
Kafka illustrates in his novel the permanent conflict between an elusive law and a vain search for truth and justice. In The Trial, the law appears to be hidden and distant while still demanding, through its representatives, rigorous obedience. Society is thus divided in two groups differentiating the people incarnating the law to those who must obey it. This submission, however, can lead to the lost of what constitute mankind, the one element, according to René Descarte, that truly differentiates humans to animals: the possession of our souls. Indeed, Joseph K is ashamed of the despicable nature of human kind and dies, in submissiveness towards the law, “like a dog”
Akhmatova’s melancholic diction initially reveals her sorrow, but the tone transitions to serious and introspective when she uses allusions to religious martyrdom and imagery of fixed objects. These contemplations are later resolved when she integrates imagery of liberation to portray an ultimately triumphant and optimistic outlook towards the future. Within the first sections, Akhmatova employs melancholic diction to convey her grief. In “Prologue,” she writes “that [Stalin’s Great Purge] was a time when only the dead could smile” (Prologue, Line 1), which suggests it was preferable to die than to live and emphasizes her despondency.