Rejecting the conservative study of German literature that he encountered as a student, Sebald found inspiration in Walter Benjamin and the Frankfurt School. He re-reads Austrian literature as an expression not of conservative attachment to a home, but of displacement from any home. He also explores the instabilities of the bourgeois age as revealed in fiction by Sealsfield, Stifter, Schnitzler and Hofmannsthal, and places their narratives within a wider history of colonial exploitation and ecological destruction. He then argues that the dislocation of language by schizophrenics like the poet Ernst Herbeck discloses a primitive substratum prior to the estrangement from nature and subjection to the administration of modernity. Reflections, especially Kafka’s, on the death of the individual, humanity and ultimately the universe itself, lead Sebald to empathize with the messianic images found in Benjamin and other Austrian writers.

/pdf/w-g-sebald-as-a-critic-of-austrian-literature-3cgww27dfk.pdf

W. G. Sebald as a critic of Austrian literature

The role, meaning and function of the three Zimmerherren in Kafka’s Die Verwandlung continue to prove enigmatic, with scholars failing to offer a convincing interpretation of these characters. This fact is striking, particularly due to the prominent role of the three figures and their subsequent relevance to any interpretation of the text. The present article provides a simple and consistent solution to the apparent riddle by interpreting the lodgers as allegorical figures of the moral consciences of Gregor Samsa’s three relatives (father, mother and sister). It also argues that this solution constitutes a point of departure for a comprehensive and illuminating reading of the whole text, thereby defying deep-rooted assumptions in the guild of Kafka criticism.

»Diese ernsten Herren…« The solution to the riddle of the three lodgers in Kafka’s Die Verwandlung

SOME DISTINCTIONS taken from speechact theory suggest that much of Kafka's fiction finds its basic impulse and its home in the rhetorical gap, or "aporia," described by Paul de Man. In Allegories of Reading, de Man understands Nietzsche to suggest that rhetoric "is precisely the gap that becomes apparent in the pedagogical and philosophical history of the term"; that it "allows for two incompatible, mutually self-destructive points of view"; and that it is generated out of an "aporia" (131). De Man finds the same gap-or incompatibility or aporia-when "grammar" becomes "rhetoric" in the familiar "rhetorical question," discussed in detail in the opening essay, "Semiology and Rhetoric." The rhetorical question, whose grammatical structure makes it formally indistinguishable from a "genuine" question, denies (rhetorically) the very existence of the illocutionary act performed (grammatically) by its locutionary structure. "A perfectly clear syntactical paradigm (the question) engenders a sentence that has at least two meanings, of which the one asserts and the other denies its own illocutionary mode" (10). It is precisely this "semiological enigma" (or gap or aporia) that makes such a question "rhetorical."

Kafka's Rhetorical Moment

Das Erdbeben in Chili (1807), like so many of Heinrich von Kleist's eerily fascinating texts, has been read and reread from a multitude of theoretical angles with reliance upon countless schools of thought. One of the principal elements of this work is the invitation to search for truth and meaning in both the plot of the story and the form of the text itself. Indeed John Ellis writes that the work's central problem is interpretation and that "this is because the point in the story lies not in the meaning of the events themselves but in the attempts made by the narrator and the characters to give them meaning" (37). The text asks mystifying questions at every turn and these questions often prove vexingly unanswerable. Norbert Altenhofer addresses this riddle-like quality of the story and its provenance. He writes: Der Text als Ratsel, das Leben als unverstandliches Buch, die Auslegung als unendliche Aufgabe: In diesem ProbIembewustsein treffen sich der Schriftsteller Kleist und der Hermeneut Schleierrnacher. Hinter dern poetischen Skandalon steht das Skandalon einer Hermeneutik, die Wahrheit nicht mehr durch Offen-barung gesichert sieht, Misverstehen als das selbstverstandlich Gegebene betrachtet und "Verstehen" zu einer die Momente historischer Rekonstruktion und divinatorische Konstruktion integrierenden, nie abzusch1iesenden Tatigkeit erklart, die in der Bernuhung urn den Sinn des Werkes zugleich ihren eigenen Sinn produziert. (53) Characters, the narrator, the reader, and perhaps even the author search for information and meaning; this process is visible not only in the complex and surprising events and relationships in this story but also in the strange moments of emptiness when the text seems deliberately to be withholding information and hiding meaning. There are many instances in which Das Erdbeben seems to be taunting the reader about the myriad things he does not know or cannot fully understand. Inserted among the (already sometimes cryptic) statements that are made explicitly are the suggestions of those that are not. These mysterious moments of intimation are the spaces in the text that implore the reader to remember that there are always many sides to every story. Kleist reminds us that this fact is often overlooked in literature as well as in life. He also reminds us that multiple interpretations of the same event can give rise to all sorts of misunderstandings, great and small, and to subsequent injustices, real or simply perceived. In this story, Kleist also emphasizes another unpleasant realization: that misinterpretations of an ambiguous or incomplete set of facts can have negative-even disastrous-consequences for the characters involved. Because so many elements oiDasErdbeben in Chili clearly cry out for interpretation, it seems not overly hubristic to imagine that one might produce an unusual but not implausible reading of certain puzzles in the story and thereby accentuate some of the story's thematic features. Thus I will propose an interpretation of some of the odd allegiances, utterances and relationships that emerge in the story after the earthquake has upturned the lives of the residents of Santiago. I will argue that the traditional understanding of the central family structure of Jeronimo, Josephe and Philipp is not as sound as it seems. I will argue more specifically that the paternity of Philipp, and thereby the past actions of Josephe, cannot be determined definitively. Other scholars have presented similar claims (Clouser, Fischer, Lorenz, Thayer2) although generally in the context of larger arguments about ideas such as heroism or the relative strength or weakness of patriarchal systems. I believe that the ambiguities surrounding the issue of Philipp's paternity serve another purpose in the story: by calling into question many of the assumptions made by the crowd-assumptions that cause great pain and suffering-they reinforce for the reader the difficulty of interpretation, of reading in both a literal and a figurative sense. …

Another Meditation on Das Erdbeben in Chili: Heinrich von Kleist and the Work of the Reader1

Nach der vorherrschenden Auslegung der Verwandlung erzahlt diese Novelle die Metamorphose eines Menschen zu einem ungeheuren Ungeziefer Diese Deutung hat sich aber bisher als unzulanglich erwiesen, die Komplexitat der Erzahlung zu erklaren, was, so erstaunlich es auch scheinen mag, dazu fuhrt, dass die beruhmteste von Kafkas Erzahlungen nach wie vor als »unverstandlich« gilt Der vorliegende Aufsatz stellt das vorherrschende Paradigma infrage, indem er eine koharente Gesamtinterpretation der Novelle vorstellt, die den Text durchaus verstandlich und sinnvoll macht Der Ausgangspunkt liegt in der Annahme, dass sich in der Erzahlung zwei einander entgegengesetzte Versionen des narrativen Inhalts finden — z B Gregor als ungeheures Ungeziefer versus Gregor als Mensch -, und dass diese beiden Versionen einer Logik des Opfermechanismus unterliegen, aus der heraus sie erklarbar werden Die Hypothese, dass Die Verwandlung die literarische Nachbildung einer Situation der »verzerrten Objektivitat« ist (ein Phanomen, das sehr oft in Tater-Opfer-Prozessen vorkommt und ernste Verzerrungen der Wahrheit mit sich bringt), fuhrt zur Losung eines schwierigen Ratsels in der Kafka-Forschung

Truth and lies about Gregor Samsa: the logic underlying the two conflicting versions in Kafka's "Die Verwandlung"

Franz Kafka, Themen und Probleme

Stefan George. Son Oeuvre Poetique

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Franz Kafka, Themen und Probleme

Stefan George. Son Oeuvre Poetique