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CTLIN CONSTANTINESCU
Universitatea Al. I. Cuza, Iai
Dieter Hasselblatt, Zauber und Logik: Eine Kafka-Studie, Cologne, Verlag Wissenschaft
und Politik, 1964.
2
Harold Bloom, Canonul occidental, traducere de Diana Stanciu, postfa de Mihaela
Anghelescu Irimia, Bucureti, Editura Univers, 1998, p. 350.
3
Stanley Corngold, Franz Kafka. The Necessity of Form, Ithaca & London, Cornell
University Press, 1988, p. 49
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Walter Sokel, Franz Kafka, New York, Columbia University Press, 1966. n Stanley
Corngold, op. cit., p. 51
5
Stanley Corngold, op. cit., 55. n acest context, am aduga observaia derivat din grila
deleuzian care opune metamorfoza metaforei: Kafka ucide n mod deliberat orice
metafor, orice simbolism, orice semnificaie, ca i orice desemnare. Metamorfoza este
opusul metaforei. n Gilles Deleuze, Flix Guattari, Kafka: Pentru o literatur minor,
traducere i postfa de Bogdan Ghiu, Bucureti, Editura Art, 2007, p. 38.
6
Ibidem, p. 79.
7
Ibidem, p. 55.
8
Ibidem, p. 67.
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Klaus Wagenbach, Franz Kafka: Eine Biographie seiner Jugend (1883-1912), Bern,
Francke, 1958. n Stanley Corngold, op. cit., p. 57. Formula original cu care ncepe
Metamorfoza Als Gregor Samsa eines Morgens aus unruhigen Trumen erwachte, fand
er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt devine n
romnete: ntr-o bun diminea, cnd Gregor Samsa se trezi n patul lui, dup o noapte de
vise zbuciumate, se pomeni metamorfozat ntr-o gnganie nspimntatoare. [subl.n.] Franz
Kafka, Metamorfoza: povestiri, traducere de Mihai Izbescu, Bucureti, Leda, 2005, p. 5.
10
Corngold, op. cit., p. 58.
11
Wilhelm Emrich, Franz Kafka and Literary Nihilism, in Journal of Modern Literature,
vol. 6, nr. 3, sep. 1977, p. 367.
12
Ibidem, p. 368.
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Ibidem, p. 377.
Harold Bloom sublinia: A crede nseamn a fi, pentru c fiina nu poate fi distrus n
adncul ei. Dar credina este redundant pentru c Dumnezeul personal este doar metafora
sentimentului indestructibilitii, sentiment care ne unete fr s vrem. Op. cit., p. 356.
17
Snt o mulime de demoni mascai n ngeri sau zei i snt animale enigmatice (sau
combinaii asemenea animalelor), dar Dumnezeu e mereu altundeva, departe, n abis, sau
adormit sau poate chiar mort. Pe Kafka, un geniu aproape unic al fanteziei, nu-l putem
considera scriitor religios, ci autor de poveti. Harold Bloom, op. cit., p. 353.
18
Corngold, op. cit., p. 61. Paradoxal sau nu, este posibil o operaie de disjungere la
nivelul dorinelor lui Gregor Samsa: Mai ales n Metamorfoza apare distincia dintre dou
stadii ale dorinei: pe de o parte, atunci cnd Gregor se lipete de portretul femeii cu blnuri
i nclin capul spre u, ntr-un efort disperat de a mai pstra ceva n camera sa pe cale s
16
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understanding of reality, and yet, since they are presented with the same precise detail, the
same matter-of-fact tone, and the same unexcited characters as before, the reader cannot
quite dismiss these new events as mere dreams or symbols.
20
Corngold, op. cit., p. 85.
21
Ibidem, p. 86.
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BIBLIOGRAFIE
Bloom, Harold, Canonul occidental, traducere de Diana Stanciu, postfa de Mihaela
Anghelescu Irimia, Bucureti: Editura Univers, 1998
Corngold, Stanley, Franz Kafka. The Necessity of Form, Ithaca & London: Cornell
University Press, 1988
Delleuze, Gilles, Guattari, Flix, Franz Kafka Pentru o literatur minor, Bucureti:
Editura Art, 2007
Emrich, Wilhelm, Franz Kafka and Literary Nihilism, in Journal of Modern Literature,
vol. 6, nr. 3 (sep. 1977), pp. 366-379
Nabokov, Vladimir, Cursuri de literatur, traducere de Cristina Rdulescu, Bucureti:
Editura Thalia, 2004
Sizemore, Christine W., Anxiety in Kafka: A Function of Cognitive Dissonance, in
Journal of Modern Literature, Vol. 6, No. 3 (Sep., 1977), pp. 380-388
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