Franz Kafka was fascinated by photography, a medium which for him came to encapsulate both the attractions and the pitfalls of modern life. In the first detailed study of photography in Kafka's work, Carolin Duttlinger gives close readings of the most important prose works, as well as the letters and diaries.
Franz Kafka was fascinated by photography, a medium which for him came to encapsulate both the attractions and the pitfalls of modern life. In the first detailed study of photography in Kafka's work, Carolin Duttlinger gives close readings of the most important prose works, as well as the letters and diaries.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Carolin Duttlinger is University Lecturer in German at Oxford University, and Fellow and Tutor of Wadham College. She studied in Freiburg, Germany, and Cambridge, where she completed her doctorate in 2003. Her primary research interests lie in the field of twentieth-century German literature and thought, with particular reference to the relationship between literature and visual culture. She has published on writers such as Benjamin, Freud, Adorno, Sebald, and Thomas Kling and is the editor of a volume on Performance and Performativity in German Cultural Studies (2004). Her current project explores concepts of attentiveness in twentieth-century literature, science, and culture.
Inhaltsangabe
Preface Acknowledgements List of Illustrations List of Abbreviations Introduction 1: Kafka and photography: history of a theoretical configuration 2: From film to photography: constructing the viewer in the early diaries 3: Der Verschollene: visions of the New World 4: Photographic metamorphoses: Die Verwandlung 5: Fetishistic exchange: Kafka's letters to Felice Bauer 6: Der Proceß: The criminological gaze 7: Optics of Power: 'Blumfeld', 'Ein Hungerkünstler', and Das Schloß Conclusion: Kafka the photographer? Bibliography
Preface Acknowledgements List of Illustrations List of Abbreviations Introduction 1: Kafka and photography: history of a theoretical configuration 2: From film to photography: constructing the viewer in the early diaries 3: Der Verschollene: visions of the New World 4: Photographic metamorphoses: Die Verwandlung 5: Fetishistic exchange: Kafka's letters to Felice Bauer 6: Der Proceß: The criminological gaze 7: Optics of Power: 'Blumfeld', 'Ein Hungerkünstler', and Das Schloß Conclusion: Kafka the photographer? Bibliography
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