Podcast appearances and mentions of Max Brod

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

V rubrice archivní návraty si tentokrát pustíme unikátní nahrávku z roku 1964. Spisovatel a překladatel Max Brod vzpomíná na svého přítele Franze Kafku.

Abenteurer, Prager Lokalpatriot und Weltreisender: Egon Erwin Kisch nahm in seinen legendären Reportagen die Leser mit zu Moldau-Schiffern, Zuhältern und Fabrikarbeitern. Und er gehörte zum "Prager Kreis" von Franz Kafka, Max Brod und Franz Werfel. Kirchgeßner, Kilian www.deutschlandfunk.de, Kalenderblatt

Aunque la piscología lleva tiempo intentando que nos libremos del sentimiento de culpa, seguimos escuchando la voz de la conciencia que nos dice que no somos cómo debieramos ser. Nuestro temor más profundo es que un día se haga evidente la realidad de todo aquello que logramos ocultar con nuestras palabras y disimulos. Jesús anuncia al final del capítulo 12 del Evangelio según Juan que ha llegado la Luz que pondrá en evidencia todo lo que está en tinieblas (vv. 44-50). Tras la sintonía de nuevo a cargo de Depeche Mode, el grupo británico que José de Segovia conoció cuando dos de sus miembros iban a un festival cristiano a principios de los años 80. Esta vez escuchamos su versión de Ruta 66 en vivo en Pasadena (California) en 1988. Otro de los grupos que unía los sintetizadores a las melodías pop en aquella época desde la fe cristiana era Vector. Formada en Sacramento (California) escuchamos la canción de su primer albúm, "La virtud del maniquí" (Mannequin Virtue 1983) que nos habla de la necesidad de esa Luz (All Around The Word). A ese momento de revelación se refiere también el granadino José Ignació Lapido, que después de 091 sigue escribiendo canciones tan sugerentes como ésta de su último álbum (Curado de espanto). José Moreno Berrocal habla de cómo el escritor checo Franz Kafka (1883-1924) "nos enseña la realidad de ser humano, que arrojado a la existencia en un mundo que no asimila, carece de rumbo". De Segovia habla a raíz de los comentarios de su amigo Moreno Berrocal, por el centenario de este escritor judío, sobre su libro "El Proceso", publicado de modo postumo en 1925 por su amigo Max Brod. Escuchamos escenas de la película de Orson Welles en 1962, después de la canción del grupo británico The Cure inspirada en su obra (At Night 1980). La música instrumental de fondo es de la película "Kafka" (1991) por Cliff Martínez y "El inquilino" (1976) de Polanski por Philippe Sarde. La canción de "blues" del Ciego Willie Johnson, "No es culpa de ningún otro, sino mía" (It´s Nobody´s Fault But Mine) en 1927 fue llevada al "rock" por el grupo Led Zeppelin. La grabaron varias veces. La escuchamos en la reciente versión que volvieron a hacer juntos, Jimmy Page y Robert Plant. No es tarde para el arrepentimiento. Vivimos todavía un tiempo de gracia. El guitarrista de Bob Dylan en la Rolling Thunder Revue, T-Bone Burnett, tiene toda una carrera en solitario y como productor, que une su fe cristiama a la música americana con raíces. El nieto del pator, secretario de la Convención Bautista del Sur, criado en la iglesia episcopal, nos dice que "No es demasiado tarde" (It´s Not Too Late) en el álbum en que confiesa ser "El criminal bajo su propio sombrero" (The Criminal Under My Own Hat 1992).

Kafkas letzter Wille ist schriftlich seit seinem Todesjahr 1924 dahin überliefert, dass seine nicht vor seinem Tode bereits veröffentlichten Texte „ausnahmslos und restlos“ verbrannt werden sollten. Max Brod, der Freund und danach Herausgeber beispielweise der Romane – zunächst „Der Prozess“, dann „Das Schloss“ und zuletzt „Amerika“ (später unter dem Titel „Der Verschollene“) –, hat sich daran nicht gehalten. Zu Recht? Ulrich Fischer hat die literatur- und rechtshistorische Lage juristisch entschlüsselt. David Christian Bunners liest die zeitgenössischen Texte, darunter eine wenig bekannte Erzählung Kafkas „Auf dem Dachboden“.

Vor 100 Jahren, im Juni 1924, starb Franz Kafka und es ist einiges los in diesem Jubiläumsjahr. Dabei wüssten wir nichts über ihn ohne seinen Freund Max Brod.

Franz Kafka died 100 years ago and if it were up to him none of his writings were to have survived as he asked his friend Max Brod to gather it all and destroy it. Brod gathered Kafka's writings and documents, but never burned them. Many ended up in the hands of the National Library of Israel which has now put the on display at a new exhibition called “Kafka: Metamorphosis of An Author.” Reporter Arieh O'Sullivan spoke about the exhibition with Stefan Litt, Curator of the Humanities Collection and archivist for the Kafka collection. (photo: courtesy) See omnystudio.com/listener for privacy information.

durée : 00:28:44 - Le Feuilleton - À la mort de Max Brod, en 1968, les manuscrits de Kafka sont la propriété d'Esther Hoffe. Elle commence à les revendre, avec l'aide de sa fille Eva, hôtesse de l'air. Mais en ont-elles le droit ? Je rencontre les avocats des deux parties qui me racontent la saga des "procès-Kafka".

durée : 00:28:47 - Le Feuilleton - Mars 1939 : Prague est envahie par les nazis. Max Brod prend le dernier train et s'enfuit vers Tel Aviv. Dans son unique valise : les manuscrits de Kafka. Je décide de suivre la trace de cette valise et de partir pour Tel Aviv.

durée : 00:28:45 - Le Feuilleton - Juin 1924 : Franz Kafka s'éteint dans un sanatorium près de Vienne. Juste après les funérailles, son ami Max Brod trouve dans un tiroir chez ses parents deux billets à son nom : Kafka lui demande de détruire tous ses manuscrits. Il décide de faire l'inverse.

durée : 00:28:47 - Le Feuilleton - Mars 1939 : Prague est envahie par les nazis. Max Brod prend le dernier train et s'enfuit vers Tel Aviv. Dans son unique valise : les manuscrits de Kafka. Je décide de suivre la trace de cette valise et de partir pour Tel Aviv.

durée : 00:28:44 - Le Feuilleton - À la mort de Max Brod, en 1968, les manuscrits de Kafka sont la propriété d'Esther Hoffe. Elle commence à les revendre, avec l'aide de sa fille Eva, hôtesse de l'air. Mais en ont-elles le droit ? Je rencontre les avocats des deux parties qui me racontent la saga des "procès-Kafka".

durée : 00:28:45 - Le Feuilleton - Juin 1924 : Franz Kafka s'éteint dans un sanatorium près de Vienne. Juste après les funérailles, son ami Max Brod trouve dans un tiroir chez ses parents deux billets à son nom : Kafka lui demande de détruire tous ses manuscrits. Il décide de faire l'inverse.

【欢迎订阅】每天早上5:30，准时更新。【阅读原文】标题：What happens to your data when you die?An individual's digital footprint will long outlive them. That presents many quandaries正文：Franz kafka died 100 years ago in literary obscurity. He had instructed his friend Max Brod to burn his unpublished works. Fortunately for generations of readers, Brod did not; he believed Kafka to be among the greatest writers of his time and instead edited and published his late friend's writing. In other words, Brod decided that Kafka's stories belonged not to the late author, but to the literate public.知识点：footprint n. /ˈfʊtprɪnt/ a mark left on a surface by a person's foot or shoe or by an animal's foot脚印；⾜迹• footprints in the sand沙地⾜迹• muddy footprints on the kitchen floor厨房地板上的泥脚印获取外刊的完整原文以及精讲笔记，请关注微信公众号「早安英文」，回复“外刊”即可。更多有意思的英语干货等着你！【节目介绍】《早安英文-每日外刊精读》，带你精读最新外刊，了解国际最热事件：分析语法结构，拆解长难句，最接地气的翻译，还有重点词汇讲解。所有选题均来自于《经济学人》《纽约时报》《华尔街日报》《华盛顿邮报》《大西洋月刊》《科学杂志》《国家地理》等国际一线外刊。【适合谁听】1、关注时事热点新闻，想要学习最新最潮流英文表达的英文学习者2、任何想通过地道英文提高听、说、读、写能力的英文学习者3、想快速掌握表达，有出国学习和旅游计划的英语爱好者4、参加各类英语考试的应试者（如大学英语四六级、托福雅思、考研等）【你将获得】1、超过1000篇外刊精读课程，拓展丰富语言表达和文化背景2、逐词、逐句精确讲解，系统掌握英语词汇、听力、阅读和语法3、每期内附学习笔记，包含全文注释、长难句解析、疑难语法点等，帮助扫除阅读障碍。

#franzkafka #literature #inspiration Franz Kafka (1883–1924) was a Czech-born writer whose work has left a lasting impact on modern literature. Known for his surreal and existential themes, Kafka's stories often explore alienation, bureaucracy, and the absurdity of life. His most famous works include "The Metamorphosis," "The Trial," and "The Castle," which delve into the complexities of human existence and the often incomprehensible forces that govern our lives. Despite his profound influence, Kafka remained relatively unknown during his lifetime, with much of his work published posthumously by his friend Max Brod. His personal life journey is also equally complex and interesting. KiranPrabha brings the biography of Kafka as a well documented documentary with highly gripping screen play.

Today We have Benjamin Balint with us speaking about his book 'Kafka's Last Trail'. Kafka's Last Trial begins with Kafka's last instruction to his closest friend, Max Brod: to destroy all his remaining papers upon his death. But when the moment arrived in 1924, Brod could not bring himself to burn the unpublished works of the man he considered a literary genius—even a saint. Instead, Brod devoted his life to championing Kafka's writing, rescuing his legacy from obscurity and physical destruction.By the time of Brod's death in Tel Aviv in 1968, Kafka's major works had been published, transforming the once little-known writer into a pillar of literary modernism. Yet Brod left a wealth of still unpublished papers to his secretary Esther Hoffe, who sold some, held on to the rest, and then passed the bulk of them on to her daughters, who in turn refused to release them. An international legal battle erupted to determine who could claim ownership of Kafka's work: Hoffe's Family, Israel, where Kafka dreamed of living but never entered, or Germany as Kafka wrote exclusively in German. Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts.Benjamin Balint is the author of Bruno Schulz' S Biography and Kafka's Last Trial,. He was awarded the 2020 Sami Rohr Prize for Jewish Literature, and is the coauthor of Jerusalem: City of the Book. A library fellow at the Van Leer Institute in Jerusalem, he regularly writes on culture for The Wall Street Journal, the Jewish Review of Books, and other publications.You may Please use the link given in the show notes to buy the books mentioned .Please follow and review the Harshaneeyam Podcast on Apple and Spotify Apps.To buy 'Kafka's Last Trial' - https://tinyurl.com/kafkastrial* For your Valuable feedback on this Episode - Please click the link below.https://tinyurl.com/4zbdhrwrHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Fischer, Ulrich www.deutschlandfunkkultur.de, Studio 9

durée : 00:28:45 - Le Feuilleton - Juin 1924 : Franz Kafka s'éteint dans un sanatorium près de Vienne. Juste après les funérailles, son ami Max Brod trouve dans un tiroir chez ses parents deux billets à son nom : Kafka lui demande de détruire tous ses manuscrits. Il décide de faire l'inverse.

durée : 00:28:47 - Le Feuilleton - Mars 1939 : Prague est envahie par les nazis. Max Brod prend le dernier train et s'enfuit vers Tel Aviv. Dans son unique valise : les manuscrits de Kafka. Je décide de suivre la trace de cette valise et de partir pour Tel Aviv.

durée : 00:28:44 - Le Feuilleton - À la mort de Max Brod, en 1968, les manuscrits de Kafka sont la propriété d'Esther Hoffe. Elle commence à les revendre, avec l'aide de sa fille Eva, hôtesse de l'air. Mais en ont-elles le droit ? Je rencontre les avocats des deux parties qui me racontent la saga des "procès-Kafka".

Franz Kafka war als Autor zu Lebzeiten unter seinesgleichen hochangesehen, aber kein Bestseller, erzählt Manfred Müller, Literaturwissenschaftler und Präsident der Österreichischen Franz Kafka-Gesellschaft. Gestaltung: Alexandra Mantler – Eine Eigenproduktion des ORF, gesendet in Ö1 am 07. 06. 2024

Franz Kafka podle odbornictva s největší pravděpodobností hudbě a jejímu poslechu moc neholdoval, jeho přístup k ní nezlomil ani kamarád Max Brod. Kafkovo dílo nicméně inspirovalo a inspiruje zástupy kapel a projektů. Špína se ku příležitosti stého výročí úmrtí pražského německy píšícího autora rozhodla ponořit do archivů a zjistit, kdo se cítí jako Řehoř Samsa a kdo jak při pobytu v kárném táboře.

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/israel-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Lea Veinstein "J'irai chercher Kafka; une enquête littéraire " (Flammarion)« Peu de temps avant le confinement, j'ai entendu parler d'une histoire rocambolesque se déroulant en Israël autour des manuscrits de Kafka. Je savais que de son vivant, il avait très peu publié, et qu'il avait laissé à son ami Max Brod ce testament impossible, lui demandant de tout détruire. J'ignorais que Max avait sauvé ces manuscrits d'une série d'autres destructions : fuyant les autodafés nazis, ils vont être glissés dans une valise pour quitter Prague et rejoindre Tel-Aviv, être cachés dans un appartement décati envahi par des chats errants, être revendus clandestinement en Allemagne. Et se retrouver au cœur d'une saga judiciaire qui durera plus de quarante ans. Un roman kafkaïen – presque trop. Mais cette histoire s'est mise à m'obséder. À l'issue du dernier procès, les manuscrits avaient tous été rassemblés à la Bibliothèque nationale de Jérusalem. J'ai attendu que les frontières rouvrent, et je suis partie. Il fallait que je suive les traces de ces sauvetages. Et que j'aille chercher Kafka. »Les manuscrits de Kafka auraient pu être des personnages de ses livres. En partant à leur recherche, Léa Veinstein ressuscite nos premières lectures de Kafka, et révèle l'attachement unique qui nous lie à lui.Musique : Régine « Les petits papiers » et « Za Milena » de MoriartyHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

En 1926 Max Brod publicó “El castillo”, la obra póstuma de Franz Kafka. El autor había empezado a escribirla cuatro años antes, mientras se recuperaba de un colapso nervioso en un hotel de montaña y continuó trabajando en el texto después, en Praga y Planá. Detrás de esta novela sobre la burocracia, la alienación y la frustración de un hombre frente al sistema, está la influencia de una mujer. “Soy Milena de Praga”, de la escritora checa afincada en Barcelona Monika Zgustova, reconstruye en primera persona esa historia, la de Milena Jesenská, la vida de una mujer que fue traductora y periodista, que sufrió por amor, que conoció un mundo apasionante y a punto de desaparecer y que murió en un campo de concentración. Monika utiliza la reconstrucción de la vida de Milena, que cuenta en primera persona, para hablar de un tema que conoce bien, la Europa de principios de siglo en Praga, Viena, Budapest, ciudades en el centro de un mundo que se derrumbaba, en las que se vivía en los cafés y el amor se mezclaba con la literatura.

1924 – A pesar de la relevancia de su trabajo, el escritor checo no consideraba que sus escritos valieran la pena. Tanto así que, estando ya muy frágil de salud y sospechando que el fin se acerca, se prepara y le pide a su amigo Max Brod, un último favor en una carta que debía abrir una vez que él ya hubiese partido. Un espacio de Bárbara Espejo.

Alessandra Iadicicco"Il castello"Franz KafkaIl Saggiatorehttps://ilsaggiatore.comTraduzione di Alessandra IadiciccoIl castello è l'ultimo romanzo scritto da Franz Kafka, che torna ora in una nuova traduzione. Nel 1917 Kafka si prese una lunga licenza dal lavoro e partì per Zürau, dove abitava la sorella Ottla, nelle campagne della Boemia. Era un tentativo di lasciarsi alle spalle l'ufficio, il padre, Praga. Anni dopo, preso dalle sue vicende sentimentali e con la tubercolosi che iniziava ad aggravarsi, dovette ripensare a quel luogo dove, su una collinetta, c'era un imponente edificio, presumibilmente un granaio, che sembrava chiedere il rispetto di abitanti e contadini. Una simile dinamica – una grande costruzione che domina un piccolo villaggio – è il cuore di questo romanzo. K., il protagonista, giunto presso un castello per rivestire il ruolo di agrimensore, si muove in queste pagine come perso in un labirinto.Già solo essere ricevuto dal datore di lavoro, il signor Klamm, gli sembra impossibile: l'incontro viene infatti sempre ostacolato, posticipato, deliberatamente evitato. Nel frattempo K. troverà un amore, verrà vessato dai suoi aiutanti e consumerà le forze battendosi per qualcosa che continuerà a sfuggirgli; fino – nella conclusione riferita da Max Brod, amico di Kafka e curatore postumo dell'opera – all'esaurimento totale e alla morte. Interpretato come metafora della divinità imperscrutabile, del capitale che schiaccia i sottoposti, di una burocrazia che tutto regola e tutto confonde, il castello al centro di questa storia resta a oltre un secolo di distanza un simbolo aperto. Nella parabola di K. ognuno di noi può vedere qualcosa della propria, perché la lotta per il senso è qualcosa di universale: una chimera grottesca e tragica, che nessuno ha saputo descrivere come Kafka.https://www.ilsaggiatore.com/autori/franzIL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Chapter 1 An Insectile Allegory: A Summary and Review of The Metamorphosis The Metamorphosis is a novella by Franz Kafka, published in 1915. It tells the story of Gregor Samsa, a traveling salesman who wakes up one day to find that he has transformed into a giant insect-like creature. The rest of the novella depicts Gregor's struggle to come to terms with his new identity and his family's reaction to his transformation. Initially, Gregor's family tries to take care of him, but they soon become repulsed by his appearance and begin to distance themselves from him. Gregor also struggles to adjust to his new body, finding it difficult to move and communicate with others. As time passes, Gregor becomes more isolated and depressed, ultimately leading to his death. The Metamorphosis is a powerful and unsettling work that leaves a lasting impression on the reader. Kafka's use of surrealism and absurdity creates a sense of unease and discomfort throughout the novella. His masterful writing and exploration of complex themes make this novella a must-read for anyone interested in literature or philosophy. Chapter 2 The Enigma of Franz Kafka: An Author Introduction Franz Kafka was a German-language writer whose works explored themes of alienation, anxiety, and absurdity. Born in Prague in 1883, Kafka grew up in a middle-class Jewish family and later attended Charles University, where he studied law. After completing his studies, Kafka worked for an insurance company for most of his adult life, writing in his spare time. He published only a few short stories during his lifetime, including The Metamorphosis. Kafka's writing gained wider recognition after his death in 1924, when his friend Max Brod ignored Kafka's instructions to destroy his unpublished manuscripts and instead published them posthumously. These works include "The Trial," a novel about a man who is arrested and prosecuted by a mysterious, faceless authority; "The Castle," a novel about a land surveyor who struggles to gain access to a castle in a remote village; and "Amerika," a novel about a young man who immigrates to the United States. Kafka's work has had a profound influence on literature and philosophy, inspiring generations of writers and thinkers who have been drawn to his portrayal of the human condition as one of anxiety, isolation, and absurdity. Chapter 3 A Guide to The Metamorphosis: A Detailed Chapter-by-Chapter Summary Chapter 1: The first chapter introduces us to Gregor Samsa, the protagonist of the story. He wakes up one morning to find that he has been transformed into a giant insect-like creature. Chapter 2: In the second chapter, we see how Gregor's family reacts to his transformation. They are shocked and horrified by his new appearance, and they struggle to come to terms with what has happened. Chapter 3: The third chapter explores Gregor's attempts to adapt to his new body and his new way of life. He discovers that he has new abilities and limitations, and he tries to figure out how to live as an insect. Chapter 4: In the fourth chapter, we see how Gregor's relationship with his family begins to break down. They become increasingly resentful of him, and he feels isolated and alone. Chapter 5: In the fifth chapter, Gregor's sister, Grete, becomes the central focus of the story. She starts to take care of Gregor, but she also becomes frustrated with him and begins to distance herself from him. Chapter 6: The final chapter sees Gregor's family reaching their breaking point....

Die Präsidentschaft von Donald Trump lässt sich sicherlich sehr gewinnbringend im Hinblick auf die Rolle der Fake-News sowie der Massenmedien im Umgang mit diesen „alternativen Fakten“ analysieren. Es fing schon bei der ersten Pressekonferenz an mit der Größe der Menschenmenge bei seiner Inauguration. Wir, als Gesellschaften, müssen uns fortan fragen, wie mit Falschnachrichten umzugehen ist, wie wir es verhindern, dass Fake News so lange die Realität bearbeiten, bis sie als Fakten akzeptiert werden. Mit den KI-gestützten Bild- und Tongeneratoren kommt da auch noch einiges auf uns zu. Heute blicken wir aber ersteinmal zurück auf einen in dieser Hinsicht visionären Zeitungstext von Max Brod, der im Berliner Börsen-Courier vom 13. April 1923 veröffentlicht wurde. Frank Riede erzählt uns die Legende vom Zeitungsleser, der dem, was in der Zeitung steht, mehr glaubt als sich selbst.

This week we begin a new Tale from a writer we have featured before: master of paranoia and the nightmarishly mundane, Franz Kafka.  'The Trial' (or 'Der Process' as it is known in German) follows the story of Josef K., a man arrested and put on trial by a distant and obscure authority for a crime unknown to him. It was written during the early part of WW1 and salvaged by Kafka's friend, Max Brod, to be published posthumously a decade later. It would become one of Kafka's best known works.Books - (buying books from our Bookshop.org shop helps support this channel while also supporting local bookshops, at no cost to you):Books by our favourite authors - https://uk.bookshop.org/lists/the-well-told-taleThe Trial - https://uk.bookshop.org/a/9522/9781513264851Metamorphosis and Other Stories - https://uk.bookshop.org/a/9522/9780241436240The Castle - https://uk.bookshop.org/a/9522/9780241372579I would like to thank my patrons: Joshua Clark, Maura Lee, Jane, John Bowles, and Cade Norman.Support the show

Acclaimed translator Ross Benjamin returns to the show to celebrate the publication of The Diaries of Franz Kafka (Schocken Books). We get into the twisted history of the diaries, Ross' monumental achievement of bringing them into English, the how ambiguity and circularity pervade Kafka's very language, and the question of whether one can be qualified for this sort of task before actually doing it. We also talk about how this edition restores the bodily, sensual, sexual, and public-facing Kafka (& speculate on why K's literary executor, Max Brod, bowdlerized the diaries in their initial incarnation), what it was like to translate the private writings of someone who was the personification of ambivalence, what the process taught Ross about his own life and how it revealed new aspects of Kafka to him, and what it's like to catch Kafka in the act of writing. Plus, we discuss the feeling of accomplishing a dream project like this by the age of 40 and having the sense that he's served the purpose he was meant for (which leads to the question of What Comes Next), the blurbs that made him plotz and the post-pub tribute from his daughter that brought him to tears, and a lot more. Follow Ross on Twitter and Instagram and go listen to our 2016 conversation • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and subscribe to our Substack

Ein Streichquartett über eine Novelle von Tolstoi, der sich wiederum auf eine Violinsonate von Beethoven bezieht. Janáčeks "Kreutzersonate" ist 1923 ein Höhepunkt des musikalischen Expressionismus. (Autor: Michael Lohse) Von Michael Lohse.

In einer Septembernacht im Jahr 1912 gelang Franz Kafka, was er lange nicht zu hoffen wagte: Er schrieb wie besessen und im Morgengrauen war die Erzählung "Das Urteil" fertig, die ihn zum Schriftsteller machte. Auf wenigen Seiten ist alles versammelt, was Kafka ausmacht: Die Widersprüche, die klare Sprache, der subtile Wahnsinn des 20. Jahrhunderts. Autorin: Monika Buschey Von Monika Buschey.

To celebrate the publication of the groundbreaking book, FRANZ KAFKA: THE DRAWINGS (Yale University Press), contributors Andreas Kilcher & Judith Butler join the show for a wide-ranging conversation about Kafka's art & how it intersects — and diverges from — his writing. We get into their essays in the book (and Andreas' role as co-editor), the humor & grotesqueness — and craft! — of K's drawings, the legal battle over their ownership, and the ways in which the drawings help us approach Kafka in a new light. We talk about Kafka's use of comic tension & comic relief, the ways in which the drawings liberated him from the horizontality of writing, his objections to using illustrations in his books, and Kafka's 'positive nihilism' & the reason why neither Judith nor Andreas believe he really wanted Max Brod to destroy all his papers. Plus, we explore their own histories with Kafka, their personal favorites among the drawings, and how their students' responses to Kafka have changed over the years. More info at our site • Support The Virtual Memories Show via Patreon or Paypal