One day we were unable to history, humanity woke up to find that the “Kafkawi” term is quietly infiltrating from the pages of the novel to news bulletins, and from the readers ’comments to the statements of politicians, and from the editing offices to the closed halls. Thus, the word was able to pass the limits of literature, to settle in the dictionaries of the language, and describe mysterious characters in a caffeine atmosphere. What does this word mean? Is it a feeling of impotence in front of an unspecified authority? Feeling that you are accused without a jar? Or is it, simply, living in a world that does not see you, and it can crush you as it crushes a cockroach under his shoes?
Cafkaoua, then, is not just a strangeness in form or a struggle in absurdity, but rather an existential predicament, when a person is treated as a number, or as a surplus of need, within a system that he does not understand and cannot get out of it. This is the world that Franz Kafka has invented, not as a foresight, but as a person drowned in his time, which records himself taking contraction. But, inadvertently, he drew the features of the being in the 20th century and beyond, to become a prophecy of our current era dominated by algorithms, automated systems, and functions that we do not know who resides us or on any basis.
A being without qualities
The life of a person in the digital age is closer to a virtual presence, lives in rented apartments for a year or two, performing short -term tasks with temporary wages, and engaging in fragile and urgent relationships. Is this not intersecting with the nature of the Cafkawi man, who does not go according to the rhythm of the usual life: work, house, sleep, relationships, but suddenly ejaculates outside this pattern, at a surprising moment, blowing up before it, and imposing a new reality that cannot be predicted?
The trial begins from that moment: “It must be slandered by Joseph enough, because he was arrested one morning without committing a sin.” With this sentence, he breaks the logic of the periodic time, and daily life turns into a pending moment, during which we do not know what the invited person was doing before that morning, because the writer is no longer busy with the biographical time, but rather the moment of expulsion of the pattern; The moment we are forced to leave our usual world, to find ourselves in the heart of the maze!
In his novel “The Monitor”, which was written in the fall of 1912 and it took only 3 weeks, Gregor is expelled Samsa from his body before he was expelled from his work. He wakes up to find himself an insect, and begins another kind of time and hierarchy; The job is no longer asking for, and the family is hidden from it as shy or disgusting. Then nothing goes back, and nothing goes forward, but rather accumulated for disgusting insect days.
This is how Kafka puts his heroes in a discontent of the process of time, without its past and no future. Joseph is sufficient and does not search for his charge, but rather what he must do according to it. Samsa is not looking for the secret of his darkest, but rather worries about his delay from work. Everyone in the Kafka world is condemned to “now”, with a forced time that swallows all times, and only the eternal present that he brings to the current moment remains.
For this, his characters do not search for an explanation for what is happening to them, because they are soaked to the core in its amazement, so that its name is reduced to a letter or a symbol, and its role in the immediate response, and the survival of interaction with updates. This is the case in our digital time, which only recognizes the continuous update, in a way that does not allow living in a process, but rather in a series of connected interruptions.
Trilogy
More than a century ago, specifically on June 3, 1924, the German Czech writer Franz Kafka left only 40 years old, but his vision is still transmitted through the conscience of humanity to this time.
Kafka was born in Prague, wrote in German, and lived an ambiguous life between his profession Bureaucracy And his writings at night, which he did not want to publish complete, and asked his friend Max Broad to burn it after his death. But the coldness of his will, so the “trial”, “the castle” and “America” came out to the light, to establish the idea of forgetting the being and its inamous fragility.
Perhaps his body was the first square of this conflict: skinny, sick, exhausted, infected since his youth with tuberculosis, he feels alienated in his body, as if he does not inhabit a body but rather a rusty machine that does not stop Hasharjah, he wrote: “Every patient has his familiar god, and a patient has a suffocating god.”
In the “monster”, the stained body turns into a social sign where it is reshape according to social and economic structures, according to Elizabeth Gross in her book “Volatile Bodies”. This perception intersects with the analysis of Michelle Foucault of the disciplined body, which becomes a position on which the authority is practicing by organizing and normalization, which succeeds in the colony of punishment, in converting the body into a machine, on which the judgment is engraved to death, so that the skin and meat turns into a patch for writing:
“It cannot be read at the first moment. One will read it as follows: when he engraved on him, the understanding will begin to appear, then after two hours, he will perceive it completely, and at six o’clock, he will have realized the deep meaning of it.”
The only violation that we know in the story is that one of the soldiers refused to perform a military salute every hour in front of its commander’s house. After 6 hours of the start of the penalty, one becomes completely aware of the law that he ended up, and then his body changes amazingly, then he dies after another 6 hours, painful, and we are stubborn, after he was tattooed by his crime forever.
Kafka, affected by Schopenhauer’s vision of the world as a colony of punishment, which is the same vision that we find in the story of “the hole and the pendulum” of Edgar Alan Bo, when he leaves a person in a slow confrontation with torture tools that move with a calculated rhythm, in which the body tests the limits of its tolerance and silence, while the logic of justice or mercy is completely absent.
Kafka has always thought about spreading this story with “mutation” and “judgment” in one volume under the title “penalties”, but his idea never entered into force like most of his incomplete ideas.
Sufficient and strange Camus
Kafka is considered one of the most prominent people who excelled in drawing an atmosphere of alienation and tampering in modern literature, to the extent that he inspired great book and philosophers such as Jean -Paul Sartre, Samuel Picky, and Harold Pinter, and his influence in the arts of cinema, formation and theater was evident, as his works turned into a visual material performed by bodies that move in a suffocating space, lost between mysterious questions and abstaining answers.
Also, Camus inspiration is not hidden in the “Al -Gharib” atmosphere, as the court is busy with details that have nothing to do with the basic issue, such as Morso’s actions in his private life, and his looks, even his feelings and reactions towards the neighbors, asking for coffee with sugar in the consolation of his mother, and everything that has nothing to do with the issue.
This reminds us of the absurd dialogue in the “trial”, which does not address a sufficient crime, even if Morso in “Al -Gharib” is accused of a real crime, but the trial turns into a trial of his personality, behavior and separation from the prevailing values, not for the act itself. He is condemned because he did not cry over his mother, and he did not pretend to be sad, not because he was killed.
The two narratives conclude with death: In the “trial”, Kaf is killed with a knife in the heart by two unknown men, who appear as if they had gone out of a Bureaucratic nightmare to carry out the death sentence on a back street, while in “Al -Gharib”, Morso is executed in a realistic place for execution, but he faces his death consciously, and he has reconciled with the absurdity of existence.
This vision coincides with major transformations in Europe in the time of Kafka, from the decline in the centrality of the earth and the human being after scientific discoveries, to the volatile political conditions that the Hungarian Austrian Empire knew, after stability was absent, and a state of alienation and the uncertainty was prevailed. In this climate, man seemed more than ever, a marginal being in a world that changes at the utmost speed, was sentenced to search for a meaning in the midst of chaos in which the constants collapsed and the certainty is destroyed.
In the Milan Kundera trilogy of the novel, Kafka’s works appear as a articulated station in the history of the European novel, the moment of a complete refraction of the horizon, and a collapse of the illusion that has long been fueled by literary adventure since Don Quichot. If Servanz wrote his novel about a knight running in an open world in which he has the freedom to enter and exit, then Kafka presents his hero “sufficient” besieged, has no beginning or end, an employee who does not know why he is called or tried, losing the ability even to the dream, as your lips lost it, a Hazik soldier who is moving towards the forehead not because he wants, but because he is driven by force that does not know its goal except to prove itself as a power.
Kundera goes that the free adventure that literature with Dedro and Bazak has disappeared, closed the doors as the horizon closed in the face of Emma Boufari. With Kafka, the shift from the world’s narration to the novel of absurdity is evident, from the logic of interpretation to arbitrary, from the project of the self to its inability, where the war itself, as in “your lips”, becomes a comic substance, and history is replaced as a train loaded in the sense with an empty will that has no end.
Thus, Kafka’s novel becomes an expression of a major fragmented moment, where the mind, values, or even a dream can constitute a serious resistance in front of a force that does not stop at a limit, and only wants to continue to impose its will.
The female as a type
Although Kafka’s works revolve in a male framework, many of the female writers have prepared his approach from new angles, as the Cafkka writing is not limited to the tension between the individual and the authority or existential absurdity, but rather asks the “otherness” question as a living existential experience, which is what we resonate with female writers such as Margaret Duras, Tony Morrison, and Aline Sixo.
Margaret Duras found the works of Kafka, similar to her self -isolation, and complained about the language similar to the possibility of expression. His silent writing, which hovers about meaning without touching it, represents a mirror of the collapse of the major references that called the modern world, including the language itself.
As for Tony Morrison, who examined the effects of slavery and physical and psychological enslavement of blacks, she meets Kafka in the perception of the body as an archive of power, and as a space for punishment. Her novel “beloved”, for example, is close to the concept of unknown guilt and inherited persecution.
On the other hand, Ellen Sexo sees in Kafka a model of the writer who is subject to fragmentation, and exposes the patriarchal system through the collapse of his representation formulas. Hence, the “Cafkkawi Body” that is exposed to transformation, tearing, or negation, as in “monster” or “in the colony of punishment”, is also an uncontrolled female body, which does not identify with the measures of control, and is subjected to punishment because it simply does not merge into the system.
Kafka was suffering from constant anxiety about the disclosure of itself, with a deep fear of publishing, and even the history of his messages. It is a situation consistent with what it described as the so -called Kuwairi studies as “awe of detection” or fear that the true identity will be exposed in a world governed by stereotypes and patriarchal authority.
In a message to the father, he explains how his father’s harsh treatment led to distorting his soul:
“All I wanted in my childhood, is a little love, a little encouragement and a little friendship, but unfortunately I did not get any of them … the thing that I never understood is, is that you do not feel what I was suffering from pain and shame, because of your constant reprimand for me and your unjust rulings on me.”
Then he narrates an incident that kept haunting him throughout his life, when his father disturbed the request of a cup of water, so the father attacked him, and pulled him from his bed and threw him on the closed balcony in the snow, with sleepwear. books:
“I became very obedient after this incident, but he left a deep inner wound that does not heal. Even many years later, I still suffer from a satisfactory fear that a huge man, my father, or any tyrant authority, will come to accuse me while I
My dear, we are all mutant
Despite all the influence and influence that has been monitored, the Kafka experience remains unlike herself, whether in his funny nightmare worlds, or in his cold language, as if a legal writer sits in front of a notebook to write down the facts of a dream. Thus, he succeeded in achieving what was called by the post -Secrets without actually achieving it: the son -in -law of dreaming and reality. Inside this mix, the writer does not describe the scene, nor does it surround its dimensions, but rather casts it on the reader in a way that is shocking, then allowing his eye to wander in the place to reveal another observatories that he did not present to us from the beginning, as if the writer was surprised by his presence and the reader at the same moment.
Farra Kafka is manifested in drawing his heroes, as it presents them outside all the traditional frameworks of definition: without a name, without appearance, without a biography or past, and even without clear internal tendencies that go beyond their current moment. In this way, Kafka was able to open a new horizon in the novel, exceeding the Bruce Movement, to make the human being a mysterious entity tense within its borders, where the constants are absent and the interior becomes a maze that is no less confused than the outside world.
Often the beginning of the text is its end, “Gregor Samsa woke up with a morning of disturbing dreams to find himself that has turned into a giant insect”, especially with the absence of any dramatic peak, or salvation, just a futile accumulation of events.
For this and others, Kafka does not resemble anyone, no matter how desperate art is in its cloning. Cafkaoui alone can continue to jump through the barriers of time, to add to itself a new dimension, whenever we move forward or the chaos increases. Kafka has predicted the inclusions, and after its declaration, what appeared is more essential, soft authority, you no longer need to put you in a castle, but in a network, you no longer tell you that you are an observer, but rather let you speculate on that, so with the same doubt it turns into an ideal tool for discipline.
Although the contemporary man cannot be expelled from his body as happened with Samsa, he was reduced to a personal file, a biography, 5 stars, or feedback on his temporary project. But if he is absent, ill, or even dead, no one will often miss him, except for a single notice: “We have noticed that you have not registered in a week ago. Click here to return.”
This is how Kafka invented his nightmares, and we who entered it, to become the result of a person in the early third millennium, just as a caravan mutant, we have no time to review the present, it is sufficient to complete the procedure, agree on the conditions, and do not forget to press the update button.