Kafka and photography

295 Pages·2007·6.44 MB·English

by  Kafka, Franz, Duttlinger, Carolin, Kafka, Franz

KAFKA AND PHOTOGRAPHY
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Kafka and
Photography
CAROLIN DUTTLINGER
1
1
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Preface
Mydeepestthanksgototwopeople:tomythesissupervisorAndrew
Webber for his invaluable support, perceptive comments, skilful
andimaginativeclosereadings,andunwaveringencouragementand
advice through all stages of the writing process; and to Joe Harris,
forhisconstructiveandchallengingcomments,tirelessproofreading
skills, patience, love, and uncanny ability to cite entire Kafka texts
by heart. I am indebted to Elizabeth Boa, Ritchie Robertson, and
Michael Minden, who have read various stages of the manuscript
and have offered constructive advice, input, and encouragement,
and I have also greatly benefited from discussions with many other
friends,colleagues,andstudents.SarahCain,SimonKemp,Maartje
Scheltens,andDanielWakelinhavehelpedwithearlierstagesofthe
proofreading.TimRogers,formerlyoftheBodleianLibrary,Oxford,
has provided invaluable help with Kafka manuscripts and other
material, Klaus Wagenbach has kindly shown me his collection of
Kafkaphotographs,andJaroslavAndeˇlhasofferedusefulinformation
on the history of Prague photography. I am particularly grateful to
AndrewMcNeillie,JacquelineBaker,andalltheotherfriendlystaffat
OxfordUniversityPress whohaveassistedintheproductionofthis
book. Finally, my thanks go to all my friends and family who have
offeredsupportbothemotionalandintellectual.
My research for this study has been generously supported by the
ArtsandHumanitiesResearchCouncil;StJohn’sCollege,Cambridge;
theGermanDepartment,Cambridge;andtheFacultyofMedievaland
Modern Languages, Oxford. Additional assistance has been kindly
providedbyWadhamCollege,Oxford;theConferenceofUniversity
TeachersinGerman;andtheSocietyforWomeninGermanStudies.
Acknowledgements
Parts of this argument have already appeared in articles elsewhere;
partsofChapter2haveappearedin‘‘‘DieRuhedesBlickes’’:Brod,
Kafka, Benjamin and the Kaiserpanorama’,in Christian Emden and
David Midgley (eds.), Science, Technology and the German Cultural
Imagination(Oxford: Lang, 2005),231–55.Parts of Chapter 3 have
appearedin‘VisionsoftheNewWorld:PhotographyinKafka’sDer
Verschollene’,GermanLifeandLetters,59(2006),423–45,andparts
ofChapter6havepreviouslybeenpublishedin‘SnapshotsofHistory:
FranzKafka’s‘‘Blumfeldeina¨ltererJunggeselle’’andtheFirstWorld
War’,ModernAustrianLiterature,39(2006),24–43.
I thank the following for permission to reproduce the following
illustrations: Archiv Klaus Wagenbach, Berlin (Figs. 1, 3, 9, 13, 15,
16,18);S.FischerVerlag,Frankfurt(Figs.17,19);TheBritishLibrary
(Figs.20,21);StiftungDeutscheKinemathek,Berlin(Fig.2);Antony
NortheyonbehalfofRudolfKafka’schildren(Fig.10—firstpublished
inAntony Northey, KafkasMischpoche(Berlin: Wagenbach,1988));
The Library of Congress, Washington DC. (Fig. 11); The Bodleian
Library,Oxford(Fig.22).
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Contents
ListofIllustrations x
ListofAbbreviations xii
Introduction 1
1. KafkaandPhotography:HistoryofaTheoretical
Configuration 15
2. FromFilmtoPhotography:ConstructingtheViewerin
theEarlyDiaries 33
3. DerVerschollene:VisionsoftheNewWorld 62
4. PhotographicMetamorphoses:DieVerwandlung 100
5. FetishisticExchange:Kafka’sLetterstoFeliceBauer 125
6. DerProceß:TheCriminologicalGaze 173
7. OpticsofPower:‘Blumfeld’,‘EinHungerku¨nstler’,and
DasSchloß 206
Conclusion:KafkathePhotographer? 250
Bibliography 260
Index 275