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As new, without dust jacket, as issued, signed by the photographer on the title page. An exhibition of these photographs was presented at Chartwell Booksellers in conjunction with the book's publication.

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Elevate your living space with the sophisticated charm of our Luxury Geometric Cube Pendant. This exquisite pendant light redefines modern elegance with its sleek geometric design, available in a beautiful silver/chrome finish. Crafted to enhance your home's ambiance, it serves as a captivating centerpiece, illuminating your surroundings with style and refinement. Embrace contemporary luxury and explore our exclusive collection of geometric pendant lights today, as you redefine the essence of sophistication in your home.

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Brand from China: Custaplayu.Color: Embroidered Edition - Costume Set - With Wig - Purple & White & Black, Materials: 100% Mixed Fiber, Size: Costume: XS: Chest: 77-80cm, Waist: 59-62cm, Hips: 79-82cm S: Chest: 81-84cm, Waist: 63-66cm, Hips: 83-86cm M: Chest: 85-88cm, Waist: 67-70cm, Hips: 87-90cm L: Chest: 89-92cm, Waist: 71-74cm, Hips: 91-94cm XL: Chest: 93-96cm, Waist: 75-78cm, Hips: 95-98cm 2XL: Chest: 97-100cm, Waist: 79-81cm, Hips: 99-105cm 3XL: Chest: 101-104cm, Waist: 82-85cm, Hips: 105-110cm, Care: N/A

For soprano voice and violin. German.

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Kafka's Trial Thomas S nderg rd - CD 636943604229

What Hemingway's A Moveable Feast did for Paris in the 1920s, this charming yet undeceivable memoir does for Greenwich Village in the late 1940s. In 1946, Anatole Broyard was a dapper, earnest, fledgling avant-gardist, intoxicated by books, sex, and the neighborhood that offered both in such abundance. Stylish written, mercurially witty, imbued with insights that are both affectionate and astringent, this memoir offers an indelible portrait of a lost bohemia.From the Trade Paperback edition.

"Went to the movies. Wept. Matchless entertainment." So wrote Franz Kafka in one of his diaries, giving us but one hint of his little-known passion for the cinema. Until now, Kafka aficionados have been left to speculate about which films moved Kafka so powerfully and how those films might have influenced his writing. With Kafka Goes to the Movies, German actor and film director Hanns Zischler draws on years of detective work to provide the first account of Kafka's moviegoing life. Since many of Kafka's visits to the cinema occurred during bachelor trips with Max Brod, Zischler's research took him not only to Kafka's native Prague but to film archives in Munich, Milan, and Paris. Matching Kafka's cinematic references to reviews and stills from daily papers, Zischler hunted down rare films in collections all across Europe. A labor of love, then, by a true man of the cinema, Kafka Goes to the Movies brims with discoveries about the pioneering years of European film. With a wealth of illustrations, including reproductions of movie posters and other rare materials, Zischler opens a fascinating window onto movies that have been long forgotten or assumed lost.But the real highlights of the book are those about Kafka himself. Long considered one of the most enigmatic figures in literature, the Kafka that emerges in this work is strikingly human. Kafka Goes to the Movies offers an absorbing look at a witty, passionate, and indulgently curious writer, one who discovered and used the cinema as a place of enjoyment and escape, as a medium for the ambivalent encounter with modern life, and as a filter for the changing world around him.

"One should either be a work of art, or wear one," proclaimed Oscar Wilde at the end of the nineteenth century; "I am made of literature, I am nothing else, and cannot be anything else," Franz Kafka declared a decade later. Between these two claims lies the largely unexplored region in which the European decadent movement turned into the modernist avant-garde. In this original historical study, Anderson explores Kafka's early dandyism, his interest in fashion, literary decadence and the "superficial" spectacle of modern urban life as well as his subsequent repudiation of these phenomena in forging a literary identity as the isolated, otherworldly "poet" of modern alienation. Rather than posit a break between these two personae, Anderson charts the historical continuities between the young Kafka and the author of The Metamorphosis and The Trial. The result is a startlingly unconventional portrait of Kafka and Prague at the turn of the century, involving such issues as Jungendstil aesthetics, Otto Weininger's "egoless" woman, the Viennese critique of architectural ornament, the clothing reform movement, anti-Semitism, and the question of Jewish-German writing.

This is the first of a three-volume, definitive biography of Franz Kafka. Eighty years after his death in 1924, Kafka remains one of the most intriguing figures in the history of world literature. Now, after more than a decade of research, working with over four thousand pages of journal entries, letters, and literary fragments, Reiner Stach re-creates the atmosphere in which Kafka lived and worked from 1910 to 1915. These are the years of Kafka's fascination with early forms of Zionism despite his longing to be assimilated into the minority German culture in Prague; of his off-again, on-again engagement to Felice Bauer; of the outbreak of World War I; and above all of the composition of his seminal works-The Metamorphosis, Amerika, The Judgment, and The Trial. Kafka:The Decisive Years-at once an extraordinary portrait of the writer and an original contribution to the art of literary biography.

Is a study of Kafka's thinking and writing from strictly a religious point of view justified? He is, after all, considered one of the pillars of modernism. As such, Kafka's well-established deploring of the inadequacy of his own Jewish upbringing only fuels the generally held belief that he was not much influenced by his religion. Or does it?This compelling book considers the writer from a very different point of view. In jargon-free language, Judaist Karl Erich Grozinger reveals that Kafka actually had an extraordinarily detailed and sophisticated knowledge of Judaismparticularly of the Kabbalah and kabbalistic tradition. Working from the earlier critical writings of Gershom Scholem, Professor Grozinger shows that these influences can be found in all of Kafka's texts: his novels and short stories; but, especially, in his diary entries and aphorisms.In fact, the essence of what we have come to call Kafkaesque has its origins and foundations primarily in the Kabbalah. This ranges from the kabbalistic tradition of the gatekeeper in The Trial to Joseph K. and the surveyor in The Castle, men who try their hands at theurgy in order to intervene in the divine direction of life events. In one of Kafka's most famous stories, Josephine the Singer plays the role of the rebbe, or tzaddik: the person who takes on the role of theurgist (or intercessor) for the community.Kafka's work has been subjected to many radically different interpretations ever since critics discovered it. Above all, the influence of Jewish theology - ideas of judgment and sin, atonement and justification - on Kafka's writings, as seen through the lens of kabbalistic-Eastern Jewish and Yiddish traditions, adds an important dimension to our understanding of this enigmatic and fascinating author.

Unread book in perfect condition.

Franz Kafka's sudden emergence as a mature writer, after years of artistic failure, came with the 1912 publication of 'The Judgment.' Here he displayed for the first time the strong dramatic style characteristic of his most familiar works. Until now, this stylistic change had not been satisfactorily explained. Evelyn Torton Beck, in this engrossing comparative study, demonstrates it to be in large measure Kafka's intense involvement with the Yiddish theater.

Franz Kafka, né à Prague le 3 juillet 1883 d'une famille juive, a fait ses études au lycée allemand de Prague de 1893 à 1901, puis à l'Université allemande. En 1907 il entre dans une compagnie d'assurances. Son expérience professionnelle jouera un rôle capital dans la vision du monde social que son uvre reflète avec la plus extrême précision. En 1912 il rencontre Felice Bauer, avec qui il se fiance deux fois et rompt définitivement en 1917. C'est l'année où sa tuberculose pulmonaire est diagnostiquée. En 1923, au cours de vacances au bord de la Baltique, il fait la connaissance de Dora Dymant et s'installe avec elle à Berlin. Atteint de laryngite tuberculeuse, il est transporté, après deux séjours dans des hôpitaux de Vienne, au sanatorium de Kierling, où il meurt le 3 juin 1924.

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The Trial is actually closer to reality than fantasy as far as the client’s perception of the system. It’s supposed to be a fantastic allegory, but it’s reality. It’s very important that lawyers read it and understand this.” Justice Anthony Kennedy famously offered this assessment of the Kafkaesque character of the American criminal justice system in 1993. While Kafka’s vision of the “Law” in The Trial appears at first glance to be the antithesis of modern American legal practice, might the characteristics of this strange and arbitrary system allow us to identify features of our own system that show signs of becoming similarly nightmarish?             With Kafka’s Law, Robert P. Burns shows how The Trial provides an uncanny lens through which to consider flaws in the American criminal justice system today. Burns begins with the story, at once funny and grim, of Josef K., caught in the Law’s grip and then crushed by it. Laying out the features of the Law that eventually destroy K., Burns argues that the American criminal justice system has taken on many of these same features. In the overwhelming majority of contemporary cases, police interrogation is followed by a plea bargain, in which the court’s only function is to set a largely predetermined sentence for an individual already presumed guilty. Like Kafka’s nightmarish vision, much of American criminal law and procedure has become unknowable, ubiquitous, and bureaucratic. It, too, has come to rely on deception in dealing with suspects and jurors, to limit the role of defense, and to increasingly dispense justice without the protection of formal procedures. But, while Kennedy may be correct in his grim assessment, a remedy is available in the tradition of trial by jury, and Burns concludes by convincingly arguing for its return to a more central place in American criminal justice.