This book addresses the question of deconstruction by asking what it is and discussing its alternatives. To what extent does deconstruction derive from a philosophical stance, and to what extent does it depend upon a set of strategies, moves, and rhetorical practices that result in criticism? Special attention is given to the formulations offered by Jacques Derrida (in relation to Heidegger's philosophy) and by Paul de Man (in relation to Kant's theory of the sublime and its implications for criticism). And what, in deconstructive terms, does it mean to translate from one textual corpus into another? Is it a matter of different theories of translation or of different practices? And what of difference itself? Does not difference already invoke the possibility of deconstruction's "others"? Althusser, Adorno, and Deleuze are offered as exemplary cases. The essays in this volume examine in detail these differences and alternatives. The Textual Sublime is particularly concerned with how a text (philosophical or literary) sets its own limits, borders, and margins, how it delimits what constitutes the text per se and how it invokes at the same time what is not determinately in the text. The textual sublime is that aspect of a text that deconstruction shows to be both an element of the text and what surpasses the text, what takes it outside itself (in view of alternatives and alterities) and what ties it to differing philosophical, rhetorical, historical, and critical practices.

"Follows the actions of Benjamin Kantarovitch, nicknamed "Mousy," relating a series of missteps, misinterpretations, and misidentifications involving Franz Kafka and one of his most famous parables"--Provided by publisher.

Franz Kafka spent eight months in Zurau between September 1917 and April 1918, enduring at his sister's house the onset of tuberculosis. Illness paradoxically set him free to write his settling of accounts with life, marriage, his family, guilt and man's condition. This work provides a fresh perspective on the collective work of a genius."

This work explores what lies behind the fantastic barrier in a borderland that C. G. Jung called the unconscious, the avant-garde writer Kafka termed incomprehensive, and Whitlark argues is an entire spectrum of muted awareness.

Presents the undiminished popularity of Kafka, showing him in a global context. Volume I is a bibliography of primary literature 1908-1997, documenting Kafka's works and their translations. Volume II, the annotated bibliography of secondary literature 1955-1997, provides a survey of the still increasing flood of articles and books on Kafka's work.

Originally published in Dearest father: stories and other writings. Schocken Books, 1954.

Nonhuman figures are ubiquitous in the work of Franz Kafka, from his early stories down to his very last one. Despite their prominence throughout his oeuvre, Kafka’s animal representations have been considered first and foremost as mere allegories of intrahuman matters. In recent years, the allegorization of Kafka’s animals has been poetically dismissed by Kafka’s commentators and politically rejected by posthumanist scholars. Such critique, however, has yet to inspire either an overarching or an interdiscursive account. This book aims to fill this lacuna. Positing animal stories as a distinct and significant corpus within Kafka’s entire poetics, and closely examining them in dialogue with both literary and posthumanist analysis, Kafka’s Zoopoetics critically revisits animality, interspecies relations, and the very human-animal contradistinction in the writings of Franz Kafka. Kafka’s animals typically stand at the threshold between humanity and animality, fusing together human and nonhuman features. Among his liminal creatures we find a human transformed into vermin (in “The Metamorphosis”), an ape turned into a human being (in “A Report to an Academy”), talking jackals (in “Jackals and Arabs”), a philosophical dog (in “Researches of a Dog”), a contemplative mole-like creature (in “The Burrow”), and indiscernible beings (in “Josefine, the Singer or the Mouse People”). Depicting species boundaries as mutable and obscure, Kafka creates a fluid human-animal space, which can be described as “humanimal.” The constitution of a humanimal space radically undermines the stark barrier between human and other animals, dictated by the anthropocentric paradigm. Through denying animalistic elements in humans, and disavowing the agency of nonhuman animals, excluding them from social life, and neutralizing compassion for them, this barrier has been designed to regularize both humanity and animality. The contextualization of Kafka's animals within posthumanist theory engenders a post-anthropocentric arena, which is simultaneously both imagined and very real.

The Mass Ornament today remains a refreshing tribute to popular culture, and its impressively interdisciplinary writings continue to shed light not only on Kracauer's later work but also on the ideas of the Frankfurt School, the genealogy of film theory and cultural studies, Weimar cultural politics, and, not least, the exigencies of intellectual exile.

Wildlife management is about finding the balance between conservation of endangered species and mitigating the impacts of overabundant wildlife on humans and the environment. This book deals with the monitoring of fauna, related diseases, and interactions with humans. It is intended to assist and support the professional worker in wildlife management.