Journal of the Kafka Society of America, Volumes 25-29The Society, 2001 |
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Page 33
... mark the virtuosic cadenza is in line with Schumann's use of those names . But Kurtág borrows another technique from ... marks the violin's final cadenza " Florestan " and echoes the violin's motive from the improvised opening of the ...
... mark the virtuosic cadenza is in line with Schumann's use of those names . But Kurtág borrows another technique from ... marks the violin's final cadenza " Florestan " and echoes the violin's motive from the improvised opening of the ...
Page 67
... Mark Harman's recent translation , emphasizes this absorption in tactile space : The street he had taken , the main ... Marks . This intimate haptic perception , where one's observing eye gets entangled in the minute details of the ...
... Mark Harman's recent translation , emphasizes this absorption in tactile space : The street he had taken , the main ... Marks . This intimate haptic perception , where one's observing eye gets entangled in the minute details of the ...
Page 70
... Mark Anderson in his book Kafka's Clothes , who points out that Kafka's long - time fascination with J.P. Müller's physical fitness and nutrition regimen , as well as his participation in the nudist - centered back - to - nature ...
... Mark Anderson in his book Kafka's Clothes , who points out that Kafka's long - time fascination with J.P. Müller's physical fitness and nutrition regimen , as well as his participation in the nudist - centered back - to - nature ...
Contents
Eine kaiserliche Botschaft about 1935 | 16 |
Physical Space Light Darkness and Color as Subjective | 27 |
Kafka in Paris A Minor Text in a Minor Literature | 47 |
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