How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and Anton (...) Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)

This study seeks to identify a coalition of philosophy and literature in the work of Franz Kafka, and begins with a grounding of his output in the philosophical context from which it emerged. This relatively under-researched philosophical backdrop consists in Kafka's study, at university and in a discussion group, of philosophical positions derived from the "descriptive psychology" of Franz Brentano. Kafka was hence conversant with several philosophical agendas, notably those of logic, Gestalt psychology, and a nascent form of phenomenology, which (...) all derived their impetus from Brentano's work. The initial issue, therefore, is that of assessing the extent of a purported influence of such theories on Kafka's texts. What emerges as a "strategy" of Kafka's work is the aesthetic exploitation of such positions; a tactic which constitutes an almost parodistic subversion of these early forms of phenomenological thought. Thus on the one hand it is implied that the narrative technique of Kafka's work, and in particular the representation of consciousness and its "world", is derived from Brentanian thought, and on the other that this influence is modulated in a specific direction, which renders these texts so singularly amenable to post-structuralist thought. My project consequently proceeds to examine the post-structuralist response to Kafka while juxtaposing this analysis with the grounding of his work in proto-phenomenology. Central to this stage of the study are Blanchot, Derrida, Foucault, and Deleuze and Guattari, and the scrutiny of their perspectives will be organized by the themes of authorship, interpretation, power, and desire. The exploration of the "deconstructive" standpoint, represented primarily through Blanchot and Derrida, will be guided by an account of why such a stance seems to be accommodated so readily by Kafka's work, and also of the extent to which his texts could be said, on the basis of the influence of Brentanian thought, to resist such appropriation. (shrink)