Kafka y la muñeca viajera by Jordi Sierra i Fabra

By Jordi Sierra i Fabra

Un año antes de su muerte, Franz Kafka vivió una experiencia muy insólita. Paseando por el parque Steglitz, en Berlín, encontró a una niña llorando desconsolada: había perdido su muñeca. Para calmar a l. a. pequeña, el autor de los angeles metamorfosis se inventó una atypical historia: los angeles muñeca no se había perdido, se había ido de viaje, y él, convertido en cartero de muñecas, tenía una carta que le llevaría al día siguiente al parque. Aquella noche Franz escribió los angeles primera de las muchas cartas que, durante tres semanas, entregó a l. a. niña puntualmente, narrando las peripecias de los angeles extraordinaria muñeca desde todos los rincones del mundo. Según cuenta Dora Dymant, su compañera en aquellos días, el estado febril con el que Kafka escribía esas cartas period related al de cualquiera de sus inmortales obras. Éste es el relato de aquella experiencia, en l. a. que Franz Kafka fue un mago de los angeles palabra para una niña desconocida de los angeles que jamás volvió a saberse nada, como tampoco de aquellas cartas que constituyen uno de los misterios más hermosos de los angeles narrativa del siglo XX.

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According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.

Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.

With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.

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