The relationship of philosophy with Kafka's oeuvre is complex. It has been argued that Kafka's novels and stories defy philosophic extrapolation; conversely, it has also been suggested that precisely the tendency of Kafka's writings to elude discursive solution is itself a philosophical tendency, one that is somehow contributing to a wiser relationship of human beings with language. These matters are the focus of the proposed volume on Philosophy and Kafka. The proposed collection brings together essays that interrogate the relationship of philosophy and Kafka, and offer new and original interpretations. The volume obviously cannot claim completeness, but it partially does justice to the multiplicity of philosophical issues and philosophical interpretations at stake. This variety informs the composition of the volume itself. A number of essays focus on specific philosophical commentaries on Kafka's work, from Adorno's to Agamben's, from Arendt's to Benjamin's, from Deleuze and Guattari's to Derrida's. A number of essays consider the possible relevance of certain philosophical outlooks for examining Kafka's writings: here Kafka's name goes alongside those of Socrates, Kant, Kierkegaard, Nietzsche, Wittgenstein, Buber, Heidegger, Blanchot, and Levinas. Finally, a number of essays consider Kafka's writings in terms of a specific philosophical theme, such as communication and subjectivity, language and meaning, knowledge and truth, the human/animal divide, justice, and freedom. In all contributions to the volume, such themes, motifs, and interpretations arise. To varying degrees, all essays are concerned with the relationship of literature and philosophy, and thus with the philosophical significance of Kafka's writings.

The relationship of philosophy with Kafka's oeuvre is complex. It has been argued that Kafka's novels and stories defy philosophic extrapolation; conversely, it has also been suggested that precisely the tendency of Kafka's writings to elude discursive solution is itself a philosophical tendency, one that is somehow contributing to a wiser relationship of human beings with language. These matters are the focus of the proposed volume on Philosophy and Kafka. The proposed collection brings together essays that interrogate the relationship of philosophy and Kafka, and offer new and original interpretations. The volume obviously cannot claim completeness, but it partially does justice to the multiplicity of philosophical issues and philosophical interpretations at stake. This variety informs the composition of the volume itself. A number of essays focus on specific philosophical commentaries on Kafka's work, from Adorno's to Agamben's, from Arendt's to Benjamin's, from Deleuze and Guattari's to Derrida's. A number of essays consider the possible relevance of certain philosophical outlooks for examining Kafka's writings: here Kafka's name goes alongside those of Socrates, Kant, Kierkegaard, Nietzsche, Wittgenstein, Buber, Heidegger, Blanchot, and Levinas. Finally, a number of essays consider Kafka's writings in terms of a specific philosophical theme, such as communication and subjectivity, language and meaning, knowledge and truth, the human/animal divide, justice, and freedom. In all contributions to the volume, such themes, motifs, and interpretations arise. To varying degrees, all essays are concerned with the relationship of literature and philosophy, and thus with the philosophical significance of Kafka's writings.

From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aime Cesaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as direct indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of "high" and "low."