Download Kafka: Toward a Minor Literature by Gilles Deleuze PDF

By Gilles Deleuze

During this vintage of serious idea, Deleuze and Guattari problem traditional interpretations of Kafka’s paintings. rather than exploring preexisting different types or literary genres, they suggest an idea of “minor literature”—the use of an immense language that subverts it from inside. Writing as a Jew in Prague, they contend, Kafka made German “take flight on a line of break out” and joyfully grew to become a stranger inside it. His paintings as a result serves as a version for knowing all severe language that needs to function in the confines of the dominant language and tradition.

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16 One could equally cite the accents that are interior to words, their discordant function. And it would seem that the language of a minor litera- WHAT IS A MINOR LITERATURE? D 23 ture particularly develops these tensors or these intensives. In the lovely pages where he analyzes the Prague German that was influenced by Czech, Wagenbach cites as the characteristics of this form of German the incorrect use of prepositions; the abuse of the pronominal; the employment of malleable verbs (such as Giben, which is used for the series "put, sit, place, take away" and which thereby becomes intensive); the multiplication and succession of adverbs; the use of pain-filled connotations; the importance of the accent as a tension internal to the word; and the distribution of consonants and vowels as part of an internal discordance.

And it would seem that the language of a minor litera- WHAT IS A MINOR LITERATURE? D 23 ture particularly develops these tensors or these intensives. In the lovely pages where he analyzes the Prague German that was influenced by Czech, Wagenbach cites as the characteristics of this form of German the incorrect use of prepositions; the abuse of the pronominal; the employment of malleable verbs (such as Giben, which is used for the series "put, sit, place, take away" and which thereby becomes intensive); the multiplication and succession of adverbs; the use of pain-filled connotations; the importance of the accent as a tension internal to the word; and the distribution of consonants and vowels as part of an internal discordance.

The sound or the word that traverses this new deterritorialization no longer belongs to a language of sense, even though it derives from it, nor is it an organized music or song, even though it might appear to be. We noted Gregor's warbling and the ways it blurred words, the whistling of the mouse, the cough of the ape, the pianist who doesn't play, the singer who doesn't sing and gives birth to her song out of her nonsinging, the musical dogs who are musicians in the very depths of their bodies since they don't emit any music.

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