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THE FICTION OF FRANZ KAFKA

A STYLISTIC ANALYSIS

INTRODUCTION

1. THE BACKGROUND OF THE STUDY

Speaking to the definition of communication, it is a means of transmitting

information and there are several ways of how human can do so. One of them is

language in its spoken and written forms. Communication is defined as giving

and getting different amounts of information and various characters and qualities

of communicated messages at one time, which is conditioned by many factors

such as the time, place and subject matter of what is being transmitted from the

addressor to the addressee in a particular situation. The addressor communicates

because he/she intends not only to exchange information, but he/she also aims at

affecting the behavior of the addressee. In perhaps more educated terms, it could

be pointed out that language is the core of communication. Language as an

instrument of communication presents a certain continuum of variations

depending on numerous contextual aspects, such as the function of the text such

as whether directive, expository or narrative, the readership as experts, students,

layman, and the role of the writer as experts, educated layman, and etc. In this

sense, numerous language styles and varieties have come into existence. These

are the grounds for the constant study of various domains of languages that of

style being one of them. Stylistically FK uses the language as a creative weapon.

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Language is the subject matter of stylistics-language is used not only in

literary composition, but also in every day conversation, in scientific reports and

all sorts of communication. The human race has been using language for ages.

Language is respectively and formally considered as many things - a system of

communication, a medium for thought, a vehicle for literary expression, a social

institution, a matter for political controversy, a catalyst for nation building. All

human beings normally speak at least one language and it is hard to imagine

much significant social, intellectual, or artistic activity taking place in its

absence. Each of us has a stake in understanding something about the nature and

use of language. Thus linguistics has explained completely the discipline the

studies above matters. As Thomas, as cited in O‘ Grady & Dobrovolsdy, 1999,

describes in the Lives of a Cell:

―The gift of language is the single human trait that

marks us all genetically, setting us apart from the rest of

life‖

And also the dictionary, Oxford Advanced Learner‘s Dictionary of

Current English-by Hornby A.S. defines language as:

―Noun (uncountable) human and non-instinctive

method of communicating ideas, feelings and desires

by means of a system of sound symbols‖

Language is used both literally and metaphorically. Literally, it refers to

what all of us use in our daily transaction, sometimes without being consciously

aware of doing so. The study is concerned with directly areas: Language,

linguistics and literature. Language is a conventional system of habitual vocal

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behavior by which members of a community communicate with one another. It

is explained more as following characteristics: ―Language as a form of

communication is entirely arbitrary in its relation to what is communicated‖,

―Language is a convention, a tradition, a Social institution, that has grown

through The common living of a large number of people who carry on the

tradition‖, ―Like other social institutions, language is Conservative and

resists change. But it changes much more rapidly than the species of

plants and animals‖, ―Language is linear. It is one-dimensional‖, ―Every

language consists a surprisingly Small inventory of distinctive

sounds, called phonemes‖, ―Language is systematic and unsystematic, regular

and irregular‖, ―Language is learned, not inborn; it is handed on, not

inherited‖, ―Language is voluntary behavior‖, and ―Language is a set of

habits‖.

According to Sapir (1921) says:

―Language is a purely human and non-instinctive method

of communicating ideas, emotions and desires by means

of voluntarily produced symbols‖ (p. 8).

Human only possess language and all normal humans uniformly possess

it. Animals have a communication system but it is not a developed system.

Therefore language can be said to be species-specific and species-uniform.

According to In their Outline of Linguistic Analysis Bloch & Trager (1942)

Writes:

―A language is a system of arbitrary vocal symbols by

means of which a social group co-operates‖

According to Wardaugh (1972) points out that:

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―A language is a system of arbitrary vocal system used

for human communication‖

According to Hall (1968), In his Essay on Language says that:

―Language is the institution whereby humans

communicate and interact with each other by means of

habitually used oral -auditory arbitrary symbols‖

(p. 158).

This definition clearly gives more prominence to the fact that language is

primarily speech produced by oral-auditory symbols. According to Robin, he

rightly points out that:

―Tend to be trivial and uninformative, unless they

presuppose…some general theory of language and of

linguistic analysis‖. But he does list and discuss a

number of salient facts that ―must be taken into account

in any seriously intended theory of language‖

Throughout the successive editions of this standard

textbook, he notes that languages are symbol

systems…almost wholly based on pure or arbitrary

convention…infinitely extendable and modifiable

according to the changing needs and conditions of the

speakers‖

This definition refers to the language is a symbol system definitely.

According to Chomsky, he states that:

―All natural languages, in either their spoken or their

written form, are languages in the sense of his definition:

each natural language has a finite number of sounds in it

(and a finite number of letters in its alphabet-on the

assumption that it has an alphabetic writing

system); and although there may be infinitely many

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distinct sentences in the language, each sentence can

be represented as a finite sequence of these sounds or

letters‖

Chomsky‘s purpose is to focus attention upon the purely structural

properties of languages and to suggest that these properties can be investigated

from a mathematically precise point of view. In the other word, he meant to

convey that each sentences has a structure. Human brain is competent enough to

construct different sentences from out of the limited set of sounds/symbols

belonging to a particular language. Human brain is so productive that a child can

at any time produce a sentence that has never been said or heard earlier.

However most of linguists have taken the view that languages are systems of

symbols designed, as it were, for the purpose of communication. Sounds join to

form words according to the system.

Human language is characterized by creativity. Speakers of a language

have access to a grammar, a metal system that allows them to form and interpret

familiar and novel utterances. The grammar governs the articulation, perception,

and patterning of speech sounds, the formation of words and sentences, and the

interpretation of utterances. All language have grammars that are equal in their

expressive capacity, and all speakers of a language have knowledge of its

grammar. The existence of such linguistic systems in human is the product of

unique anatomical and cognitive specialization. According to Derbyshire (1967)

explains clearly that:

―Language is undoubtedly a kind of means of

communication among human beings. It consists

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of vocal sounds. It is articulatory, systematic, symbolic

and arbitrary‖

It can be said that the language is the property of human beings and it is

primarily speech, brings out the point that it is an important means of

communication amongst humans. Before starting of civilization, humans might

have used the language of signs, but it must have had a very limited scope. It can

be said that language is a fully developed means of communication with the

civilized humans who can convey and receive millions of messages across the

universe. Therefor language has changed the entire gamut of human relations

and made it possible for human beings to grow into a human community on this

planet. Thus the language is definitely a literary verbal and non-verbal vehicle of

commutation of human to understand one another. To sum up the definitions of

language is that language is a means of communication, arbitrary, a system of

systems, primarily vocal; speech is primary; writing is secondary, a form of

social behavior, and a symbol system.

Linguistics is to study language in scientific aspects so language is the

chief source of communication of ideas. Language is very common and an easy

source of communication and it is the basis of human civilization which would

have been impossible without it. There are the ideas of a few prominent

linguistics about language as follows: ― Language may be defined as the

expression of thought by means of speech sound‖, ― A system of communication

by sound i.e. through the organs of speech and hearing, among human beings of

a certain group or community, using vocal symbols possessing arbitrary

conventional meaning‖, ― Language is a primarily human and non-instinctive

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method of communicating ideas, emotions and desire by means of a system of

voluntarily produced symbols‖, ― Language is a system of conventional, spoken

or written symbols by means of which human beings, as members of a social

group and participants in its culture, communicate‖, and ― A language is a device

that establishes sound-meaning correlations, paring meaning with signals to

enable people to exchange ideas through observable sequences of sound‖.

Ferdinand De Saussure adds that:

―A linguistics system is a series of difference of sound

combined with a series of differences of ideas.‖

On above definitions make us understanding that language is an

organization of sounds produced from the mouth to convey some meaningful

message. Moreover it is a device of expression of thoughts or ideas in written or

graphic form. The main purpose of production of a language is to communicate

the message to the participants. Thus the basic material processes of the

language activity are production, perception, and transmission in spoken

language which occurs through articulation, audible sound waves and visible

marks. As stated that linguistics is to study ‗language‘ in general. Human beings

express themselves and interact through language. All other subjects are

expressed through language. Robin says that:

―Linguistics is concerned with human Language as a

universal and recognizable part of the human behavior

and of the human faculties perhaps one of the most

essential to human life as we know it, and of the

most far-reaching of human capabilities in relation

to the whole span of mankind‘s achievements‖

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Thus linguistics can be defined as the scientific study of language.

Linguistics is a science in following as: it is empirical and objective; its

explanation of language is based on observation of language phenomenon; and

its explanations consistent and economical. The main concern of linguistics is to

describe language, to study the nature of language, and to establish a theory of

language. The levels of linguistic analysis, corresponding to the levels of

language structure, are phonetics and phonology, morphology, syntax,

semantics, which take sounds, words, sentences, and meanings, respectively as

discrete units. Moreover discourse is the level of language beyond the sentence.

The study of variation in language and the use of language in communication

have also led to new ways of studying literary texts and the nature of literary

communication. Literary authors use the system of language in their own way:

they create a style. Therefore this kind of study is called literary stylistics.

Stylistics is the study of style and the method used in written and spoken

languages. It is the manner of linguistic expression in prose or verse. It is the

way a speaker or writer expresses whatever he wants to say. Hall opines clearly

that:

―We can define linguistics stylistics as the description of

literary texts, by methods derived from general

linguistic theory, using the categories of the description of

the language as whole; and the comparison of each text

with others, by the same and by different authors in the

same and in different genres‖

Additionally Jindal (2008) speaks that the stylistics is the branch of

linguistics taking the language of literary texts as its object of study. Out of the

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many types of variation that occur in language, it is the variation in library style

that is most complex, and thus offers unlimited scope for linguistics analysis.

The study of style is important in literature as each literary text is an individual

use of language reflecting the unique personality and thoughts of the writer.

Moreover McArthur (2005) states that stylistics as ―the branch of linguistics

studying style in language and especially in works of literature is less orientated

towards write or speaker than is literary and dramatic , criticism and more

towards text, reader, and linguistic form.‖ With the same ideas of stylistics as a

branch of linguistics studying language uses of literature works, these scholars

below gave their points to agree on that. Richards, Schmidt, Kendricks and Kim

(2002) supportably defines the stylistics as the study of that variation in

language is dependent on the situation in which the language is used and also on

the effect the writer or speaker wishes to create on the reader or hearer. Although

stylistics sometimes includes the investigations of spoken language, it usually

refers to the study of written language, including literary texts. Stylistics is

concerned with the choices that are available to a writer and the reasons why

particular forms and expressions are used rather than others. Verdonk (2002)

also states that the stylistics is generally regarded as the formal analysis of style

and its variations in speech and writing. It emerged from the study of classical

rhetoric and developed as an area of literary studies that came to be included in

modern linguistics, particularly in the last fifty years. In the history of literary

criticism, the prescription of style gives way to its description and analysis. The

study of style in modern literary studies was initially set in historical periods,

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with attention directed to authors as specific exponents of distinctive methods of

writing. In recent decades, poststructuralist thought, notably deconstruction, has

emphasized the multiple and elusive ways of reading texts. In contrast, the

growth of stylistics, often considered mechanical and methodical, has pointed to

the ways in which linguistic analysis could offer support to literary criticism in

the interpretation of texts.

Undoubtedly stylistics is the scientific study of ‗style‘. But the term

‗style‘ has to do with those components features of a literary composition

which give to it individual stamp, marking it as the work of a particular author

and producing a certain upon the readers. Stylistic is an essential equipment of

literary criticism which makes it more practical, scientific, methodical and

objective. It stresses the need to form a literary grammar of a language, a literary

transformation, and satisfactory definitions of various literary terms, namely

style, poem, image and diction. More technically, stylistics is the study of the

linguistic features of a literary text-phonological, lexical, syntactical-which

directly affect overtones, emphasis, rhythm, symmetry, euphony, of the so-called

‗associative‘ elements which elements which place style in a particular register,

such as literary, colloquial, and slang. It also studies whether it is associated with

the foreign element of there are the uses of proverbs or professional words. It

describes the characteristic choice of words, the sentence structure and syntax of

a work. It also deals with the density and types of its figurative language; the

pattern of its rhythm and the component sounds; and its rhetorical aims and

devices.

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In literary stylistics, readers read the text closely with attention to the

features of language used in it, identifying and listing the particular features

under the heading of ‗lexis‘, ‗grammar‘, ‗phonology‘ or ‗sound patterns‘. When

we have obtained account of all these features, we co-relate them or bring them

together in an interpretation of the text. We try to link that is ‗what is being said‘

with ‗how it is being said,‘ since it is through the latter that authors can fully

express the many complex ideas and feeling that they want to convey. Dr.

Radhdy, L. Varsheny (1977) points out that a firm link between the textual

context and the linguistic frame that the relationship between linguistics and

literature is like that of the hammer and the anvil. In the other word, stylistics is

a branch of study intermingles and interpenetrates linguistics and literary studies

and makes deep inroads into both fields. It brings to light the linguistic

characteristics of the literary analysis through the minute observations of the

language aspects. It can be said that stylistics as the interdisciplinary branch

between linguistics and literature. The linguistic components consist of

morphemic, phonetic, phonemic, syntactic, lexical and graphological contexts.

The components of text or literary are concerned with the period in which the

written text, type of speech of the characters with regard to their culture, gender,

age, qualification, social strata, experience etc. Therefore stylistic analysis

interprets any aspects of literary form in term of the function of the language,

reference to various social contexts, the mental status and experience of the

author and also it is concerned with other norms namely the choice of the word.

It is referenced to the suitability in the sentence as well as the suitability in the

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social context. This indicates that the character of the fiction speaks the type of

language acts in accordance with a particular socio cultural context. According

to Dr. Radhev. L. Varshney (1977 ) rightly says that an individual and creative

utilization of the resources of language which his period, his chosen dialect, his

genre and his purpose within it offer him, it further involves all choices,

organization, categorization, contrast, frequencies of the linguistic features of a

passage, a frequencies of the linguistic features of a passage, a threadbare and

objective study of the phonetic features, graphology, phonology, lexis,

morphology, syntax, semantics, social-psychic background of a literary text.

The relationship between linguistics and literary analysis cannot be divided from

the field of stylistics or stylistic analysis which represents as an intersecting

ground of both the fields.

To sum up in this part the study of language is called as linguistics

because it is a systematic study of language. Literature uses the language as the

medium of communication to the reader. Thus the systematic study of style in

literary text belongs to a branch of applied linguistics called stylistics. Literature

and linguistics is to study of language. According to discussion above, we can

say that the ground of study of literature and linguistics is language. So they may

have different and similar attitudes on the study but the same objective is to

unfold the meaning directly and indirectly of language. Therefore in each

component of them is interrelated without any of them it will be not clear in

understanding.

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A diagrammatic model below shows the relationship of them:

A DIAGRAM MODEL SHOWN RELATIONSIP OF COMPONENTS

As the upper shown diagram the components namely language,

linguistics, literature and stylistics are superimposed in the totality of language.

Thus stylistics lays as discipline or as the study should be seen in the totality

with reference to the upper mentioned components. Undoubtedly, therefore,

stylistics can study both literature and linguistics. Stylistic analysis strongly

helps in a better understanding of how metaphor, irony, personification, paradox,

ambiguity etc. operate in a literary text as these are all effects achieved through

language and through the building up of a coherent linguistic structure.

Therefore stylistics aims to study all major and minute aspects of a work.

Stylistics really is a branch of applied linguistics that scrutinizes the

intrinsic beauty of language used by the authors. It persuades us to investigate

the various language features systematically. Thus stylistics can be studied both

in the field of literature and linguistics, the thesis concentrates on approaching

LANGUAGE

LINGUISTICS

LITERATURE

STYLISTICS

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stylistics from the linguistic perspective of language. The thesis aims to analyze

on the fictions of the German author FK in term of the stylistic study .

As the stylistics is a branch of Linguistics studying the situational feathers

of the varieties of language, and trying to establish the capable principles of

accounting for the particular choices made by the individual and social groups in

their uses of language. The general stylistics deals with the whole range

scrutinizing the intrinsic beauty of language used by the authors. It persuades us

investigating to the various language features systematically and determines the

role of Linguistics in the literary interpretation. Accordingly referring to the

above said ideas of stylistics stated by the scholars and linguists, stylistics can

be linked as the interdisciplinary branch between linguistics and literature. The

linguistic components include phonetic, phonemic, morphemic, syntactic, lexical

contexts. The literary or the textual components include the period in which the

text is written, type of speech of the characters with regard to their culture, age,

gender, social strata, qualification, experience etc. Hence the stylistic analysis

interprets any literary form with regard to the function of the language, with

reference to various social contexts, with regard to the mental status and

experience of the author and it also includes other norms such as the choice of

the word. It is not only with reference to the suitability in the sentence but also

the suitability according to the social context. This means the character of the

novel speaks the type of language/dialect and acts due to a particular socio

cultural context. With respect to the same idea above, Enkvist (1971) states that

language would thus be a catalogue of linguistic symbols and of their

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connections with things meant, represented by the inventory furnished by the

dictionary, and by the systematization that is given by grammar. It is a repertory

of possibilities and a common stock at the disposition of the users, who use it

according to their needs of expression in making the choice- that is style- within

the limits granted to them by the laws of language.

Thus from the concepts of the stylistics given by all expert scholars the

stylistics can be concluded that in the field of stylistics it has the relationship

concept between the linguistics and literary analysis acting as an intersecting

zone of both the fields. Stylistics as a discipline or as a study could be seen in

the totality with regard to the mentioned components. To support more

understanding about the both in the field of literature and linguistics, this thesis

entitled ―The Fiction of Franz Kafka - A Stylistic Analysis‖ is aimed to study in

approaching stylistics from the linguistic perspectives of language and to

concentrate on the stylistic analysis study of novels and short stories of FK.

2. AN AUTHOR: FK‟S BACKGROUND

The last Quote:

―Theoretically there is a perfect possibility

of happiness: believing in the indestructible

element in oneself and not striving towards it‖ –

Franz Kafka

FK was one of the major German-

Language novelist and short story author of

twentieth century. Kafka‘s body of writing was unique in itself but much of it

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was completed and was published posthumously despite his wish that it

should be destroyed. Yet he is considered amongst the most influential novelists

in Western literature. W.H. Auden famously called Kafka ―the author who

comes nearest to bearing the same kind of relation to our age as Dante,

Shakespeare, and Goethe bore to their.‖

Moreover Kafka is not only unique but also unusually peculiar.

Singularly represents what the English poet W.H. Andrews said as the ‗Age of

Anxiety‘. Speaking to the works of Franz Kafka, Nobel laureate Albert Camus

opined that ―the whole of Kafka‘s art consisted of compelling the reader to read

him again and again.‖ Indeed mostly the readers interpret Kaka in a variety of

ways, endlessly searching for the meaning of his stories.

Franz Kafka was born on July 3, 1883 in Prague, in what is now part of

the Czech Republic. Prague was a confused city, much like Kafka himself. It

was a city with numerous languages and ethnic groups fighting for position as

was clear in the late 19th century that Jewish residents were quite low in Social

rank.

FK was born into a middle-class, German-speaking Jewish family. His

father is Hermann Kafka and his mother is Julie Lowy. Kafka was the eldest of

six children. He had two younger brothers, George and Heinrich who died at the

ages of fifteen months and six months. Respectively he has three younger sisters

Gabriele, Valerie and Ottilie.

FK was much fluent in Czech. He learnt German as his first language and

also acquired some knowledge of French language and culture; one of his

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favorite authors was Flaubert. He attended the Deutsche Knabenschule, the

boy‘s elementary school at the Fleischmarkt, the street now known as Mansa

Street in Prague from 1889 to 1893. His Jewish education remained limited to

his Bar Mitzvah celebration at 13 and going to synagogue four times a year with

his father. After elementary school, he was admitted to Altstadter Deutsches

Gymnasium, an academic secondary school with eight grade levels. It was a

rigorous classics-oriented state gymnasium where German was the language of

instruction, at Staromestske namesti. He completed his Matura exams in 1901.

After completing his secondary education, Kafka got admission in

Charles University of Prague. There he first studied chemistry but switched to

Law after two weeks. This offered him a big range of career possibilities, which

pleased his father. While studying in University, he joined a student club named

Leseund Redehalle der Deutschen studenten. This club organized literary events,

readings and other activities. In the end of his first year of studies, he met Max

Brod, who remained his close friend throughout his life, together with the

journalist Felix Weltsch, who was also the student or Law. Kafka got the degree

of Doctor of Law on June 18, 1906. He also an unpaid services as law clerk for

the civil and criminal courts.

On November 1, 1907, he was hired at the Assicurazioni Generali. An

aggressive Italian Insurance Company. He worked here for nearly a year. He was

unhappy with his working time schedule from 8 pm until 6 am because it

hampered his concentration on his writing. He resigned on July 15, 1908. Two

weeks later he found more congenial employment with the Worker‘s Accident

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Insurance Institute for the Kingdome of Bohemia. He received several

promotions during his career due to his hard work.

A little known fact, as reported by Peter Drucker in Managing in the Next

society, is that Kafka invented the safety helmet, popularly known today as the

‗hard hat‘. He also received a medal for this invention in 1912, because it

reduced bohemian Steel mill deaths to fewer than 25 per thousand employees.

Kafka was also given the task of compiling and composing the Institute‘s

annual report. In 1911, Karl Hermann, spouse of his sister Elli, proposed Kafka

to collaborate in the operation of an asbestos factory known as Prager

Asbestwerke Hermann and Co. Kafka devoted much of his free time to this

business.

In 1912, Kafka met Felice Bauer who lived in

Berlin and worked as a representative for a

Dictaphone company, at the home of his close

friend Max Bord. Over the next five years they

were engaged twice to be married . But their

relationship finally ended in 1917. In 1917, Kafka

began to suffer from tuberculosis. During this time,

he was supported by his family, most notably by his sister Ottla. In early1920s,

he developed as intense relationship with Czech journalist and writer Milena

Jesenska. In 1923, he moved to Berlin, away from his family‘s influence to

concentrate on his writing. In Berlin, he lives with Dora Diamant, a 25-year-old

Kafka‟s Grave in Prague

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kindergarten teacher from an orthodox Jewish family. She became Kafka‘s lover

and influenced his interest in the Talmud.

In addition to tuberculosis, Kafka experienced frequent bouts of

insomnia, migraine headaches, boils, constipation, and other ailments. He was a

hypochondriac and possibly as anorexic, as his weight suffered wild fluxuations

and his dietary peculiarities progressed through prodigious consumption of

unpasteurized milk (a possible source of infectious tuberculosis) to a completely

vegan diet. When Kafka‘s tuberculosis worsened he retried to Prague.

Then he went to a sanatorium near Vienna for treatment. He died there

on June 3, 1924 due to starvation. The condition of Kafka‘ throat made it too

painful to eat and since intravenous therapy had not been developed, there was

no way to feed him. His body was ultimately brought back to Prague where he

was buried on June, 11, 1924 in the New Jewish Cemetery in Prague- Zizkov.

Kafka died without leaving a will. In his desk among a mass of papers lay

a folded note written in ink and addressed to his best friend Max Bord.

―Dearest Max, my last request: Everything I leave

behind me (in my bookcase linen-cupboard and my

desk both at home and in the office, or anywhere else

where anything may have got to and meet your eyes), in

the way of diaries, manuscripts, letters (my own and

others‘), sketches and so on to be burned unread; also all

writings and sketches which you or others may process;

and ask those other for them in my name. Letters which

they do not want to hand over to you, they should at least

promise faithfully to burn themselves.‖

Yours,

Franz Kafka

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These famous words written to Kaka‘s friend Max Brod have puzzled

Kafka‘s readers ever since they appeared in the postscript to the first edition of

The Trial, published in 1925, a year after Kafka‘s death. We will never know if

Kafka really meant for Brod to do what he asked. Brod believed that it was

Kafka‘s high artistic standards and merciless self-criticism that lay behind the

request, but he also believed that Kafka had deliberately asked the one person he

knew would not honor his wishes (because Brod had explicitly told him so). We

do not know, however, that Brod disregarded his friend‘s request and devoted

great energy to making sure that all of Kafka‘s works- his three unfinished

novels, his unpublished stories, diaries, and letters would appear in print. Brod

explained and claimed his reasoning as follows:

―My decision [rest] simply and solely on the fact that

Kafka‘s unpublished work contains the most wonderful

treasures, and, measured against his own work, the best

things he has written. In all honesty I must confess that this

one fact of the literary and ethical value of what I am

publishing would have been enough to make me decide to

do so, definitely, finally, and irresistibly, even if I had no

single objection to raise against the validity of Kafka‘s last

wishes.‖ (From the postscript to the first edition of The

Trial)

In 1925, Max Brod convinced the small avant-garde Berlin publisher

Verlag Die Schmiede to publish The Trial, which Brod prepared for publication

from Kafka‘s unfinished manuscript. Next he persuaded the Munich publisher

Kurt Wolff to publish his edited manuscript of The Castle, also left unfinished

by Kafka, in 1926, and in 1927 to bring out Kafka‘s first novel, which Kafka had

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meant to entitle Der Verschollene (The Missing Person), but which Brod named

Amerika.

The first English translation of The Trial, by Edwin and Willa Muir (who

had already translated The Castle in 1930), appeared in 1937 simultaneously in

England and the United States, the latter edition published by Knopf with

illustrations by Georg Salter. Neither the German nor the English-language

editions sold well, although they were critically well received. Edwin and Willa

Muir‘s translation of Amerika was first published in the United State in 1940 by

New Directions.

Undeterred, Max Brod enlisted the support of Martin Buber, Andre Gide,

Hermann Hesse, Heinrich Mann, Thomas Mann, and Franz Werfel for a public

statement urging the publication of Kafka‘s collected works as ―spiritual act of

unusual dimensions, especially now, during times of chaos.‖ Since Kafka‘s

previous publishers has closed during Germany‘s economic depression, he

appealed to Gustav Kiepenheuer to understand the project. Kiepenheuer agreed,

but on condition that the first volume be financially successful. But the Nazi rise

to power in 1933 forced Kiepenheuer to abandon his plans. Between 1933 and

1938 German Jews were barred from teaching or studying in ―German‖ schools,

from publishing or being published in ―German‖ newspapers or publishing

houses, or from speaking and performing in front of ―German‖ audiences.

Publishing that had been owned or managed by Jews, such as S. Fischer Verlag,

were quickly ―Aryanized‖ and ceased to publish book by Jews. Kafka‘s works

were not well enough know to be banned by the government or burned by

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nationalist students, but they were ―Jewish‖ enough to be off limits to ―Aryan‖

publishers.

When the Nazis introduced their racial laws they exempted Schocken

Verlag, a Jewish publisher, from the ban against publishing Jewish authors on

condition that its books would be sole only to Jews. Found in 1913 by the

department store magnate Salman Schocken, this small publishing company has

already published the works of Martin Buber and Franz Rosenzweig as well as

those of the Hebrew writer S. Y. Agnon as part of its owner‘s interest in

fostering a secular Jewish literary culture.

Max Brod offered Schocken the world publishing rights to all of Kafka‘s

works. This offer was initially rejected by Lambert Schneider, Schocken

Verlag‘s editor in chief, who regarded Kafka‘s works as outside his mandate to

publish books that could reacquaint German Jewry with its distinguished

heritage. He also doubted its public appeal. His employer also had his doubts

about the marketability of six volumes of Kafka‘s novels, stories, diaries, and

letters, although he recognized their universal literary quality as well as their

potential to undermine the official campaign to denigrate German Jewish

culture. But he was urged by one of his editors, Moritz Spitzer, to see in Kafka a

quintessentially ―Jewish‖ voice that could give meaning to the new reality that

has befallen German Jewry and would demonstrate the central role of Jews in

German culture.

Accordingly, Before the Law, an anthology drawn from Kafka‘s diaries

and short stories, appeared in 1934 in Schocken Verlag‘s Bucherei series, a

23

collection of books aimed to appeal to a popular audience, and was followed a

year later-the year of the infamous Nuremberg Laws-by Kafka‘s three novels.

The Schocken editions were the first to give Kafka widespread distribution in

Germany. Martin Buber, in a letter to Brod, praised these volumes as ―a great

possession‖ that could ―show how one can live marginally‖ (from Letters of

Martin Buber [New York: Schocken Books, 1991], p.431).

Inevitably, many of the books Schocken sold ended up in non-Jewish

hands, giving German readers-at home and in exile-their only access to one of

the century ‗s greatest writers. Klaus Mann wrote in the exile journal Sammlung

that ―the collected works of Kafka, offered by the Schocken Verlag in Berlin, are

the noblest and most significant publications that have come out of Germany‖

Praising Kafka‘s books as ―the epoch‘s purest and most singular works of

literature,‖ he noted with astonishment that ―this spiritual event has occurred

within a splendid isolation, in a ghetto far from the German cultural ministry.‖

Quite probably in response to Mann‘s article, on 22 July 1935, a functionary of

the German cultural ministry wrote to Schocken complaining that the publisher

was ―still selling the complete works of Franz Kafka, edited by Max Brod,‖

although the work of both Kafka and Brod had been placed by the Nazis on the

―list of harmful and undesirable writings‖ three months earlier. Schocken moved

his production to Prague, where he published Kafka‘s diaries and letters.

Interestingly, despite the Nazi protest against the collected works, he was able to

continue printing and distributing his earlier volume of Kafka‘s short stories in

Germany itself until the government closed down Schocken Verlag in 1939. The

24

German occupation of Prague that same year put an end to Schocken‘s

operations in Europe.

In 1939, he reestablished Schocken Books in Palestine, where he had

lived intermittently since 1934, and editions of Kafka‘s works in the renewed

Hebrew language were among its‘ first publications. In 1940, he moved to New

York, where five years later he opened Schocken Books with Hannh Arendt and

Nahum Glatzer as his chief editors. While continuing to publish Kafka in

German, Schocken reissued the existing Muir translations of novels in 1946 and

commissioned translations of the letters and diaries in the 1950s, thus placing

Kafka again at the center of his publishing program. Despite a dissenting opinion

from Edmund Wilson in The New Yorker (where he nonetheless compared

Kafka to Nikolai Gogol and Edgar Allan Poe), a postwar Kafka craze began in

the United State; translations of all of Kafka‘s works began to appear in many

other languages; and in 1951 the German Jewish publisher S. Fischer of

Frankfurt (also in exile during the Nazi period) obtained the rights to publish

Kafka in Germany. As Hannah Arendt wrote to Salman Schocken, Kafka had

come to shard Marx‘s fate: ―Though during his lifetime he could not make a

decent living, he will now keep generations of intellectuals both gainfully

employed and well-fed‖ (letter, 9 August 1946, Schocken Books Archive, New

York)

Along with the growing international recognition of Franz Kafka as one

of the great modern writers, scholars began to raise doubts about the editorial

decision made by Maz Brod. Although the manuscript of Der Verschollene (The

25

Missing Person) lacks chapter headings and often even chapter break, Kafka did

jot down on a sheet of paper headings for the first six chapters (complex with

page numbers). He left no such instructions for the remainder of the text. After

Kafka‘s premature death in 1924 of tuberculosis, Brod did everything he could

to achieve for his friends the recognition that has largely eluded him during his

lifetime. As a result, in editing the manuscript of this novel for its original

German publication in 1927, Brod was, as he explained in his afterword,

―primarily concerned with the broad line of the story, not with philological

work.‖ While he followed Kafka‘s stated intentions for those first six chapters,

he divided the remainder of the text into two additional chapters, for which he

devise the headings ―A Refuge‖ and ―The Nature Theater of Oklahoma.‖ In the

case of the latter, Brod also rounded off the chapter-and indeed the novel-by

adding two final passages that were clearly fragments from a subsequent never-

completed chapter. Finally, he relegated to an appendix two passages concerning

Karl‘s service at Brunelda‘s, since they did not, he felt, greatly advance the

story.

Salman Schocken was among the most eager for new critical Editions of

Kafka‘s works. ―The Schocken edition are bad,‖ he wrote in an internal memo.

―Without any question, new editions that include the incomplete novels would

require a completely different approach‖ (29 September 1940, Schocken

Archives, Jerusalem). However, Maz Brod‘s refusal to give up the Kafka archive

in his Tel Aviv apartment or to allow scholars access to it made such new

editions impossible until 1956, when the threat of war in the Middle East

26

prompted him deposit the buld of the archives, including the manuscript of The

Castle, in a Swiss vault. When the young Oxford Germanist Malcolm Pasley

learned of the archifes‘ whereabouts, he received permission from Kafka‘s heirs

in 1961 to deposit them in oxford‘s Bodleian Library, where they were

subsequently made available for scholarly inspection. The manuscript of The

Trial, which Kaka had given to Brod in 1920, remained in Brod‘s personal

possession, passing to his companion and heiress Ilse Ester Hoffe when he died

in 1968. It was not until the late 1980s that Ms. Hoffe agreed to sell the

manuscript, which was auctioned for a record sum by Sotheby‘s in November

1988 to the German national literary archives in Marbach, where it is now kept.

Since 1978 an international team of Kafka experts has been working on

German critical editions of all of Kafka‘s writings, which are being published by

S. Fischer Verlag with financial support from the German government. The first

of these editions, Das Schloss (The Castle), edited by Malcolm Pasley, appeared

in 1982 in two volumes, the first containing the restored text of the novel drawn

from Kafka‘s handwritten manuscript, the second containing textual variants and

editorial notes. Mark Harman‘s translation of the restored text was published by

Schocken in 1998. The critical edition of Der Verschollene (The Missing

Person), edited by Jost Schillemeit, appeared in 1983, also in two volumes.

Harman‘s translation is based on the restored text in the first volume, which

corrected numerous transcription errors in the earlier editions and removed

Brod‘s editorial and stylistic interventions. In the restored text, for example,

Schillemeit employs only the chapter headings mentioned by Kafka and inserts

27

chapter or section breaks based on evidence gleaned from the manuscript. All

the chief objective of these new translations, intended for the general public, is

to provide readers with versions that reflect as closely as possible as the state in

which Kafka left the manuscripts.

Fortunately, Brod gave the world the immortal gift of Kafka‘s voice. He

still published most of Kafka‘s work mainly because he has already told Kafka

that he would not be burning his work after his death. He claims that if Kafka

really wanted his writings to be burnt he would have found someone else to do

the job for him. During his prosperous youth, Franz Kafka was never known as a

writer. It is only after his death that he became famous for his writings. He did

produce a substantial body of literature that will forever remain some of the most

influential writing of the 20th century. Such works include: Meditation, The

Judgment, The Trial, The Castle, Amerika. The Metamorphosis, In the Penal

Colony, A Country Doctor and AFasting-Artist. Most of his short-stories and

novellas consist of the perpetual themes of solidarity and isolation.

Kafka was a social satirist, a fine craftsman and his works present the

grotesque picture of society. There is a considerable seriousness in his works.

The inhumanity and absurdity of the modern age are mirrored in his writings.

Kafka was very sensitive to the stubbornness and inflexible attitude of

bureaucracy in every profession. He was extremely concerned with man‘s

struggle for survival in the modern world which is surrounded by corrupt,

unseen for forces. He was anxious about the morality and capacity of man in

facing the forces in society. Bureaucracy, which is generally regarded as the

28

ultimate refuge for the common man‘ survival and retribution for any loss that

he might face, is ironically shown as a power blocking the individuals right to

seek justice forms the background of his major works like The Trial, The

Judgment, The Metamorphosis, The Castle etc.

2.1 SOME WORKS OF FRANZ KAFKA

2.1.1 NOVELS

1. The Trial (Der Prozeß, 1925) (includes short story "Before the

Law")

2. The Castle (Das Schloß, 1926)

3. Amerika (Amerika or Der Verschollene, 1927)

2.1.2 NOVELLA

1.The Metamorphosis (Die Verwandlung, November – December

1915)

2.1.3 SHORT STORIES

1. "Description of a Struggle" ("Beschreibung eines Kampfes",

1904–1905)

2. "Wedding Preparations in the Country"

("Hochzeitsvorbereitungen auf dem Lande", 1907–1908)

3. Contemplation (Betrachtung, 1904–1912)

4. "The Judgment" ("Das Urteil", 22–23 September 1912)

5. "The Stoker" ("Der Heizer", 1913)

6. "The Aeroplanes At Brescia" ("Die Aeroplane in Brescia",

September 1909)

7. "In the Penal Colony" ("In der Strafkolonie", October 1914)

29

8. "The Village Schoolmaster" ("Der Dorfschullehrer" or "Der

Riesenmaulwurf", 1914–1915)

9."Blumfeld, an Elderly Bachelor" ("Blumfeld, ein älterer

Junggeselle", 1915)

10. "The Warden of the Tomb" ("Der Gruftwächter", 1916–1917),

the only play Kafka wrote

11. "The Hunter Gracchus" ("Der Jäger Gracchus", 1917)

12. "The Great Wall of China" ("Beim Bau der Chinesischen

Mauer", 1917)

13. "A Report to an Academy" ("Ein Bericht für eine Akademie",

1917)

14. "Jackals and Arabs" ("Schakale und Araber", 1917)

15. "A Country Doctor" ("Ein Landarzt", 1919)

16. "An Old Manuscript" ("Ein altes Blatt", 1919)

17. "The Refusal" ("Die Abweisung", 1920)

18. "A Hunger Artist" ("Ein Hungerkünstler", 1924)

19. "Investigations of a Dog" ("Forschungen eines Hundes", 1922)

20. "A Little Woman" ("Eine kleine Frau", 1923)

21. "First Sorrow" ("Erstes Leid", 1921–1922)

22. "The Burrow" ("Der Bau", 1923–1924)

23. "Josephine the Singer, or the Mouse Folk" ("Josephine, die

Sängerin, oder Das Volk der Mäuse", 1924)

Some collections of the stories have been published as follows:

1. The Penal Colony: Stories and Short Pieces. New York:

Schocken Books, 1948.

2. The Complete Stories, (ed. Nahum N. Glatzer). New York:

Schocken Books, 1971.

3. The Basic Kafka. New York: Pocket Books, 1979.

4. The Sons. New York: Schocken Books, 1989.

5. The Metamorphosis, In the Penal Colony, and Other Stories.

New York: Schocken Books, 1995.

30

6. Contemplation. Twisted Spoon Press, 1998.

7. Metamorphosis and Other Stories. Penguin Classics, 2007

8. Kafka's Greatest Stories. Vook, 2010. (Enhanced with video

providing historical background on Kafka's life and influences.)

9. Essential Kafka: Rendezvous with Otherness. Bloomington, IN:

Authorhouse, 2011.

2.1.4 DIARIES AND NOTEBOOKS

1. Diaries 1910–1923

2. The Blue Octavo Notebooks

2.1.5 LETTERS

1. Letter to His Father

2. Letters to Felice

3. Letters to Ottla

4. Letters to Milena

5. Letters to Family, Friends, and Editors

3. THE SCOPE OF THE STUDY

The Trial, The Castle, Amerika, The Metamorphosis, The Judgment, In the

Penal Colony and A Hunger Artist of Franz Kafka depicted clear and ramified

language features and provided scopes for a meaningful and varied discussion of

these language features in the point of view of how they are distinctive of styles.

The aims of current research identify the ramified stylistic features conveyed by

Franz Kafka in his creative writing of features through the following; socio-

linguistic and socio-cultural settings inspiring during the period he has

experienced. The socio-cultural construction contributes to the linguistic turn in

31

discourse. Therefore Franz Kafka‘s fictions The Trial, The Castle, Amerika, The

Metamorphosis, The Judgment, In the Penal Colony and A Hunger Artist have

provided vividly available scope for the reassessment of the language features.

4. THE OBJECTIVES OF THE STUDY

The Regular Objectives for the Study following as:

1. To identify the various stylistic features of the language in the seven

fictions selected for research.

2. To detect the stylistic features which are the author‘s idiosyncratic

commonness and some differences.

3. To identify the nature and type of lexical embedding and giving some

literary quotes that serve as an invocatory note and give the hint of the

story‘s progression.

4. To identify the exclusive nature of language structure and language

view in the morphological, phonological, lexical and syntactic features

of style.

5. To identify the non-verbal communicative strategies, the socio-

cultural and linguistic intricacies of the author.

6. To show stylistic features pertaining to linguistics.

7. To identify the use of language by various characters backed by their

culture and education.

32

5. DATA FOR THE STUDY

. The Trial, The Castle, Amerika, The Metamorphosis, The Judgment, In

the Penal Colony and A Hunger Artist are seven outstanding and famous fictions

among his those works of Franz Kafka selected for data of the research. Kafka

produced a substantial body of literature that will forever remain some the most

influential writing of the 20th

century. The present thesis tries to disclose the

ramified stylistic features conveyed and used by Franz Kafka

The Trial (1925)

The Castle (1926)

America (1927)

The Metamorphosis (written 1915 )

The Judgment (written 1912 )

In the Penal Colony ( written 1914)

A Hunger Artist (1924)

5.1 NATURE AND ANALYSIS OF DATA

After interpretation the language in the various literary ways,

several language features were recognized. On the wider implications of

the stylistic aspects the language structure, the language use, the socio-

cultural aspects, the non-verbal communicative strategies and the author‘s

idiosyncratic and cognitive styles were recognized.

Use of phones and intonation in stylistic and featured ways such as

stress in some sounds, phonological reduction, voice quality pertaining to

intonation which have contextual attestation statements used as

interrogated forms by raising the intonation level etc. and the social

33

influence for the pronunciation of English etc. were detected and

analysed.

Morphological and lexical level stylistic features such as

analogical creation, creation of new forms, repetition and reduplication of

words, coinages, hyphenated new words, hierarchical terminologies

regarding profession and race, use of symbolism and figurative languages

such as similes, metaphors, oxymoron and personifications were also

analysed.

Syntactic stylistic features such as change in the grammar of the

sentence, word order change, change in the tense, skipping of the subject

and auxiliary verb, imperative and incomplete sentences were recognized

and have been given possible description.

5.2 REASONS FOR THE SELECTED WORKS OF FK

The Trial, The Castle, America, The Metamorphosis, The

judgment, In the Penal of Colony and A Hunger Artist are selected by

following reasons:

5.2.1 Show diversified stylistic features regularly relating to

linguistics.

5.2.2 Give insight to the trends and notion of the western culture

and society philosophical as identified by the author.

5.2.3 Identify the use of language by various characters based

their culture, society, race, idealism and education.

In addition, Kafka was a social satirist, a fine craftsman and his works

present the grotesque picture of society. There is a considerable seriousness in

34

his works. Kafka was very sensitive to the stubbornness and inflexible attitude of

bureaucracy in every profession. He was extremely concerned with man‘s

struggle for survival in the modern world which is surrounded by corrupt,

unseen forces. He was anxious about the morality and capacity of man in facing

the forces in society. Bureaucracy, which is generally regarded as the ultimate

refuge for the common man‘s survival and retribution for any loss that he might

face, is ironically shown and appeared as a power blocking the individual right

to seek justice forms the background of his major works mentioned above. In

particular, the above mentioned works are absolutely taken for the study written

in the post-modernism period and the author has intellectually blended the post-

modern notion with the sociological context of the period selected, therefore

giving the appropriate discourse pattern to the story based on possibly ways such

as the collapsed society in modernity, the inhumanity, and absurdity of the

modern age are mirrored in

6. METHODOLOGY

According to Andrea Gerbig and Anja Muller-Wood states in

―Introduction: Conjoining Linguistics and Literature‖ that ―That there is a

―natural‖ conjunction between literature and Linguistics is a truism regularly

voiced by scholars in either discipline after all, both fields deal with the raw

material of human communication and expression, language. Given that

linguistics and literary scholars often depict the foundational nexus of their fields

as self-explanatory and natural, it is surprising that they do not explore and

35

exploit it more often and/or more systematically. To the contrary, reciprocal

prejudices keep the disciplinary siblings of linguistics and literary studies apart:

while one is seen to be empirical and descriptive, the other is considered

interpretive and analytical‖. Due to above statement, linguistics and literature are

closed as the same blood living in the body. In addition, undoubtedly ―Literature

is a verbal art.‖, due to this theoretical and reasonable point, it can be considered

that the language is the verbal form of art and the aesthetic features are the

stylistic features of the literary language. Accordingly the main methodology lies

in identifying and analysing the various language features with respect to the

content and context in the literature survey taken for the study. The education,

society, culture, class, age, ideology, and gender immensely influence the

narration and discourse and their culture and these aspects are hidden creatively

in the conversation of the interlocutors along with their continuingly emotions,

passions, mood, feeling etc. The sentences framed by the characters through

their utterances form the language structure that in turn forms the language style.

The sentences are linguistically and stylistically analysed with respect to the

background of these. Thus this research is studied based on stylistic theory.

7. THE USE AND SIGNIFICANCE OF THE STUDY

Franz Kafka‘s fictions have been appreciated and accepted by readers

over the world. He is regarded as ‗Avant-Garde‘ a progressive of futuristic

writer and Vladimir Nabokov stated ―The greatest German writer of our time‖.

Hence the research reveals the language and its features. The study does not only

bring out the evidence the society playing in the present day but also gives a

36

significant contribution in three areas of the language field namely the areas of

literature, linguistics and stylistics.

7.1 IN THE AREA OF LITERATURE

Due to this area, the research brings out the writer‗s

compatibility with his own narration‗s style related to social

situation and his own philosophical idea concerned with currently

situation. It does not only depict the human idealistic mind and

emotions but also reveals the ways in which human should follow.

It leads what is called that the figures of speech to his novels,

including symbolism always used by writers. All the concepts of

literary theories will be used in the area of literature in order to

interpret.

7.2 IN THE AREA OF LINGUISTICS

Due to this area, the research will explore the ramified

styles of language. The narration and the discourse of the writer

portrayed to his writing show linguistic aspects for example the

phonological feature of style, the syntactic feature of style, the

semantic feature of style, and the morphological feature of style

due to their contextually conditioned socio-linguistic and cultural

background so helping in mapping the sociolinguistic and socio-

cultural profile of western society. Following the above, the

37

research result of this linguistic analysis explores and identifies the

language which the author used as his own style.

7.3 IN THE AREA OF STYLISTICS

Due to this area, the research focuses on the stylistic

features in the creative narration and the individual discourse

patterns of the interlocutors by the verbal and non-verbal

communicative strategies by the author. It reveals the literary

allusions. To detect following above, the stylistic features of the

author reveals clearly and the conclusion will be completed at last.

8. SCHEME OF PRESENTATION

The form of five chapters is presented in this thesis. ‗Introduction‟ gives

a general definition of language, linguistics, literature review and the stylistics

concern, including introduction to Franz Kafka‘s bibliography and his works.

After that it takes the term, concept of stylistics, the style and stylistic analysis.

The middle part of the chapter is devoted to the objectives and scope of the

study, data of the study to identify the various aspects of stylistics in order to

incorporate in the thesis. Lastly the significance and the use of the study are

presented.

The First Chapter is entitled Literature Review. It concerned with the

explanation of Introduction, Stylistics: History Stylistics, Stylistic Features,

Concepts of Stylistics, and Stylistics and Style.

38

The Second Chapter is entitled Language Structure and Language

Use in the Fiction of Franz Kafka. The chapter starts with an introduction to

the language Structure and language Use technique which are narrated in Franz

Kafka‗s novels and short stories and focuses on how the author has portrayed the

use of linguistic stylistics in his verbal arts in each categories that is prepared in

eight broad topics, as follows: the first topic is an Introduction; Language

Technique, and Use of Linguistic Stylistic. The second topic is The Syntactic

Feature of Style: Change of Grammar of the Sentences; Word Order Change,

Change in the tense, Use of Negative Sentences; One Negative Words Revealing

Positive Concept and Two Negative Words Revealing Positive Concept, Missing

Question Mark in Sentences, Use of Question Tags, Exclamatory Sentences.

The third topic is The Morphological Features of Style: Language Mixing;

Modified Physical Appearance of Words; Italic and Inverted Codes, , The Use of

Figurative Language; Use of Personification, Use of Simile; Human Emotion,

Human Nature, Human Appearance and Inanimate Things, Use of climax, Use

of Metaphor, Use of Analogy, Use of Paradox, Use of Rhetorical Question, Use

of Idiom, The forth topic is The Phonological Feature of Style: Phonological

Phonological Stress, Intonation; Statement in the Form of Exclamation and

Statement in the Form of Question. The fifth topic is Use of Symbolism. The

sixth topic is Expression. The seventh topic is Realistic Illustration of Places.

The eighth topic is Physical Structure Associated with Character. Above topics

are discussed. Previous studies and others related works are also highlighted

towards the end of the chapter.

39

The Third Chapter is entitled the Socio-Cultural and Linguistic

Perspectives of Franz Kafka‟s Fiction. This chapter introduces the characters‘

linguistic behavior described in his writing which effected by social class, clan,

and the view of personality. The existentialism, individualism, and the system of

bureaucracy inspirited will be explained how they effected into his fiction. All

is critically discussed on the reasonable cycle of logic and philosophical hidden

and based on stylistics simultaneously. The examination of Franz Kafka‘s fiction

works on how the aspects of socio-linguistic and socio-cultural features are

bounded to give the correlation between the concepts explained through the

sentences. Society influences the characteristics of the characters and acts as a

stimulating factor to the social behavior. Thus the society is also reflected in the

literary piece as well as the socio-cultural structure of the period that the author

depicts is captured in his literary work. Hence the explanatory technique used by

the author with reference to the behavior of the interlocutors which bring pathos,

humor, sarcasm and derogatory use is presented in this chapter. The change in

the tone with regard to the context, intonation, use of realistic events, reference

to history, art and science of the period, world war, recognition of German, and

bureaucratic behavior based on the context are elaborated with suitable situation

in the fiction.

The topics are presented in this chapter following as: The first topic is an

Introduction. The second topic is References to the Behavior of Characters/

Explanatory technique used by the author with reference to the behavior of the

interlocutors: Pathos, Sarcasm; Sarcasm in Discourse and Sarcasm in Characters,

40

Pathos, and Sarcasm; Sarcasm in Discourse and Sarcasm in Characters, Humor.

The third topic is Derogatory Use. The forth topic is Historical Anguish. The

fifth topic is Reference to Science. The sixth topic is Use of Realistic Events.

The seventh topic is World War; World War 1. The eighth topic is

Recognition of German and the ninth topic is Hierarchical Behavior.

The Forth Chapter is entitled Non-Verbal Communication of Franz

Kafka‟s Fiction. In the beginning of the chapter it explains the various non-

verbal communicative creatively strategies incorporated by the author in his

novels relating to the context and various dimensions of interactions backed by

the socio-linguistic behavior with particular body parts used as the developing

strategies to develop the characters in the novels, such as head, neck, shoulders,

smile, eyes, face etc.

Then it will discuss the relation of these characterized as socio-linguistic

behavior. This chapter also illustrates verbal emotions, gestures of mixed feeling

etc. All these above have contextual attestations through the way of revealing

significant reasoning with reference to the socio-cultural circumstances.

It presents three main topics as follows: The first topic is an

Introduction. The second topic is Body Language-Gesture. The third topic is

Main body Parts: A Study: Head classified into parts, Incline, Turn, Shake, Bow,

Raise, and Nod, Hair, Face; Eyes classified into Wink, Stare, and Glance, Nose,

Mouth classified into Lips; Smile, Grin, and Laugh, Teeth, Cheeks, and Chin,

Neck, Shoulders; Shrug, Hands; Arms, Fingers and Elbows, Unified Function of

41

all body Parts in Gestures, Tactile Relationships; Hand, Unified Function of

Body Parts during Non-verbal Communicative Strategies, Non-Verbal-

Emotions, Gestures of Mixed Feelings and Expression of Blankness.

The Fifth Chapter is entitled Style and Discourse of Franz Kafka‟s

Fiction. It highlights the major findings of the present research. The analytic

stylistics and discourse of Frank Kafka are disclosed distinctly. It also gives the

pedagogical implications of the study. The fruitful and useful suggestion is made

towards the last of the chapter for further research. The main nine topics are

presented as follows: The first topic is an Introduction. The second topic is

Literary Allusion. The third topic is Creating Ambiguity; Providing Channels

for the scope of Scope of Speculation. The forth topic is Theme Brought Out by

Characters; Justification of the Titles. The fifth topic is Use of Question Tag.

The sixth topic is Use of Isms; Modernism, Marxism, Nazism, Existentialism,

Narcissism, Feminism, Realism and Surrealism. The seventh topic Biographical

Influence of the Author. The eighth topic is Franz Kafka‘s Idiosyncrasy;

Enigmatic Behavior or the Characters, The Character‘s Name Revelation at the

Later State, Disclosure of Concept through the First Sentence, Use of

Idiosyncratic Sentences, Use of Idiosyncratic Theme, Use of Idiosyncratic

Notion, Use of Musical Instruments, Use of Bird‘s Voice, Use of French

Settings, Use of Medieval Romance, Use of Erotic Element, Use of Music, Use

of Endearment, Use of Comparison, Use of Food, Use of Drinks and Use of

Media.. The ninth topic is The Concepts of Discourse: Interpreting Discourse;

Based on Hierarchy, Narrative Discourse: Incomplete Sentence; In Hope of

42

Interruption and Meaning Something from Unspoken words, Supra-Segmental

Features; The Form of Stress, The Form of Repetitions, The Form of Pause and

The Form of Voice Quality, Descriptive Techniques, Dialogue Discourse, Use of

Nature, Turn Taking Strategies Adopted by the Author and Narrative

Techniques Adopted by the Author.

In conclusion which is a note of the observations definitely and

inferences carefully based on the present study is presented.