In support of this argument, I will outline the social hierarchies in Der Verschollene, focusing particular attention on how these power structures affect the novel's immigrants. The term stands in broadly for the extreme inequalities of a markedly stratified society characterized in part by the exploitation of immigrant workers, a theme taken up not only in Kafka's Nature-Theater scenes, but throughout the novel. While not refuting any of these in particular, I suggest that Kafka's use of "Negro" in Der Verschollene in this perplexing and intriguing scene marks a critique on American society that is not restricted to race relations between blacks and whites in the early twentieth century. Kafka's cryptic inclusion of the pseudonym "Negro" in his America-novel Der Verschollene, presented during the European immigrant Karl Rossmann's application process at the traveling Oklahoma Nature Theater, has prompted a variety of deliberations and interpretations. Er nannte daher, da ihm im Augenblick kein anderer Name einfiel, nur den Rufnamen aus seinen letzten Stellungen: 'Negro'.
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