Reviewed by:

• Literarische Fürsprache bei Franz Kafka: Rhetorik und Poetik by Doreen Densky
• Aaron Carpenter

Doreen Densky's book Literarische Fürsprache bei Franz Kafka: Rhetorik und Poetik is an excellent analysis of Franz Kafka's use of the advocate and advocacy (Fürsprache) to speak for and to various groups in his literary works, to his legal professor, and in everyday life. Kafka's life as an advocate started with his work as a trained lawyer working at an insurance firm, progressed through his speaking for Yiddish theater, and ended with his speaking for animals [End Page 135] near the end of his life. Denksy offers a detailed analysis of how Kafka diminished the role of the advocate over the course of his three novels, while leaving open the possibility of advocating for others through his own writing.

Densky begins by examining Kafka's advocacy work in his job as a lawyer. She notes that he would approve documents with his initials, rather than a signature, as was common (64). This returns in the protagonist Josef K.'s abbreviated last name in Der Proceß, which, as Densky argues, also makes him into a representative of the everyman (113). This removal of identity is even more pronounced in Das Schloß, in which the protagonist is reduced to a single letter: K.

Kafka also served as an advocate for Yitzhak Löwy and the Yiddish theater, both by giving a speech on the Yiddish language at a fundraiser and by helping Löwy and the troupe find financial assistance. Densky argues that Kafka acted as an editor of Jewish literature and poetry in his speech, but that it could only work, "weil er die Richter ausblendet, die überzeugt werden sollen und weil er sich von Löwy zum Redezeitpunkt abwendet?" (83–84). Densky argues that Kafka's speech, rather than simply advocacy for Löwy, advocates for the possibilities of what Yiddish could be, to speak for itself (92). This connection to speaking for the Yiddish theater and speaking for German-speaking Jews also appears in Kafka's animal stories, which are discussed later in the book.

In Kafka's animal stories, speaking for Jewish people and speaking for animals, who cannot speak for themselves, come together to include such animals as the giant mole, the ape turned human Red Peter, and Josefine the Mouse Singer. The story "The Village Schoolmaster" features two rival advocates whose writings on the state of research of the giant mole leads to a social dispute. Red Peter's former life as an animal is also tested in various perspectives, most prominently Red Peter's report to the academy. Josefine the Mouse Singer is portrayed in a similar way in his thoughts on "small literature" and is reflected in how it performs as Yiddish as a pure performance that does not have to speak for anyone, which connects with Kafka's advocacy for Yiddish and Yiddish theater back in 1912. Kafka himself became the advocate for those who cannot speak for themselves.

Densky also examines how the ability of people to advocate for themselves and others diminishes and almost disappears throughout the course of Kafka's three novels: Der Verschollene, Der Proceß, and Das Schloß. [End Page 136] In Der Verschollene, Karl Roßmann's successful advocacy for the eponymous stoker of the opening chapter becomes a transition from justice to discipline in the uncle's advocacy for Karl (141). While Karl Roßmann disappears into a fantastical theatricality in Der Verschollene, Josef K. in Der Proceß is brought into the dreamlike theatricality of his own trial (109–10). As in Der Verschollene, Josef K. must play a role in the court system that entwines him ever deeper within it, but he is ultimately unsuccessful in advocating for himself.

Der Proceß opens with an act of Gegensprache rather than Fürsprache when Josef K. is marked as an alleged libeler in the speech of those in power, already diminishing his role as an advocate (109). In Der Proceß, Josef K.'s attack on the organization charging him inadvertently...

审核人：

• 弗朗茨·卡夫卡（Franz Kafka）的文学作品：多琳·丹斯基（Doreen Densky）的《反叛与诗歌》
• 亚伦·卡彭特

多琳·丹斯基（Doreen Densky）的著作《弗朗茨·卡夫卡（Franz Kafka）的文学》（FerrascheFürspra​​che）：很好地分析了弗朗茨·卡夫卡（Franz Kafka ）在他的文学作品，法学教授以及日常生活中为各个团体辩护和使用的倡导者和倡导者（Fürspra​​che）。卡夫卡的辩护者生涯始于他在一家保险公司受过训练的律师工作，后来他在意第绪剧院的演讲中逐渐发展，并在他生命的尽头结束了他对动物的演讲[End Page 135]。丹克西详细分析了卡夫卡在他的三本小说中如何削弱倡导者的作用，同时还保留了通过自己的著作提倡他人的可能性。

丹斯基首先考察了卡夫卡在律师工作中的辩护工作。她指出，他会批准文件的首字母缩写，而不是像通常那样签名（64）。这又回到了主人公约瑟夫·K。（Josef K.）在DerProceß中的缩写姓氏中，正如Densky所说，这也使他成为了每个人的代表（113）。身份删除在DasSchloß中更为明显，其中主角被简化为一个字母：K。

卡夫卡还为伊扎克·洛依（YitzhakLöwy）和依第绪语剧院（Yiddish Theatre）担任倡导者，他们在筹款活动中发表有关依第绪语的演讲，并帮助洛依（Löwy）和剧团寻求经济援助。丹斯基认为，卡夫卡在演说中担任过犹太文学和诗歌的编辑，但只能奏效，“威尔·里希特·奥布伦代，威尔伯·韦尔登·索尔登与魏尔·西尔·冯·洛伊·祖姆·雷德泽伊特·蓬特·阿布温特死了吗？” （83–84）。丹斯基认为，卡夫卡的讲话，不仅仅是为洛伊辩护，而是倡导意第绪语的可能性，为自己辩护（92）。这种与在意第绪剧院（Tyddish Theatre）和为讲德语的犹太人说话之间的联系也出现在卡夫卡（Kafka）的动物故事中，本书稍后将对此进行讨论。

在卡夫卡（Kafka）的动物故事中，为犹太人说话和为自己无法说话的动物说话，这些动物聚集在一起，包括巨型mole鼠，猿变成人类的红彼得和老鼠歌手约瑟芬（Josefine）的动物。故事“村庄的校长”有两个相互抗衡的倡导者，他们关于巨型痣的研究状况的著作引发了社会纠纷。Red Peter以前作为动物的生活也受到了不同角度的考验，其中最著名的是Red Peter向该学院提交的报告。约瑟芬·老鼠歌手在他对“小型文学”的思考中也有类似的描写，并反映了它如何像意第绪语那样表现为纯粹的表演，不必为任何人说话，这与卡夫卡对意第绪语和意第绪剧院的倡导联系在一起早在1912年。

Densky还考察了人们崇尚为自己和他人减少的能力，以及如何几乎消失了整个卡夫卡的三本小说的过程：明镜Verschollene，明镜过程，和达斯的Schloß。[结束第136页]在叔本华（Der Verschollene）中，卡尔·罗曼（KarlRoßmann）对开篇同名斯托克的成功拥护成为叔叔对卡尔（141）拥护的由正义到纪律的过渡。卡尔·罗斯曼（KarlRoßmann）在Der Verschollene消失在梦幻般的戏剧性中时，约瑟夫·K。（DerProceß）在他自己的审判中成为了梦幻般的戏剧性（109-10）。就像在Verschollene，约瑟夫·K（Josef K.）必须在法院系统中扮演一个角色，使他在内部更加紧密地纠缠在一起，但他最终未能为自己辩护。

明镜过程与行为打开Gegensprache而不是Fürspra​​che当约瑟夫K.被标记为在当权者的言论涉嫌libeler，已经削弱了他作为倡导者（109）的作用。在DerProceß，约瑟夫·K（Josef K.）对组织的攻击无意中指控他...