Kafka

Cross comparison of works of art and literature has stabilized itself as an outstaning field which has attracted many researchers. Intellectuals and their works have contributed to the revelation of current themes of the communities of their times. This paper has tried to detect the thematic commonalities of Franz Kafka’s the Metamorphosis and Aldous Huxley’s Brave New World regarding modern man’s obsessions. Based on the theoretical views and content analysis of the two works, the research reveals the illustration of the serial and linear world trend from bureaucracy as the initial offshoot of modernism to totalitarianism as a global movement which is detected in dystopian literary works as the commonality of the two writers. The two writers have deployed similar fiction elements, namely characterization and theme, to achieve these goals. On the line of their artistic endeavour, their reflection of such trends in the two selected works shed light of the clarification, manifestation, prognostication, and the possible eradication of these modern man’s obsessions.

Si Blanchot est un des plus grands écrivains du siècle dernier, c’est, en partie, parce qu’il ne se contente pas d’écrire : il s’efforce de réécrire les textes dont il propose une critique. Non qu’il estime le livre médiocre, mais parce qu’il pense qu’une médiocre étude est celle qui n’en restitue que le contenu ; non qu’il ait à cœur de corriger l’auteur, mais parce qu’il a à dédain de poser sur son œuvre un regard aussi objectivant que s’il continuait, lui, à être le sujet du discours. Qu’on se penche par exemple sur « Le dehors, la nuit », l’article où Blanchot évoque, entre autres, Le Terrier de Franz Kafka, et on le verra abolir les limites entre critique et fiction et prolonger l’état d’inachèvement dans lequel l’écrivain tchèque avait laissé sa nouvelle. Nous reviendrons dans notre contribution sur l’entretien que l’auteur de L’Espace littérature engage dans son article avec celui du Château, et ce dès les premières lignes. Nous verrons comment la nuit y devient un personnage de Kafka et la bête une figure de Blanchot, et comment ce qui est à l’œuvre dans Le Terrier l’est également dans tout récit, et jusque là où on n’en décèle aucun.

This article proposes habeas narrativum: a translation protocol that treats literary form as procedural evidence within legal discourse and converts scenes of injury in Kafka’s The Trial into administrable minima for decisions in informational regimes. Rather than reading Kafka as allegory or doctrine, the method isolates recurrent formal injuries (non-notice, non-reasons, secret files, and credibility theater) and renders them as four predicates that make authority answerable: (1) prospectively intelligible notice identifying the items at issue, the operative rule text, and the time window; (2) review-ready reasons that are case specific, traceable to the disclosed record, falsifiable by counterevidence, and timely; (3) access and rectification through a contestable record bundle; and (4) a standard of review that prefers evidence over demeanor heuristics and specifies remedies keyed to missing predicates. Read this way, The Trial functions as a forensic archive whose scenes document which minima are absent and, therefore, what a reviewer must be able to demand on the record. To demonstrate portability beyond the literary court, a brief platform-moderation mini-case shows how these predicates reorganize routine review: requiring itemized notices, record-tied reasons, and rectification channels without demanding model transparency, thereby turning literary diagnosis into enforceable review practice in contemporary legal discourse.