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در اردوگاه محکومین
87 pages, Paperback
Published January 1, 1393
15 people want to read
About the author
Franz Kafka
3,246 books38.9k followersFranz Kafka was a German-speaking writer from Prague whose work became one of the foundations of modern literature, even though he published only a small part of his writing during his lifetime. Born into a middle-class Jewish family in Prague, then part of the Austro-Hungarian Empire, Kafka grew up amid German, Czech, and Jewish cultural influences that shaped his sense of displacement and linguistic precision. His difficult relationship with his authoritarian father left a lasting mark, fostering feelings of guilt, anxiety, and inadequacy that became central themes in his fiction and personal writings.
Kafka studied law at the German University in Prague, earning a doctorate in 1906. He chose law for practical reasons rather than personal inclination, a compromise that troubled him throughout his life. After university, he worked for several insurance institutions, most notably the Workers Accident Insurance Institute for the Kingdom of Bohemia. His duties included assessing industrial accidents and drafting legal reports, work he carried out competently and responsibly. Nevertheless, Kafka regarded his professional life as an obstacle to his true vocation, and most of his writing was done at night or during periods of illness and leave. Kafka began publishing short prose pieces in his early adulthood, later collected in volumes such as Contemplation and A Country Doctor. These works attracted little attention at the time but already displayed the hallmarks of his mature style, including precise language, emotional restraint, and the application of calm logic to deeply unsettling situations. His major novels The Trial, The Castle, and Amerika were left unfinished and unpublished during his lifetime. They depict protagonists trapped within opaque systems of authority, facing accusations, rules, or hierarchies that remain unexplained and unreachable. Themes of alienation, guilt, bureaucracy, law, and punishment run throughout Kafka’s work. His characters often respond to absurd or terrifying circumstances with obedience or resignation, reflecting his own conflicted relationship with authority and obligation. Kafka’s prose avoids overt symbolism, yet his narratives function as powerful metaphors through structure, repetition, and tone. Ordinary environments gradually become nightmarish without losing their internal coherence. Kafka’s personal life was marked by emotional conflict, chronic self-doubt, and recurring illness. He formed intense but troubled romantic relationships, including engagements that he repeatedly broke off, fearing that marriage would interfere with his writing. His extensive correspondence and diaries reveal a relentless self-critic, deeply concerned with morality, spirituality, and the demands of artistic integrity. In his later years, Kafka’s health deteriorated due to tuberculosis, forcing him to withdraw from work and spend long periods in sanatoriums. Despite his illness, he continued writing when possible. He died young, leaving behind a large body of unpublished manuscripts. Before his death, he instructed his close friend Max Brod to destroy all of his remaining work. Brod ignored this request and instead edited and published Kafka’s novels, stories, and diaries, ensuring his posthumous reputation.
The publication of Kafka’s work after his death established him as one of the most influential writers of the twentieth century. The term Kafkaesque entered common usage to describe situations marked by oppressive bureaucracy, absurd logic, and existential anxiety. His writing has been interpreted through existential, religious, psychological, and political perspectives, though Kafka himself resisted definitive meanings. His enduring power lies in his ability to articulate modern anxiety with clarity and restraint.
Kafka studied law at the German University in Prague, earning a doctorate in 1906. He chose law for practical reasons rather than personal inclination, a compromise that troubled him throughout his life. After university, he worked for several insurance institutions, most notably the Workers Accident Insurance Institute for the Kingdom of Bohemia. His duties included assessing industrial accidents and drafting legal reports, work he carried out competently and responsibly. Nevertheless, Kafka regarded his professional life as an obstacle to his true vocation, and most of his writing was done at night or during periods of illness and leave. Kafka began publishing short prose pieces in his early adulthood, later collected in volumes such as Contemplation and A Country Doctor. These works attracted little attention at the time but already displayed the hallmarks of his mature style, including precise language, emotional restraint, and the application of calm logic to deeply unsettling situations. His major novels The Trial, The Castle, and Amerika were left unfinished and unpublished during his lifetime. They depict protagonists trapped within opaque systems of authority, facing accusations, rules, or hierarchies that remain unexplained and unreachable. Themes of alienation, guilt, bureaucracy, law, and punishment run throughout Kafka’s work. His characters often respond to absurd or terrifying circumstances with obedience or resignation, reflecting his own conflicted relationship with authority and obligation. Kafka’s prose avoids overt symbolism, yet his narratives function as powerful metaphors through structure, repetition, and tone. Ordinary environments gradually become nightmarish without losing their internal coherence. Kafka’s personal life was marked by emotional conflict, chronic self-doubt, and recurring illness. He formed intense but troubled romantic relationships, including engagements that he repeatedly broke off, fearing that marriage would interfere with his writing. His extensive correspondence and diaries reveal a relentless self-critic, deeply concerned with morality, spirituality, and the demands of artistic integrity. In his later years, Kafka’s health deteriorated due to tuberculosis, forcing him to withdraw from work and spend long periods in sanatoriums. Despite his illness, he continued writing when possible. He died young, leaving behind a large body of unpublished manuscripts. Before his death, he instructed his close friend Max Brod to destroy all of his remaining work. Brod ignored this request and instead edited and published Kafka’s novels, stories, and diaries, ensuring his posthumous reputation.
The publication of Kafka’s work after his death established him as one of the most influential writers of the twentieth century. The term Kafkaesque entered common usage to describe situations marked by oppressive bureaucracy, absurd logic, and existential anxiety. His writing has been interpreted through existential, religious, psychological, and political perspectives, though Kafka himself resisted definitive meanings. His enduring power lies in his ability to articulate modern anxiety with clarity and restraint.
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February 1, 2023
سرزمین محکومان
گاه آنچنان تار و پود قساوت و بی رحمی در ایشان مسنحکم شده که هویت خود را مدیون آن اند،جمله ای در فیلم شگفت انگیز kingdom of heavon هرگز مرا رها نمی کند
I have seen too much religion in the eyes of too many murderers.
بزرگ ترین فجایا و قساوت های تاریخ بشر منشا مشترکی دارند،اعتقاد،اعتقاد به آنچه درستش می پنداریم،و به راحتی اجازه می دهیم آنان که چنین نیستند بهایش را بپردازند.
گاه آنچنان اعتقاد به درستی خویش سنگ بنای هویت مان می شود که هرگز نتوانیم آن را رها کنیم،در آن هنگام بازگشت یا بازنگری در آن اعتقاد،آنچنان چارچوب های حیات مان را تکان می دهد که ترجیح می دهیم دیگر زندگی را ادامه ندهیم،اعتقاد منشا ترجیح فنا بر زندگی ست..گاه فنای حیات خود به پندار
پیوستن به آنچه حق پنداشتیم و گاه پایان حیات دیگران به شکل و مقصدی که ما برایشان مناسب می پنداریم..
گاه آنچنان تار و پود قساوت و بی رحمی در ایشان مسنحکم شده که هویت خود را مدیون آن اند،جمله ای در فیلم شگفت انگیز kingdom of heavon هرگز مرا رها نمی کند
I have seen too much religion in the eyes of too many murderers.
بزرگ ترین فجایا و قساوت های تاریخ بشر منشا مشترکی دارند،اعتقاد،اعتقاد به آنچه درستش می پنداریم،و به راحتی اجازه می دهیم آنان که چنین نیستند بهایش را بپردازند.
گاه آنچنان اعتقاد به درستی خویش سنگ بنای هویت مان می شود که هرگز نتوانیم آن را رها کنیم،در آن هنگام بازگشت یا بازنگری در آن اعتقاد،آنچنان چارچوب های حیات مان را تکان می دهد که ترجیح می دهیم دیگر زندگی را ادامه ندهیم،اعتقاد منشا ترجیح فنا بر زندگی ست..گاه فنای حیات خود به پندار
پیوستن به آنچه حق پنداشتیم و گاه پایان حیات دیگران به شکل و مقصدی که ما برایشان مناسب می پنداریم..
April 16, 2019
وقتی کاری اشتباهه و جرم فقط مجرم به تنهایی مقصره؟
July 2, 2019
این داستان کوتاه کافکا چیز خاصی برای ارائه نداشت از نظر من.
ترجمه آقای روزدار خیلی خوب بود. ضمناً چندین صفحه هم نقد و بررسی به انتهای کتاب ضمیمه کرده بود که حرکت مثبتیه. البته نقدها جوری بودن که انگار میخواستن از صد گرم ماست، دویست گرم کَره بگیرن :) حقیقتا داستان مفهوم بزرگی در پس زمینه نداشت، مگه اینکه آدم بخواد از صد گرم ماست نیم کیلو کَره بگیره ;)
ترجمه آقای روزدار خیلی خوب بود. ضمناً چندین صفحه هم نقد و بررسی به انتهای کتاب ضمیمه کرده بود که حرکت مثبتیه. البته نقدها جوری بودن که انگار میخواستن از صد گرم ماست، دویست گرم کَره بگیرن :) حقیقتا داستان مفهوم بزرگی در پس زمینه نداشت، مگه اینکه آدم بخواد از صد گرم ماست نیم کیلو کَره بگیره ;)
Displaying 1 - 3 of 3 reviews