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Trije Kafkovski romaneskni svetovi
Three Kafkian Romanesque Worlds


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Slovenski sinopsis
 - English synopsis
 - English summary
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 - Slovenski sinopsis

Primerjava treh sodobnih slovenskih romanov Galjot Draga Jancarja, Raza Ferija Lainscka in Stari pil Vlada Zabota s Kafkovima romanoma Proces (1925) in Grad (1926) ter novelo Preobrazba (1916) kaze zanimive vzporednice in hkrati odmike, ki v junakih slovenskih romanov potrjujejo stalnice slovenskega romana.

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 - English synopsis

A comparison of three contemporary Slovene novels --- Galjot by Drago Jancar, Raza by Feri Lainscek and Stari pil by Vlado Zabot --- with Kafka's novels The Trial and The Castle and his story Metamorphosis reveals interesting parallels, but also some departures in the depiction of the main characters in the Slovene texts, which are a continuation of certain enduring characteristics of the Slovene novel.

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 - English summary

A comparison of the romanesque world in the novels Stari pil, Galjot and Raza and Kafka's late works The Trial, The Castle and Metamorphosis reveals features that link these novels on three levels, viz. those of the romanesque main character, the atmosphere and the composition. The most interesting of the three is the comparison of the romanesque main character, which is also in the focus of the present article. Common to all romanesque figures is their existential void. An additional characteristic shared by the literary figures in the Slovene texts is one that continues through all the periods of the Slovene novel: despite their existential uncertainty, they are languishing, passive and always in pursuit of happiness.

The characters' uncertain identity is signalled already by their names, which are either reduced to the initial letter (Kafka), a dubious, only fictional identification of possibly unreal literary characters (Zabot) or easy to mistake for another (Lainscek and Jancar). Heroes become non- heroes, having lost all ability to act and with it the power at least to try and make some effort to change the world. Their hopeless situation makes any action absurd; the only reasonable thing to do is to wait, to vegetate. In the relation between the public and the private, all the characters experience feelings of foreignness, guilt, being watched, and being helpless in their fight against powers that be. Relations among people are estranged, even the most intimate relation between a man and a woman is dehumanised and objectified. Making love is like animals' copulation, in all these texts the domain of the intimate is public, frequently associated with filth, which implies evil and a Kafkian unbearableness of the world.

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