Franz Kafka ( 1883 – 1924) Franz is a 2025 biographical drama film/友人Max Brod《卡夫卡文集》（1—4卷）“從某一點開始，就沒有了回頭路。只要到達這一點。”《卡夫卡的故事 》Conversations With Kafka /《 城》/《城堡》是卡夫卡最具特色、最重要的长篇小说探討普遍的人類境況：身為局外人的感覺，被困於無法理解的體系之中，渴望歸屬拒絕承認自身存在的地方。 《判決》、《流刑地》甚至那個星狀的線軸生物Odradek ，則是卡夫卡迷都能解讀的延伸閱讀。 知名波蘭女導演Agnieszka Holland 《變形卡夫卡》歐西奧多·W. 阿多諾（Theodor W. Adorno）1953年的文章《卡夫卡札記》（收錄於其文集《棱鏡》中）是20世紀最著名、最具挑戰性的文學批評作品之一。阿多諾沒有將弗朗茨·卡夫卡解讀為一位安逸的宗教神秘主義者、關於普遍「異化」的存在主義先知，或單純的政治評論家，而是以一種嚴謹的、字面意義上的視角來審視卡夫卡筆下那噩夢般的世界。

 

Franz Kafka ( 1883 –  1924) 《卡夫卡文集》（1—4卷）《卡夫卡的故事 》Conversations With Kafka  /《 城》《城堡》是卡夫卡最具特色、最重要的长篇小说：土地测量员K受命赴某城堡上任，不料却受阻于城堡大门外，于是主人公K同城 堡当局围绕能否进入城堡之事展开了持久烦琐的拉锯战。城堡就位于眼前一座小山上，可它可望不可即；它是那样冷漠、威严，像一头巨兽俯视着K；它代表了一个 庞大的官僚机构，那儿等级森严，有数不尽的部门和数不尽的官吏，可又有数不尽的文书尘封在那里，长年累月无人过目，得不到处理。面对这座强大的城堡，K很 无奈，直到最后也没有进入城堡，也没见到城堡当权者。 小说自始至终笼罩着一种神秘的、梦魇般的气氛；寓意深刻，令人回味无穷。 (

托馬斯曼的致敬之作

故事講述了一個名叫K的男子來到一個白雪皚皚的村莊，自稱是受神秘城堡當局召喚的土地測量員。城堡俯瞰整個村莊。然而，他面對的是官僚主義的冷漠，以及迷宮般的辦事員、官員和秘書，他們似乎永遠處於一種毫無意義的忙碌狀態。 K在整部小說中都在努力進入城堡，確認自己的身份，並在他被召喚到的這個世界中找到自己的位置。他的探索之路充滿了令人抓狂的循環對話，對話中的人物說話晦澀難懂，給予虛假的希望，然後又退回到難以理解的繁文縟節之中。城堡的世界是一個絕對的、專斷的權力世界，那裡的法律令人費解，唯一可以確定的是，你永遠無法得到一個明確的答案。

《城堡》之所以如此震撼人心，在於它那陰鬱而又令人不安的熟悉感。卡夫卡並非在描寫某個特定的政治制度，而是在探討一種普遍的人類境況：身為局外人的感覺，被困於一個無法理解的體系之中，渴望歸屬一個拒絕承認自身存在的地方。這部小說是氛圍營造的傑作，建構了一個冰雪、寂靜和揮之不去的恐懼感的世界。 K.所經歷的挫敗感並非情節的副產品，它本身就是情節。眾所周知，卡夫卡並未完成這部小說；他原本打算讓K.在等待城堡召喚時，因精疲力竭而死。最終殘缺的手稿似乎恰如其分，證明了人們永遠無法抵達這座迷宮的盡頭。

讀完《城堡》後，你會感覺自己彷彿與K.一同在迷宮中徘徊，始終無法確定自己是在前進還是在原地打轉。這本書會讓你內心深處感到不安，卻又莫名地感到興奮。閱讀此書，您將體驗到一位作家如何將現代生活的焦慮轉化為藝術的力量。同時，您也會像K.一樣，感受到這個世界彷彿是一個需要不斷尋求存在許可的地方。

A homage by Thomas Mann

The story follows a man known only as K., who arrives in a snow-covered village claiming to be a land surveyor summoned by the mysterious authorities of the Castle that looms over the town . He is met with a wall of bureaucratic indifference, a labyrinth of clerks, officials, and secretaries who seem to exist in a state of perpetual, meaningless motion. K. spends the entire novel trying to gain access to the Castle, to have his identity confirmed, to find a place in the world he has been called to . His quest is met with a series of maddening, circular conversations, with characters who speak in riddles, offer false hope, and retreat into a fog of impenetrable protocol . The world of the Castle is one of absolute, arbitrary power, where the laws are incomprehensible and the only certainty is that you will never get a straight answer.

What makes The Castle so powerful is its bleak, uncanny familiarity. Kafka was not writing about a specific political system, but about a universal human condition: the feeling of being an outsider, of being trapped in a system you cannot understand, of needing to belong to a place that refuses to acknowledge your existence . The novel is a masterwork of atmosphere, a world of snow, silence, and a constant, gnawing sense of dread. The frustration K. experiences is not a side effect of the plot; it is the plot . The novel was famously left unfinished by Kafka; he intended to end with K. dying of exhaustion, still waiting for his summons to the Castle . The final, broken state of the manuscript feels entirely appropriate, a testament to the impossibility of ever reaching the end of such a labyrinth .

You will close The Castle feeling as though you have been wandering through a maze alongside K., never quite sure if you are making progress or simply going in circles. It is a book that will leave you deeply unsettled, yet strangely exhilarated. Read it to experience the power of a writer who turned the anxieties of modern life into an art form. And be prepared to feel, like K., that the world is a place where you are constantly seeking permission to exist.

BOOK:  https://amzn.to/4fXs2rV

Franz Kafka^[a] (3 July 1883 – 3 June 1924) was a German-language writer of novels and short stories, regarded by critics as one of the most influential authors of the 20th century. Kafka strongly influenced genres such as existentialism. His works, such as "Die Verwandlung" ("The Metamorphosis"), Der Process (The Trial), and Das Schloss (The Castle), are filled with the themes and archetypes of alienation, physical and psychological brutality, parent–child conflict, characters on a terrifying quest, and mystical transformations.

 http://en.wikipedia.org/wiki/Franz_Kafka

1970年代新潮文庫等都有翻譯本
友人Max Brod

Kafka left his work, both published and unpublished, to his friend and literary executor Max Brod with explicit instructions that it should be destroyed on Kafka's death; Kafka wrote: "Dearest Max, my last request: Everything I leave behind me ... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread".^[152][153] Brod decided to ignore this request and published the novels and collected works between 1925 and 1935.

西奧多·W. 阿多諾（Theodor W. Adorno）1953年的文章《卡夫卡札記》（收錄於其文集《棱鏡》中）是20世紀最著名、最具挑戰性的文學批評作品之一。阿多諾沒有將弗朗茨·卡夫卡解讀為一位安逸的宗教神秘主義者、關於普遍「異化」的存在主義先知，或單純的政治評論家，而是以一種嚴謹的、字面意義上的視角來審視卡夫卡筆下那噩夢般的世界。 [1, 2]

從字面意義理解意象

阿多諾認為，如果我們急於將卡夫卡的故事轉化為某種事物的象徵或隱喻，就會破壞其作品的真義。當格里高爾·薩姆薩（Gregor Samsa）變成昆蟲，或者約瑟夫·K.（Joseph K.）被一個無法名狀的法庭逮捕時，我們不應去尋找某種隱秘而令人寬慰的道德寓意。相反，阿多諾指出，我們必須以字面意思來看待這些令人震驚的意象。它們是現代資本主義和極權主義體系如何真正扭曲人類的物質性記錄。 [1, 2, 3]

沒有救贖的諾斯底主義

阿多諾曾用「沒有救贖的諾斯底主義」這一著名說法來描述卡夫卡的世界。在古代諾斯底教中，受困的靈魂或許能透過獲得秘密知識或神聖之光，從而逃離腐敗的物質世界。但在阿多諾對卡夫卡的解讀中，既無救贖，也無逃脫的可能。卡夫卡故事中那些高高在上的權威、法庭和城堡，本質上是空洞的，且僅憑自身邏輯確立其正當性。它們要求絕對的服從，揭示了「壓抑性理性」──也就是那些淪為盲目統治工具的理性體系──那令人恐懼的面目。 [1, 2]

作為密碼的歷史

卡夫卡文集-(全四卷)-增订版
作者: [奥]卡夫卡
译者: 高年生
出版社: 作家出版社
出版年: 2011


　 　卡夫卡(1883—1924)，奥地利著名小说家。出生于奥匈帝国统治时期的布拉格，父亲是一个成功的犹太商人。卡夫卡曾攻读文学，后改学法律。先后供 职于一家保险公司和工人保险所，因肺病辞职。后埋头写作。曾两度订婚，却因健康关系一直未婚。1924年死于肺病。卡夫卡最杰出的作品当数长篇小说《审 判》、《城堡》和短篇小说《变形记》，这些作品的主题、风格对后来的荒诞派戏剧、黑色幽默小说产生了重要影响。凭借这些作品，他被誉为20世纪最优秀的作 家之一，西方现代派文学的先驱。

--2011年作家出版社出版的《卡夫卡文集》（1—4卷）增訂版是在上海譯文出版 社2002年版的基礎上重新修訂而成。新版《卡夫卡文集》（1—4卷）增訂版增補了三篇短篇小說，校訂修改了某些譯文，糾正了一些印刷錯誤，并以全新的版 式和封面設計對圖書進行了精美包裝，更加準確、新穎、概括地表現出卡夫卡的創作風格和世界經典文學的品格。新版《卡夫卡文集》（1—4卷）增訂版將給熱愛 卡夫卡的讀者帶來新的閱讀感受。
【本書目錄】
《卡夫卡文集》第?卷前言
Kafkaesque——卡夫卡的作品與現實
《城堡》簡介
城堡
附錄
　一　開篇的異文
　二　殘章斷篇
　三　作者刪除的文句和段落
　四　第一版后記
　五　第二版后記
　六　第三版后記
　七　譯后記
　八　卡夫卡生平創作年表
《卡夫卡文集》第二卷
《卡夫卡文集》第三卷
《卡夫卡文集》第四卷-
卡夫卡文集
副标题: 城堡
作者: 卡夫卡
译者: 高年生
出版社: 上海译文出版社
出版年: 2003年
内容简介 · · · · · ·
　 　本文集共4册：(1)城堡--《城堡》是卡夫卡最具特色、最重要的长篇小说：土地测量员K受命赴某城堡上任，不料却受阻于城堡大门外，于是主人公K同城 堡当局围绕能否进入城堡之事展开了持久烦琐的拉锯战。城堡就位于眼前一座小山上，可它可望不可即；它是那样冷漠、威严，像一头巨兽俯视着K；它代表了一个 庞大的官僚机构，那儿等级森严，有数不尽的部门和数不尽的官吏，可又有数不尽的文书尘封在那里，长年累月无人过目，得不到处理。面对这座强大的城堡，K很 无奈，直到最后也没有进入城堡，也没见到城堡当权者。 小说自始至终笼罩着一种神秘的、梦魇般的气氛；寓意深刻，令人回味无穷。 (2)诉讼·美国：本卷由卡夫卡的另外两部长篇小说《诉讼》和《美国》组成。《诉讼》是最早被人们认识的小说：银行襄理K为人正直，勤奋能干，可在他30 岁生日那天突遭逮捕，他觉得此事荒唐而又滑稽，后经多方打听才得知，... (展开全部) 　　
作者简介 · · · · · ·
　　卡夫卡
　　弗兰兹·卡夫卡（Franz Kafka，1883年7月3日—1924年6月3日），20世纪德语小说家。文笔明净而想像奇诡，常采用寓言体,背后的寓意言人人殊，暂无（或永无）定论。别开生面的手法，令二十世纪各个写作流派纷纷追认其为先驱。
　 　卡夫卡生于捷克（当时属奥匈帝国）首府布拉格一个犹太商人家庭，是家中长子，有三个妹妹（另有两个早夭的弟弟）。自幼爱好文学、戏剧，18岁进入布拉格 大学，初习化学、文学，后习法律，获博士学位。毕业后，在保险公司任职。三次订婚，又三次退婚，因而终生未娶，41岁时死于肺痨。
　　 1904年，卡夫卡开始发表小说，早期的作品颇受表现主义的影响。1912年的一个晚上，通宵写出短篇《判决》，从此建立自己独特的风格。生前共出版七本 小说的单行本和集子，死后好友布劳德（Max Brod）违背他的遗言，替他整理遗稿，出版三部长篇小说（均未定稿... (展开全部)
目录 · · · · · ·
前言
Kafkaesque――卡夫卡的作品与现实
《城堡》简介
城堡
附录
一 开篇的异文
二 残章断篇
三 作者删除的文句和段落
四 第一版后记
五 第二版后记
六 第三版后记
七 译后记
八 卡夫卡生平创作年表

城

著者：フランツ・カフカ、池内紀　 出版社：白水社　価格：￥1,470

明晰な新訳、作家の魅力引き出す

世界中で出る本をこんなに次々に翻訳し、翻訳が文化の重要な一翼をになっている国はほかにないと思う。「翻訳大国」とい う呼び名には自嘲（じちょう）がこめられているが、そうはいっても、翻訳のあるのはありがたいことだ。おかげで、極東の島国にいながら、世界への広い眺望 が得られる。
　まさかと思うものまで訳されている。たとえば、二十世紀初頭のオーストリアの作家ムージルの日記。この作家は文学と哲学の境界にい た人なので、私にも関係がある。その日記を読みたいと思っていたが、なにしろ厖大（ぼうだい）な量、ドイツ語で読むほどの根気はない。老い先は短いし、今 生（こんじょう）ではとてもムリと諦（あきら）めていた。ところが今年初め、その『ムージル日記』の翻訳（圓子修平訳、法政大学出版局）が出た。千四百 ページを超え、定価も二万八千円、とても人に薦められる本ではないが、私は小躍りして喜んだ。生きているうちに読めるぞ！　圓子さん、ありがとう……もっと読む

Theodor W. Adorno’s 1953 essay “Notes on Kafka” (published in his collection Prisms) is one of the most famous and challenging pieces of twentieth-century literary criticism. Rather than reading Franz Kafka as a cozy religious mystic, an existentialist prophet of general "alienation," or a simple political commentator, Adorno treats Kafka’s nightmarish worlds with a rigorously literal eye. [1, 2]

Taking the Images Literally

Adorno argues that we ruin Kafka if we immediately turn his stories into symbols or metaphors for something else. When Gregor Samsa turns into an insect, or when Joseph K. is arrested by an unnameable court, we should not look for a hidden, comforting moral. Instead, Adorno says we must take these shocking images at face value. They are material records of how modern capitalist and totalitarian systems actually deform human beings. [1, 2, 3]

Gnosticism Without Relief

Adorno famously described Kafka’s universe as a form of "Gnosticism without relief." In ancient Gnostic religion, a trapped soul might find secret knowledge or divine light to escape a corrupt material world. But in Adorno’s reading of Kafka, there is no redemption or escape. The higher authorities, courts, and castles in Kafka's tales are completely empty and self-justifying. They demand total compliance, revealing the terrifying face of "repressive reason"—rational systems that turn into instruments of blind domination. [1, 2]

History as a Cipher

For Adorno, Kafka does not lecture us about history; instead, history leaves its scars directly inside the prose. Kafka’s writings function like ciphers or codes. They register the growing inhumanity of the modern world—where human beings are treated like standardized commodities—long before the full horrors of twentieth-century fascism and totalitarianism took over Europe. By refusing to offer a happy ending or a neat resolution, Kafka forces the reader to look directly at the grimace on the face of an unfree society. [1]

If you'd like to explore this further, let me know:

• Would you like to compare Adorno's view with Walter Benjamin's take on Kafka?
• Are you interested in a specific story, like The Metamorphosis or The Trial, examined through this lens?

卡夫卡的故事 古斯塔夫.亞努赫（Gustav Janouch）著張伯權譯

台北:時報文化 1983
萬象圖書出版/發行1991年

Conversations With Kafka

Gustav Janouch
(Author), Goronwy Rees (Translator)

Conversations with Kafka: Notes and Reminiscences

不知何故沒有將英譯本的 Max Brod序翻譯出

英文本在Amazon 可全文索引

I was seventeen years old, and therefore any intimacy with me was an act of Lèse majesté.

翻譯成"背義" 似乎有點怪

這本書是譯者的少作 所以不少小毛病

譬如說 "人智學".....
:

lese majesty

アクセントlése májesty 発音記号/líːz‐/
【名詞】【不可算名詞】1【法律, 法学】 不敬罪，大逆罪.
2《口語》 不敬行為; 侮辱.
［フランス語 ‘injured majesty' の意］

古意:大不敬是中國歷史上的一種罪名，指對天子有不尊敬的言行（如不避君諱），通常為偷盜皇帝祭祀的器具和皇帝的日常用品，偽造御用藥品以及誤犯食禁，十惡之六。
[編輯] 來源
《舊唐書·刑法志》：「又有十惡之條，一曰謀反，二曰謀大逆，三曰謀叛，四曰謀惡逆，五曰不道，六曰大不敬，七曰不孝，八曰不睦，九曰不義，十曰內亂。」

I'm surprised to see this book is in print. I stumbled on a copy of the 1971, revised second clothbound edition in a community college library and have never seen it anywhere else.
Kafka is a hard man to know, let alone to like, through his fiction. One feels respect, admiration, awe ... but perhaps not affection or warmth. This book, compiled by a youthful acquaintance from his memories of chats with Kafka, provides a wonderfully human, if dubiously accurate (how could he remember all these lengthy quotations?), image of the man.
At times he seems pragmatically direct, even patronising to his listener: "There is too much noise in your poems; it is a by-product of youth, which indicates an excess of vitality. So that the noise is itself beautiful, though it has nothing in common with art. On the contrary! The noise mars the expression...." Sometimes he can be sardonic, as when he refers to newspapers as the vice of civilization -- they offer the events of the world with no meaning, a "heap of earth and sand" -- and remarks, "It's like smoking; one has to pay the printer the price of poisoning oneself." (Good thing he didn't live to see TV!)
More often, Kafka comes across as some sort of Zen master: "Just be quiet and patient. Let evil and unpleasantness pass quietly over you. Do not try to avoid them. On the contrary, observe them carefully. Let active understanding take the place of reflex irritation, and you will grow out of your trouble. Men can achieve greatness only by surmounting their own littleness."
Janouch relates a story from his father that Kafka once paid a powerful lawyer-friend to help out an injured laborer with his application for a disability pension, get his rightful compensation, and beat Kafka's employer, the Accident Insurance Institution.
Give this book five stars for interest and readability, three stars for shaky accuracy, and average at four.

//梅森斯在提到朋友馬格利特時引用了卡夫卡的話：“從某一點開始，就沒有了回頭路。只要到達這一點。”

這不是一部容易拍攝的片，但知名波蘭女導演Agnieszka Holland一定很愛卡夫卡。電影一方面主軸聚集在影響卡夫卡的四段關係（父親、妹妹奧特拉、未婚妻菲莉絲，還有捷克情人米蓮娜），顧及傳記層面的真實性，另一方面一些文學細節，比如《判決》、《流刑地》甚至那個星狀的線軸生物Odradek ，則是卡夫卡迷都能解讀的延伸閱讀。

《變形卡夫卡》成功處理了傳記電影最重要的核心，就是世界的呈現，讓觀眾可以直接感受與面對那個卡夫卡生活的布拉格世界，片中做了很多考據，甚至連卡夫卡當年看電影的狀況（還有人寫了一本書討論這個題目），即始只小小的片段，導演有也處理的非常詳細。

對精神分析有興趣的朋友，大概一開場就會被吸引，小卡夫卡不僅目睹父母做愛，而且是透過鏡子看見，而鏡子在片中也是關鍵的視覺主題。

最後要說是語言部分，卡夫卡是說德語的猶太人，但其實他捷克語很流利，這部東歐導演拍的卡夫卡電影，特別強調這個面向，比如他跟乞丐說話，跟奶媽說話，跟米蘭娜說話時，都是講捷克文。不僅是卡夫卡，他的爸爸、媽媽、妹妹奧特拉在跟捷克僕人或顧客説話時，也都說捷克文。我認為導演試圖展現當時社會更多元的複雜狀況，還有複雜的卡夫卡。

導演一定很愛卡夫卡，因為她的目標不僅是忠實呈現，而是理解卡夫卡…// 無影無蹤

這部電影其實是指由知名波蘭女導演阿格涅絲卡·霍蘭（Agnieszka Holland）執導、於2025/2026年推出關於作家法蘭茲·卡夫卡（Franz Kafka）的傳記電影《Franz》（中文常暫譯為《法蘭茲》或台灣上映譯名《變形卡夫卡》）。 [1, 2, 3]

電影基本介紹

導演：阿格涅絲卡·霍蘭（Agnieszka Holland，波蘭導演）
主角：由伊丹·魏斯（Idan Weiss）飾演法蘭茲·卡夫卡
劇情核心：描述卡夫卡從19世紀捷克布拉格的青少年時期，到1924年過世的短暫一生，探討其內心掙扎與創作靈感。 [1, 2]

電影特色與風格

非線性敘事：電影採用跳躍、碎片化的時間線，穿梭於卡夫卡的童年、保險律師生涯與情感關係之間。
超現實氛圍：呼應卡夫卡文學作品中的荒誕與異化感，片中融入了打破第四面牆等實驗性手法。
觀影門檻：影評與觀眾反應指出，該片較為仰賴觀眾對卡夫卡生平與作品的既有理解，否則容易感到抽離或破碎。 [1, 2, 3]

為了提供你更精準的資訊，想請問你想多了解：

• 這部電影的評價與爭議
• 卡夫卡真實的生平故事

information. (September 2025)

Franz
Czech theatrical release poster
Directed by	Agnieszka Holland
Written by	Marek Epstein
Story by	Marek Epstein Mike Downey
Produced by	Šárka Cimbalová Agnieszka Holland
Starring	Idan Weiss Jenovéfa Boková Carol Schuler Sebastian Schwarz Katarina Stark Aaron Friesz
Cinematography	Tomasz Naumiuk
Edited by	Pavel Hrdlicka
Music by	Mary Komasa, Antoni Łazarkiewicz
Production companies	Marlene Film Production Metro Films X Filme Creative Pool
Distributed by	Bioscop (Czech Republic) Kino Świat (Poland) X Verleih (Germany)
Release date	5 September 2025 (TIFF)
Countries	Czech Republic Poland Germany France Turkey
Languages	Czech German

Franz is a 2025 biographical drama film directed by Agnieszka Holland and written by Marek Epstein.^[1] Starring Idan Weiss as Franz Kafka, it follows the author's life from his early teens in his hometown of Prague to his premature death in 1924.^[2]

The film had its world premiere at the 2025 Toronto International Film Festival on 5 September.^[3] It was selected as Poland's submission for Best International Feature Film at the 98th Academy Awards, but it was not nominated.^[4] The film received generally positive reviews from critics.

Plot

Prague at the beginning of the 20th century: Franz Kafka (Idan Weiss) is torn between the strict expectations of his father Hermann (Peter Kurth), his monotonous daily routine at an insurance company, and his deep-rooted urge to write and thus give literary expression to his innermost feelings. His texts finally receive initial attention, while he continues to try to lead a life between conforming to others, such as his dominant father, and self-realisation. Viewers should be warned that the torture depicted in the visual rendering of Kafka’s short story “In the penal colony” could leave them traumatised. Time and again, Franz experiences intense relationships with women who enchant him to the utmost, inevitably facing the tensions between closeness and withdrawal. Supported by his friend and publisher Max Brod (Sebastian Schwarz), the picture emerges of a man searching for his place in the world – between a sense of duty, inner turmoil and creative expression.