RITA MASCIALINORITA MASCIALINO

HOW PRAGMATISM HOW PRAGMATISM DISTORTS THE MEANING DISTORTS THE MEANING

OF LITERARY TEXTS OF LITERARY TEXTS ((Der plötzliche Spaziergang -Der plötzliche Spaziergang -

The SuddenWalk,The SuddenWalk, by Franz Kafka) by Franz Kafka)

MeaningMeaning Meaning Meaning is an evolutionary product is an evolutionary product

of adaptation and as such it has a of adaptation and as such it has a large objective basis without which large objective basis without which life would have finished at its arising; life would have finished at its arising;

MeaningMeaning does not arise with does not arise with language, it has existed at least since language, it has existed at least since the beginning of life on Earth, from the beginning of life on Earth, from biosemiotics to the natural and to biosemiotics to the natural and to the formal languages; the formal languages;

MeaningMeaning is at the core of what is at the core of what humans recognise as comprehension, humans recognise as comprehension, knowledge and communication; knowledge and communication;

The meaning of language and The meaning of language and PragmatismPragmatism

Nevertheless, the meaning of language is Nevertheless, the meaning of language is seen by seen by PragmatismPragmatism ( (PeircePeirce), which is the ), which is the most accepted hypothesis upon the most accepted hypothesis upon the meaning of language, as :meaning of language, as :

1.1.having no universal objectivity; having no universal objectivity;

2.2.depending on the subjective experiences depending on the subjective experiences and habits of every individual; and habits of every individual;

3.3.havinghaving some effect on action; some effect on action; according to Peirce’s words, language in according to Peirce’s words, language in

general: general:

““is a confused form of thought whose only is a confused form of thought whose only meaning, if it has any [meaning, if it has any [!!], lies in its ], lies in its tendency (…) [to produce an action]” tendency (…) [to produce an action]” ((PeircePeirce 1931/51/98: 5, 15); 1931/51/98: 5, 15);

Weakness of PragmatismWeakness of Pragmatism

On the basis of Peirce’s Pragmatism and On the basis of Peirce’s Pragmatism and hypothesis about the meaning of hypothesis about the meaning of language, it results or should result that:language, it results or should result that:

1.1.Pragmatism cannot develop a Pragmatism cannot develop a scientific way to interpret the scientific way to interpret the meaning of language;meaning of language;

2.2.Pragmatism cannot develop a Pragmatism cannot develop a democratic culture based on the democratic culture based on the general use of reason; general use of reason;

The importance of language in general The importance of language in general and of literary texts in particularand of literary texts in particular

1.1.Meaning is a product of adaptation as well as all Meaning is a product of adaptation as well as all semiotic systems including language, therefore semiotic systems including language, therefore language cannot be a “confused form of thought” language cannot be a “confused form of thought” ((PeircePeirce); but since having an ability in the use of ); but since having an ability in the use of language beyond everyday life is not easy, language beyond everyday life is not easy, language can easily become a confused form of language can easily become a confused form of thought;thought;

2.2. The language of literary texts is a most important The language of literary texts is a most important linguistic area because it lets us know mental linguistic area because it lets us know mental worlds which would be otherwise expressed at the worlds which would be otherwise expressed at the utmost fragmented in single images or would utmost fragmented in single images or would remain completely unconscious being they not remain completely unconscious being they not required in concrete life; were these worlds not required in concrete life; were these worlds not expressed in the language of poetry, mankind expressed in the language of poetry, mankind would therefore have a great lost of identity; would therefore have a great lost of identity;

3.3. Of course, the language of literary texts must be Of course, the language of literary texts must be objectively understood for it to be advantageous; objectively understood for it to be advantageous;

DiscussionDiscussion As a justification of what has been As a justification of what has been

said, some pragmatic interpretations said, some pragmatic interpretations of a literary passage will be of a literary passage will be presented in comparison with a new presented in comparison with a new interpretation not based on interpretation not based on Pragmatism, but based on the Pragmatism, but based on the SpatialSpatial HypothesisHypothesis ( (MascialinoMascialino 1997 1997 and ff.) finalized to identify in a more and ff.) finalized to identify in a more scientific way the meaning of scientific way the meaning of language, specifically of the language, specifically of the language of fantasy, of literary texts; language of fantasy, of literary texts;

The presented intralinguistic interpretations belong to the The presented intralinguistic interpretations belong to the English and Italian cultures, but also many further English, English and Italian cultures, but also many further English, Italian, American, Spanish, French, German interpretations Italian, American, Spanish, French, German interpretations and translations have been controlled;and translations have been controlled;

Original German passage from Kafka’s Original German passage from Kafka’s Der plötzliche SpaziergangDer plötzliche Spaziergang

((The Sudden Walk/StrollThe Sudden Walk/Stroll))

Original German text of the passage Original German text of the passage (Kafka (Kafka 1913, hrsg. Max Brod/Fischer Verlag: 26):1913, hrsg. Max Brod/Fischer Verlag: 26):

““, während man selbst, ganz fest, , während man selbst, ganz fest, schwarz vor Umrissenheit, schwarz vor Umrissenheit, hinten hinten die Schenkel schlagenddie Schenkel schlagend, , sich zu seiner wahren Gestalt sich zu seiner wahren Gestalt erhebt.” erhebt.”

The enlarged and underscored phrase is in The enlarged and underscored phrase is in particular, even if not only, at issue here because particular, even if not only, at issue here because of its importance as to the meaning of the passage of its importance as to the meaning of the passage and of the whole tale;and of the whole tale;

Premise: a short contextualization of Premise: a short contextualization of the passagethe passage

In a most rough and paraphrastic outline: In a most rough and paraphrastic outline: The tale represents a protagonist at home The tale represents a protagonist at home

with his parents after dinner as usually; with his parents after dinner as usually; they always perform the same actions they always perform the same actions such as some work or play without such as some work or play without speaking with each other, so living in a speaking with each other, so living in a routine, at the surface of life without routine, at the surface of life without expressing their personality out of the expressing their personality out of the small boundaries of mental conformism; small boundaries of mental conformism; after much analytic considering and after much analytic considering and doubting, the protagonist takes the doubting, the protagonist takes the decision to go out in the night and to decision to go out in the night and to leave that kind of life where he feels leave that kind of life where he feels prone and cannot let emerge and know prone and cannot let emerge and know his true personality; his true personality;

Some interpretations in English and Italian will follow as Some interpretations in English and Italian will follow as examples of pragmatic distortions of meaning;examples of pragmatic distortions of meaning;

English translations of the German English translations of the German passagepassage

- - “, while you yourself, a sharply defined black “, while you yourself, a sharply defined black silhouette, silhouette, slapping the backs of your slapping the backs of your thighsthighs, rise to your true stature.” , rise to your true stature.” ((NeugroschelNeugroschel 2000: 30)2000: 30)

- - “, while you yourself, firm as can be, black with “, while you yourself, firm as can be, black with your sharpness of outline, your sharpness of outline, slapping the slapping the backs of your thighsbacks of your thighs, rise up to your true , rise up to your true stature.” stature.” ((PasleyPasley 1992:17) 1992:17)

- - “whereas we ourselves, as indisputable and “whereas we ourselves, as indisputable and sharp and black as a silhouette, sharp and black as a silhouette, smacking the smacking the backs of your thighsbacks of your thighs, come into our true , come into our true nature.” nature.” ((HofmannHofmann 2007: 10-11) 2007: 10-11)

English translations of the German English translations of the German passagepassage

-- “, while you yourself, boldly drawn black “, while you yourself, boldly drawn black

figure, figure, slapping yourself on the thighslapping yourself on the thigh, , grow to your true stature.” grow to your true stature.” ((MuirMuir 1993: 11) 1993: 11)

- - “, while you yourself, a firm, boldly drawn “, while you yourself, a firm, boldly drawn black figure, black figure, slapping yourself on the slapping yourself on the thighthigh, grow to your true stature.” , grow to your true stature.” ((MuirMuir 1999: 398)1999: 398)

- - “, while you yourself, absolutely solid, black “, while you yourself, absolutely solid, black and clear-cut, and clear-cut, slapping your thighsslapping your thighs, rise , rise and assume your true form.” and assume your true form.” ((CrickCrick 2009: 8) 2009: 8)

Italian translations of the German Italian translations of the German passagepassage

- - “, mentre noi ci eleviamo solidissimi“, mentre noi ci eleviamo solidissimi e e ci ci stagliamo in netti contorni, stagliamo in netti contorni, battendo battendo con le mani le coscecon le mani le cosce, fino a trovare la , fino a trovare la nostra vera forma.” nostra vera forma.” ((SchiavoniSchiavoni 1992: 65) 1992: 65)

- - “, mentre noi, solidissimi, neri per “, mentre noi, solidissimi, neri per l’assoluta nitidezza dei nostri contorni, l’assoluta nitidezza dei nostri contorni, battendo con le mani dietro sulle battendo con le mani dietro sulle coscecosce, ci si eleva ad assumere la nostra , ci si eleva ad assumere la nostra vera figura.” vera figura.” ((BaioniBaioni 1983: 95) 1983: 95)

Importance of the action Importance of the action hinten die Schenkel schlagend hinten die Schenkel schlagend in in

the talethe tale On a concrete levelOn a concrete level, it is exactly this action , it is exactly this action

which makes the protagonist/author which makes the protagonist/author possible to rise up from a prone to an erect possible to rise up from a prone to an erect position which is very particular itself;position which is very particular itself;

On a first elementary level of a paraphraseOn a first elementary level of a paraphrase, , this action makes the protagonist possible this action makes the protagonist possible to reach a truer, more dignitous and not to reach a truer, more dignitous and not prostrate personality;prostrate personality;

On a further more abstract and complex On a further more abstract and complex

level of symbolizationlevel of symbolization, this action , this action introduces the interpretation of life introduces the interpretation of life produced by the protagonist/author as we produced by the protagonist/author as we are going to see; are going to see;

Pragmatic interpretation of the Pragmatic interpretation of the action at issueaction at issue

Applying the principles of Applying the principles of PragmatismPragmatism (subjective projection of (subjective projection of one’s own experiences and habits one’s own experiences and habits etc.), the interpreters, as it cannot etc.), the interpreters, as it cannot be otherwise, let us know be otherwise, let us know theirtheir own own personality and personality and WeltanschauungWeltanschauung condensed in the slapping-image condensed in the slapping-image produced by them, but they do not produced by them, but they do not let us know the personality and the let us know the personality and the WeltanschauungWeltanschauung of Kafka nor the of Kafka nor the complex image produced by him, complex image produced by him, because these are different from because these are different from what the interpreters have what the interpreters have produced; produced;

The importance of the action for The importance of the action for the readerthe reader

If the reader understands the action If the reader understands the action by himself or reads an analysis done by himself or reads an analysis done by a scholar who has extracted its by a scholar who has extracted its meaning, then he: meaning, then he:

1.1.can enjoy emotions similar to those can enjoy emotions similar to those concerning Kafka; concerning Kafka;

2.2.can add Kafka’s perspective on life can add Kafka’s perspective on life to his own, so enlarging his own to his own, so enlarging his own mental space and mental space and WeltanschauungWeltanschauung; ;

and, which is not so unimportant, heand, which is not so unimportant, he3.3.can know who Kafka is; can know who Kafka is;

Spatial comprehension of the slapping-Spatial comprehension of the slapping-imageimage

We will now apply the instrument of We will now apply the instrument of the the Spatial HypothesisSpatial Hypothesis (main (main keyconcepts: keyconcepts: Dynamic SpatialityDynamic Spatiality,, Exo- Exo- andand Endospatial SchemesEndospatial Schemes,, Exo- Exo- and and Endospatial PlotEndospatial Plot) () (MascialinoMascialino 1997 1997 and ff.) in order to broadly and ff.) in order to broadly verify/falsify the validity of the verify/falsify the validity of the slapping-image which is generally slapping-image which is generally given as the correct comprehension of given as the correct comprehension of Kafka’s passage and therefore of the Kafka’s passage and therefore of the whole tale being the phrase relevant whole tale being the phrase relevant to the meaning of the whole tale;to the meaning of the whole tale;

Explicit and implicit area concerning Explicit and implicit area concerning the meaning the meaning

of the slapping-imageof the slapping-image Explicit areaExplicit area: The slapping-image: The slapping-image refers to refers to

a man who tries to stand up by slapping his a man who tries to stand up by slapping his thighs on their back side, i.e., tries to help thighs on their back side, i.e., tries to help himself rise up with a somehow stimulating himself rise up with a somehow stimulating action;action;

Implicit areaImplicit area: As the slapping of the thighs : As the slapping of the thighs represents a stimulation for animals to represents a stimulation for animals to move, the slapping-image refers to a move, the slapping-image refers to a possibly lazy or uncertain man who has to possibly lazy or uncertain man who has to be stimulated in order to act and who has be stimulated in order to act and who has to do this by himself, because nobody else to do this by himself, because nobody else does it or wants to do it––his family helps does it or wants to do it––his family helps him be prone––or because he knows that he him be prone––or because he knows that he can and must do the effort by himself; can and must do the effort by himself;

Falsification of the slapping-Falsification of the slapping-imageimage

Implicit to the metaphorical standing or rising up is the presence of a metaphorical not Implicit to the metaphorical standing or rising up is the presence of a metaphorical not standing position:standing position:

1.1. If the protagonist should be sitting, then he could not If the protagonist should be sitting, then he could not slap his thighs on their backside;slap his thighs on their backside;

2. 2. If he would lie on his back,If he would lie on his back, thenthen he could not slap his he could not slap his thighs on their backside;thighs on their backside;

3.3. If he would crouch down, then he could not slap his If he would crouch down, then he could not slap his thighs on their backside;thighs on their backside;

4.4. If he would lie face down, then he could slap his If he would lie face down, then he could slap his thighs, but no standing up could be stimulated by thighs, but no standing up could be stimulated by this action;this action;

5. 5. If he would be on his kneels, then he could slap his If he would be on his kneels, then he could slap his thighs, but the slapping would not stimulate the thighs, but the slapping would not stimulate the standing up and would make it more difficult and standing up and would make it more difficult and even impossible;even impossible;

6.6. The slapping is not so great an action which can lead The slapping is not so great an action which can lead to so great a goal, nor it is an elegant action, whereas to so great a goal, nor it is an elegant action, whereas the German passage consists in a most elegant the German passage consists in a most elegant language coherently fit to great goals;language coherently fit to great goals;

Consistence of the slapping-imageConsistence of the slapping-image

As shown above:As shown above: The The Dynamic SpatialityDynamic Spatiality carried by the carried by the

action of slapping the thighs by one’s self action of slapping the thighs by one’s self does not fit any standing up, which is why does not fit any standing up, which is why nobody in the worldnobody in the world has ever slapped or has ever slapped or would slap his thighs by himself in order would slap his thighs by himself in order to move or rise up, except the protagonist to move or rise up, except the protagonist of Kafka’s tale according to the current of Kafka’s tale according to the current pragmatic interpretations;pragmatic interpretations;

In addition, the slapping is not an In addition, the slapping is not an elegant or great action, it is even sotosay elegant or great action, it is even sotosay vulgar, whereas the language Kafka has vulgar, whereas the language Kafka has chosen to connote the action at issue chosen to connote the action at issue shows a height of elegance and greatness shows a height of elegance and greatness which requires consistence with the which requires consistence with the meaning of the passage;meaning of the passage;

Some short analysis of the Some short analysis of the passagepassage

Let us now have some short analysis Let us now have some short analysis both about the meaning of theboth about the meaning of the wordswords of which the phrase consists of which the phrase consists and about the underlying and about the underlying syntaxsyntax; ; not only words, but also syntax is not only words, but also syntax is always very relevant as to the always very relevant as to the meaning of all possible linguistic meaning of all possible linguistic forms and is particularly relevant in forms and is particularly relevant in this specific case, because it is this specific case, because it is exactly in the correct interpretation exactly in the correct interpretation of the syntactic form that we can of the syntactic form that we can achieve the meaning of the passage achieve the meaning of the passage and so of the whole tale;and so of the whole tale;

Meaning of the German verb Meaning of the German verb schlagenschlagen

The German verb The German verb schlagenschlagen, roughly considered, has two , roughly considered, has two different areas of semantic application: different areas of semantic application:

1. 1. WithWith an an accusative objectaccusative object, the meaning , the meaning is: is: to slapto slap, , to knockto knock, , to beatto beat, , to striketo strike, , and the like; and the like;

2. 2. With With no accusativeno accusative objectobject,, thethe meaning meaning is: is: to perform more times in a rapid to perform more times in a rapid succession a violent movement with a succession a violent movement with a part of the bodypart of the body, as, e.i., when a crocodile , as, e.i., when a crocodile repeatedly and very rapidly moves his tail repeatedly and very rapidly moves his tail violently, or a bird more times and very violently, or a bird more times and very rapidly moves his wings, and the like;rapidly moves his wings, and the like;

The syntax underlying the The syntax underlying the slapping-imageslapping-image

The syntax underlying the slapping-The syntax underlying the slapping-image refers to the meaning of image refers to the meaning of schlagenschlagen with an accusative object, with an accusative object, i.e., i.e., to slapto slap in the form of a present in the form of a present participle directly linked both to the participle directly linked both to the indefinite pronoun indefinite pronoun one one (you, we etc.),(you, we etc.), in Germanin German manman,, which haswhich has the the function of a subject, and to the noun function of a subject, and to the noun thethe thighsthighs/die Schenkel/die Schenkel, intended as , intended as an accusative object, plural, i.e.: The an accusative object, plural, i.e.: The protagonist (indefinite subject protagonist (indefinite subject manman) is ) is slapping (transitive meaning of slapping (transitive meaning of schlagenschlagen) his thighs (accusative object ) his thighs (accusative object die Schenkeldie Schenkel) from their back side ) from their back side ((hintenhinten););

The syntax underlying the original The syntax underlying the original German textGerman text

The German text interpreted by The German text interpreted by MascialinoMascialino (1996, 2008) shows a (1996, 2008) shows a nominative absolutenominative absolute with with schlagendschlagend in the form and meaning without any in the form and meaning without any accusative object, i.e.:accusative object, i.e.:

thethe hind hind thighsthighs/die Schenkel/die Schenkel are the are the subjectsubject of of schlagendschlagend with meaningwith meaning to to perform a violent movement many perform a violent movement many times in rapid successiontimes in rapid succession with a part with a part of the bodyof the body, i.e.: the hind thighs (, i.e.: the hind thighs (die die SchenkelSchenkel as definite subject of the as definite subject of the phrase) are kicking (intransitive phrase) are kicking (intransitive meaning of meaning of schlagenschlagen););

The black-horse-imageThe black-horse-image The movement concerned in this The movement concerned in this

nominative absolutenominative absolute is performed is performed withwith the the hind legshind legs, which implies a four-limbed , which implies a four-limbed animal; this action is typical of horses: animal; this action is typical of horses: When they rise up from a prone position, When they rise up from a prone position, they hit repeatedly and violently their hind they hit repeatedly and violently their hind legs including thighs, then they rise up by legs including thighs, then they rise up by kicking with their hind legs and swinging kicking with their hind legs and swinging their body, including head and mane, their body, including head and mane, elegantly and powerfully up and down, left elegantly and powerfully up and down, left and rights, forward and backward till they and rights, forward and backward till they are thanks to this most beautiful action are thanks to this most beautiful action erect; the protagonist lets us also know erect; the protagonist lets us also know that the horse is black as the night all that the horse is black as the night all around, around, schwarz vor Umrissenheitschwarz vor Umrissenheit; so he ; so he gives us a powerful gives us a powerful black-horse-imageblack-horse-image, the , the image of the protagonist who is no more a image of the protagonist who is no more a man, but has transformed himself into a man, but has transformed himself into a rising black horse; rising black horse;

The horse symbolThe horse symbol

1.1.The The horse symbolhorse symbol is manifold; shortly, the is manifold; shortly, the horse in general is always linked to great horse in general is always linked to great elegance and power; it is considered as a elegance and power; it is considered as a sinister son of night and mystery, linked sinister son of night and mystery, linked to death and life, able also to achieve the to death and life, able also to achieve the highest skies starting from its dark highest skies starting from its dark origins; origins;

2.2.A A black horseblack horse is a.o. a symbol for the is a.o. a symbol for the power of the instincts, for erotic vitality power of the instincts, for erotic vitality and for the unconscious world of the and for the unconscious world of the mind, of imagination when it is not or not mind, of imagination when it is not or not yet in the form of scientific concepts, but yet in the form of scientific concepts, but in the form of fantasy; in the form of fantasy;

3.3.A A white horsewhite horse is a symbol for the power of is a symbol for the power of reason which controls the instincts, for reason which controls the instincts, for the conscious world of the mind, which the conscious world of the mind, which gives the comprehension of life scientific gives the comprehension of life scientific outlines and, in this sense, limits; outlines and, in this sense, limits;

Why a black horse in Kafka’s Why a black horse in Kafka’s passagepassage

3.3.Kafka has chosen a Kafka has chosen a black horseblack horse for for his passage and phrase in order to his passage and phrase in order to represent at the level of a most represent at the level of a most suggestive image the deepest suggestive image the deepest unconscious dark regions of his mind unconscious dark regions of his mind to which he as a great poet is in to which he as a great poet is in particular linked and the power of particular linked and the power of which he knows to be a superior power which he knows to be a superior power in comparison with the limiting power in comparison with the limiting power of reason; he as a black horse sees in of reason; he as a black horse sees in the black night and goes where reason the black night and goes where reason itself cannot have any direct access itself cannot have any direct access being reason associated with light being reason associated with light which it needs in order to be reason; which it needs in order to be reason;

Translation of the original German Translation of the original German passage by passage by

Rita MascialinoRita Mascialino

- - “, mentre da sé, del tutto “, mentre da sé, del tutto solidi, neri di contornità, solidi, neri di contornità, le le cosce dietro scalcianticosce dietro scalcianti, ci si , ci si erge verso la propria vera erge verso la propria vera forma.”forma.” ( (MascialinoMascialino 1996: 30; 1996: 30; 2008: 27)2008: 27)

The synthetic linguistic forms for The synthetic linguistic forms for the synthetic actions performed in the synthetic actions performed in

the German passagethe German passage

Corresponding to the rising of a Corresponding to the rising of a powerful powerful black horseblack horse performing the performing the continuous and fluent action of continuous and fluent action of kicking and swinging, the language kicking and swinging, the language does not show any fragmentation in does not show any fragmentation in doubts and analytic details which doubts and analytic details which connote the preceeding long part of connote the preceeding long part of the tale dominated by the limits of the tale dominated by the limits of everyday life and reason; so, the everyday life and reason; so, the passage proves to be the goal of the passage proves to be the goal of the whole tale;whole tale;

Comparison between the Comparison between the Dynamic Dynamic SpatialitySpatiality of of

the slapping-image and the black-horse-the slapping-image and the black-horse-imageimage

The synthetic language as to the words The synthetic language as to the words and syntax employed in the German and syntax employed in the German text is in complete opposition with the text is in complete opposition with the possible presence of a confused action possible presence of a confused action such as a slapping of the thighs on such as a slapping of the thighs on their back side which cannot produce a their back side which cannot produce a solid, compact, powerful and elegant solid, compact, powerful and elegant image; the image; the Dynamic SpatialityDynamic Spatiality intrinsic intrinsic to the to the black-horse-imageblack-horse-image fits fits coherently the power and elegance of coherently the power and elegance of the language intrinsic to the German the language intrinsic to the German passage together with its passage together with its corresponding meaning; corresponding meaning;

Why an indefinite subject of tale and Why an indefinite subject of tale and passagepassage

With an With an I-subject I-subject the human features of the human features of the protagonist would have been too much the protagonist would have been too much in the foreground and, understanding the in the foreground and, understanding the passage, we would have had, at least at passage, we would have had, at least at first, the arising of the image of a human first, the arising of the image of a human with some horse features, whereas we with some horse features, whereas we have in the passage most directly the have in the passage most directly the sudden presence of a whole black horse sudden presence of a whole black horse which seems to arise from under the earth which seems to arise from under the earth and which lets us forget the human and which lets us forget the human features of the protagonist exactly features of the protagonist exactly softened by the use of an softened by the use of an indefinite indefinite subjectsubject; ;

Why hind thighs instead of Why hind thighs instead of hind legshind legs

Because the hind thighs of a Because the hind thighs of a

horse are a better symbol for horse are a better symbol for power and vitality than its power and vitality than its thinner legs and because the thinner legs and because the black-horse-image is centred black-horse-image is centred upon the elegance of power, upon the elegance of power, upon vitality, including erotic upon vitality, including erotic vitality.vitality.

How the tale endsHow the tale ends

After the height of power, elegance, and After the height of power, elegance, and

vitality intrinsic to the passage Kafka adds vitality intrinsic to the passage Kafka adds the possibility of the protagonist the possibility of the protagonist transformed into a black horse to go and transformed into a black horse to go and see a friend in order to know how it is with see a friend in order to know how it is with him. A friend in order to share the world of him. A friend in order to share the world of poetry with its advantages for humans with poetry with its advantages for humans with someone who does not fear to receive the someone who does not fear to receive the visit of such a black horse used to walk and visit of such a black horse used to walk and see in the darkness, i.e., a friend who does see in the darkness, i.e., a friend who does not fear to meet the unconscious world of not fear to meet the unconscious world of imagination, whereas most humans fear to imagination, whereas most humans fear to have contact with the dark unconscious have contact with the dark unconscious world;world;

ConclusionConclusion It has been shown that Franz Kafka has It has been shown that Franz Kafka has

not only transformed himself into a not only transformed himself into a repulsive black cockroach (repulsive black cockroach (Die Die VerwandlungVerwandlung), as believed till now by ), as believed till now by scholars and common readers, but that he scholars and common readers, but that he has transformed himself also into a most has transformed himself also into a most powerful and elegant black horse: He is a powerful and elegant black horse: He is a cockroach in the morning, in everyday life, cockroach in the morning, in everyday life, and is a powerful and elegant black horse and is a powerful and elegant black horse in the night, where the mental worlds of in the night, where the mental worlds of fantasy can rule less disturbed by day fantasy can rule less disturbed by day duties and reason, by light which duties and reason, by light which eliminates the shadows produced by eliminates the shadows produced by imagination (imagination (MascialinoMascialino 1996, 2008); 1996, 2008);

It has also been shown that Franz Kafka is It has also been shown that Franz Kafka is not an author who cannot be understood, not an author who cannot be understood, as many pragmatic scholars on the contrary as many pragmatic scholars on the contrary state;state;

ConclusionConclusion

It has been shown that the meaning of It has been shown that the meaning of the language of poetry can go the language of poetry can go completely lost because of current completely lost because of current hypotheses and theories upon the hypotheses and theories upon the meaning of language; meaning of language;

It has been shown how the meaning of It has been shown how the meaning of literary texts can be identified by literary texts can be identified by applying a scientific hypothesis, a applying a scientific hypothesis, a scientific method such as the scientific method such as the Spatial Spatial HypothesisHypothesis ( (MascialinoMascialino 1997 and ff.); 1997 and ff.);

ConclusionConclusion Concluding, there is in general a Concluding, there is in general a

lack of sound interpretations of the lack of sound interpretations of the meaning of literary texts; not filling meaning of literary texts; not filling this gap, the “power of poetry”, as this gap, the “power of poetry”, as Robin AllottRobin Allott (2008) has masterly (2008) has masterly defined the importance of the defined the importance of the meaning of poetry for mankind, will meaning of poetry for mankind, will continue going lost with the continue going lost with the consequence of a damage for culture, consequence of a damage for culture, of a smaller and smaller identity as of a smaller and smaller identity as well as a greater and greater well as a greater and greater barbarism for mankind. barbarism for mankind.