The labyrinth: A spatial paradigm in Kafka\u27s Prozess\u27\u27, Hesse\u27s Steppenwolf , and Mann\u27s Zauberberg

The study investigates the labyrinthine organization of space in selected texts by Mann, Hesse, and Kafka by applying thematic criticism and pertinent aspects of Kant\u27s examination of space and time. The study considers the significance of person-space relationships in the works by analyzing central themes and prominent motifs. The labyrinth is a signifier of a confining, decaying world in which the protagonists must search for the meaning of life. In order to establish the unique structure of the motif (tradition, variation, innovation, inversion), the changing spatial dimensions in the novels are arranged on vertical and horizontal axes. The uppermost point of the vertical axis is a place of death and darkness; the horizontal axis signifies human confinement. Thus, the traditional view of the world is inverted in the texts; the underworld (the place of confinement, darkness, and death) appears on the highest plane. The analysis focuses on the perceptions and movements of the figures in physical space to determine how they orient themselves. For instance, Josef K. continually loses his way in dark confining spaces, whereas Haller and Castorp expand their spatial coordinates by moving towards light. By relating patterns of movements and perceptions to the personality structure of the figures, the study demonstrates that Josef K. moves from a potentially open space to an increasingly confined physical environment, whereas Haller and Castorp journey from physical space to the exploration of visionary realms that merge historical past, present, and future. As a result, Josef K., disoriented in space and time, loses the freedom of personal development and is incapable of exploring the meaning of human interrelationships. Haller and Castorp, by contrast, are capable of personal and intellectual growth. They develop meaningful relationships with others and gain self-awareness and knowledge of society. The labyrinth, then, is used in these texts as an ontological challenge: figures who cannot grow personally or intellectually take the path to darkness and death, while figures capable of development take the path to light and life

The labyrinth: A spatial paradigm in Kafka\u27s Prozess\u27\u27, Hesse\u27s Steppenwolf , and Mann\u27s Zauberberg

The study investigates the labyrinthine organization of space in selected texts by Mann, Hesse, and Kafka by applying thematic criticism and pertinent aspects of Kant\u27s examination of space and time. The study considers the significance of person-space relationships in the works by analyzing central themes and prominent motifs. The labyrinth is a signifier of a confining, decaying world in which the protagonists must search for the meaning of life. In order to establish the unique structure of the motif (tradition, variation, innovation, inversion), the changing spatial dimensions in the novels are arranged on vertical and horizontal axes. The uppermost point of the vertical axis is a place of death and darkness; the horizontal axis signifies human confinement. Thus, the traditional view of the world is inverted in the texts; the underworld (the place of confinement, darkness, and death) appears on the highest plane. The analysis focuses on the perceptions and movements of the figures in physical space to determine how they orient themselves. For instance, Josef K. continually loses his way in dark confining spaces, whereas Haller and Castorp expand their spatial coordinates by moving towards light. By relating patterns of movements and perceptions to the personality structure of the figures, the study demonstrates that Josef K. moves from a potentially open space to an increasingly confined physical environment, whereas Haller and Castorp journey from physical space to the exploration of visionary realms that merge historical past, present, and future. As a result, Josef K., disoriented in space and time, loses the freedom of personal development and is incapable of exploring the meaning of human interrelationships. Haller and Castorp, by contrast, are capable of personal and intellectual growth. They develop meaningful relationships with others and gain self-awareness and knowledge of society. The labyrinth, then, is used in these texts as an ontological challenge: figures who cannot grow personally or intellectually take the path to darkness and death, while figures capable of development take the path to light and life