Roy Pascal - Böcker

Faced with a political movement that was effectively unparalleled many observers found it extremely difficult to work out exactly what kind of regime they were dealing with: whose interests did it serve? First published in 1934, The Nazi Dictatorship argues both that the Nazi regime represented a clear break from pre-War ‘Prussian militarism’ and that it was not a passing fad. It describes a ‘State of Monopoly Capitalism’ in which large scale industrial and financial interests are paramount.

Faced with a political movement that was effectively unparalleled many observers found it extremely difficult to work out exactly what kind of regime they were dealing with: whose interests did it serve? First published in 1934, The Nazi Dictatorship argues both that the Nazi regime represented a clear break from pre-War ‘Prussian militarism’ and that it was not a passing fad. It describes a ‘State of Monopoly Capitalism’ in which large scale industrial and financial interests are paramount.

When Roy Pascal died in 1980 he had all but completed a book on narrative viewpoint in Kafka's shorter fiction: the stories and sketches, as well as the numerous fables and parables. It was for Pascal a genuine voyage of discovery from which he believed he was bringing back significant observations that would contribute to a richer and more accurate assessment of Kafka's art. Prepared for publication by professors Martin Swales and Siegbert Prawer, the book was originally published in 1982 in the confident expectation that it had achieved the author's aim. Although it contains detailed analyses of individual works, the book is more than simply one further addition to the bewildering corpus of secondary literature on Kafka. For it is a study which manages to cut through many previous critical controversies by paying scrupulous attention to matters of literary and stylistic technique.

Originally published in 1960. Is there an art of autobiography? What are its origins and how has it come to acquire the form we know today? For what does the autobiographer seek, and why should it be so popular? This study suggests some of the answers to these questions. It takes the view that autobiography is one of the dominant and characteristic forms of literary self-expression and deserves examination for its own sake. This book outlines a definition of the form and traces its historical origins and development, analyses its ‘truth’ and talks about what sort of self-knowledge it investigates.