By Paul Trynka
David Bowie es uno de los músicos más reconocidos y respetados del pop-rock mundial. Conocido en todo el mundo como el gran “camaleón” de los angeles música, su brillante creatividad y constante reinvención le han convertido en un icono de nuestro tiempo. Sin embargo, a pesar de su fama, Bowie sigue siendo un enigma. En Starman, el galardonado periodista musical Paul Trynka, ha pintado el retrato definitivo de este gran artista. Desde sus años de infancia en el Brixton de l. a. posguerra hasta el glamur decadente de Ziggy Stardust pasando por su controvertido periodo berlinés.Basada en cientos de entrevistas a amigos y detractores, ex amantes y compañeros de profesión, Starman revela cómo Bowie construyó su música y a sí mismo.Además, trata los angeles vida y trayectorias profesionales de muchas otras figuras relevantes del mundo de l. a. música que se cruzan en los angeles vida de Bowie como Iggy Pop, Lou Reed o Brian Eno.
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Kafka and Ernst Weiss on the beach at Marielyst, Denmark, in 1914. is illustrated with a picture of a man tied by his hands and feet to two poles which are being moved so as to tear him apart. If for Kafka the body is capable of redemption through healthy living, it is also the supreme site of punishment. Gregor’s transformation into an insect drastically expresses Kafka’s ambivalence towards his body and towards the body in general. His 50 transformation and his failure to notice it convey the degree to which Gregor is alienated from his own body.
The reality of passions needs Expressionist images of power and conﬂict. ’ when Georg rushes downstairs on his way to execute himself. But the religious element in the story is not expressed in any coherent way. A mode of writing that coherently relates earthly events to the timeless realities of 30 religion is called allegory. But Kafka does not write allegory. It would be impossible, for example, to read The Judgement as an allegory in which Georg stands for Jesus. Yet even if literature no longer has any coherent way of representing such realities, that does not mean that they no longer exist or no longer have any claim on our attention.
His obsession with his job reveals the self-estrangement imposed on him by its demands. ‘That boy thinks of nothing but his work,’ his mother assures the chief clerk of Gregor’s ﬁrm, who, exercising an implausibly but alarmingly thorough surveillance, has come to see why he wasn’t at the station. Even so, mind and body are linked by the language of the unconscious, which can involuntarily reveal the truth. Still lying in bed, Gregor reﬂects that one of his colleagues is ‘a mere creature [Kreatur] of the chief, spineless and stupid’.