Pakistan Journal of Social Sciences (PJSS)

Vol. 31, No. 1 (June 2011), pp. 65-77

Hope of Death as the Possibility of Life: A Psychosemiotic

Reading of Franz Kafka’s The Hunger Artist as the Narrative of
Existence into Non Being
Bushra Naz
Lecturer of English
The Islamia University of Bahawalpur

Abstract
This study of The Hunger Artist explores how signs and symbols play a
significant role in bringing the structured imagination of Kafka’s
psyche and signification process on the surface of the narrative. As
various signs encode different representations of experiences and the
source of these representations is not only the subconscious and
unconscious selves of the author and reader but also the
communicative and linguistic context within which the experience is
embedded. These entrenched sign complexes help to appreciate the in-
depth dimensions of the meanings of the narrative by positioning it in a
multidimensional theoretical framework of psychosemiotics. The
underlined proposal of sign experience synchronizes with Freudian
dream theory and spotlights the psychic structure of id, ego and
superego manifested in the text at discourse level. This explicit display
of the narrative within the particular perspective of the interpretation
of signs and symbols has been argued in the light of theoretical
assumptions of Sonne & Grambye’s (2006) model at discourse level
corresponding to id, ego and superego for the purpose of this study.
The underpinning logic of this study is to investigate The Hunger Artist
as a discourse through a dialectical exploration to lay bare the
conceptual contrasts and parallels portrayed in the form of
inveterating and recurring significatory units to crystallize
psychosemiotic theoretical configuration.

Keywords: Id/Ego/Superego; Signifier; Discourse; Paradigmatic; Syntagmatics;

Condensation; Sublimation

This study takes up Franz Kafka’s The Hunger Artist for psychosemiotic analysis
to explore various dimensions of meanings to discover Kafka’s unconscious and
subconscious being. “Since he speaks with great penetration of his own problem as a
psycho-neurotic, and since there is so much of Kafka’s vestigial infantilism in all of us,
since as men we are all guilty, the critics have explored his symbolism to reconstruct the
inner manner from his work”, as claimed by Webster (1950). Psychosemiotics takes The
Hunger Artist as a set of sign connections and associations in the perspective of semiotic
and psychoanalysis and observes the discourse of The Hunger Artist suggestive of
writer’s unconscious self. As Gill (1992) postulates that a literary text is a net work of
signs whose latent relations unfold the underlying structure of signification. The semiotic
and psychoanalysis have been coalesced notionally by Kristeva (1989) as semiotic
investigates the “plurality of signifying system of which each is one layer of a vast
66 Pakistan Journal of Social Sciences Vol. 31, No. 1

whole”, and “psychoanalysis continues to explore language in order to study the speaking
subject”. In this connection, the proposition of the sign and symbol phenomenon in The
Hunger Artist has been contested in the subliminal context and scrutinized to see as to
how these signifiers appear and what meanings they evoke at deeper level.

Psychosomatically, Jung’s (2002) argument is quiet pertinent to celebrate the

emblematic and symbolic value of The Hunger Artist:

“Every creative is a duality…one side he is a human being with a personal life, on

the other side he is an impersonal creative process”.

The novelty of The Hunger Artist lies not only in its counter hegemonic
implication, that requires oppositional reading, due to the employment of signs and
symbols, but also in its postmodern appeal and context of criticism which does not allow
the reader to a simple and single reading. As Sharma (2006) argues that an original author
always invents an original world whose artistic truth revealed when the real life
epitomizes it in various forms and shades. It is for this reason, “Kafkan fantasy is
emphatically logical”. Pascal, (1982) endorses the indeterminacy of meanings of Kafkan
narrative as ‘Kafkan problem’ confining it to the narrative art ignoring the heterogeneity
of signifiers. Kafka’s The Hunger Artist engages the reader within psychological, socio-
cultural and contextual frames as Corngold (2007) argues with reference to the diversity
and density of meaning of Kafkan text that “We know of Kafka’s horror of metaphor”

Thus, Kafka’s performance as an artist approves of the subversive reading

strategies to deal with the aesthetic and philosophical conceptualities embedded within
The Hunger Artist. As such psychosemiotics in its postmodern orientation provides a
means to destabilize the text for the reconstruction of the meanings in a myriad of ways
and presumes the instability of meanings. From an unfixed standpoint The Hunger Artist
is examined as has been argued by Derrida (1976) that the process of signification is not
fixed rather dynamic and signifying processes hold multiple meanings. Therefore, this
psychosemiotic study in its postmodern context is pluralistic in its bearing as well as
pertinent to The Hunger artist as it is challenging and taxing and invites exploration and
thus paves way for new possibilities.

The Hunger Artist is seen as an ensemble of signs and signifiers arranged together
analogous to the assortment of situations and events corresponding to various aspects of
inner self and personality. These significatory units help to comprehend the narrative
placing it in the semantic field of socio-cultural and psychological lineaments mediating
with intellectual and philosophical proceedings. As has been put forward by Singh (1990)
that it is the domain of imaginative reinstatement where we realize the psychic formation
where words, signals, events necessitate the status of exceedingly stimulatingly semiotic
signs, and these signs or words and objects are associated through the third dimension of
ideas or images which in turn induce certain other feelings, emotions and ideas. The
underlined proposal of sign experience synchronizes with Freudian dream theory and
spotlights the psychic structures of id, ego and super ego manifested in The Hunger Artist
at the propositional, enunciation and discourse level for the establishment of the
meanings. Psychosemiotics hypothesizes that signs and symbols ascertain and generate
meanings in organized patterns as has been argued by Greimas (1975) that language does
 Bushra Naz 67
not provide a system of signs rather supplies a mechanism for the assemblage of
structures of signification.

Interpretation of sign hypothetically depends on the unconscious subject.

According to Freud (1953) human being can be understood in terms of aspects of
personality i.e., id, ego, and super ego. Id stand for the basic instinctive urges and deals
with physical world completely. Id develops into the stage of ego which rests upon the
conscious forces of mind and is directly affected by externalities. It observes reality
principle and respects the code of contradiction along with the categories of time and
space, dealing with the conscious and credible forces of nature. Superego deals with the
reflective activities at symbolic level. Id, ego and superego manifest themselves through
the medium of unconscious, subconscious and pre-conscious which exert a dynamic
influence on the human self. In turn the unconscious and subconscious manifest
themselves through dreams. Dreams are the manifest content as well as show the stage of
development of a being in evolution. The visible content has the underlying content in the
form of conflicting, introverted and reticent tendencies of the individual. The
interpretation of the dream is done employing the rule of language opus and composition
in the words of Gill (1989) “this mental image is a kind of motivational power which is
the object of intellect…we follow the sequential order of pragmatics and syntagmatic”. In
this respect, displacement refers to paradigmatic and pragmatic and condensation refers
to syntagmatic processes through which an idea is transformed in the language form of
metaphor and metonymy. Condensation refers to the combination of various ideas into
one signifier and displacement illustrates “the distortion of dream thought”. In this way
language works as a cognitive code to represent abstract schemata. As has been argued
by Lacan (1979) that unconscious is structured like language.

Theoretically, the purpose in exposing the interlocked and entwined concepts is to

determine the fundamental dialectics of Kafka’s unconscious and subconscious self as
has been consented by Clarke (1987), in the context of semiotics that “signs are the
mental expressions of man”. This reading presupposes the decomposition of the
significatory units, compounds of symbols and sign complexes leading to the semantic
reconstruction of the text following Halliday’s (2003) assertion that no discourse is
objective or natural, it reveals a flow of meaning thus provides a site for the interplay of
the predictable and unpredictable. Therefore, psychosemiotic theoretical framework
assists to understand the conceptual content. Moreover, explores the indispensable
aspects of socio-cultural, ideological and psychological phenomenon of The Hunger
Artist by discovering symbols, signs for recognizing the issues of unconscious subject.

The discourse level addresses ideologies and ultimately reconciles with intellectual
precepts of The Hunger Artist. Linguistically, this superego state resurfaces through the
signifiers dealing with the deeper meaning and demonstrates them in corresponding
phases of situations and psychic states in a pattern of signs in conjunction with one
another evoking metaphorical meanings and emblematic aspects of The Hunger Artist.
Thus demands an unleashed appreciation on the part of the reader as Murray (1951)
substantiates that the superego is a symbolic embodiment of the strict continence as a
projection of writer’s own psychological self. In this relation, psychosemiotic reading at
intertextual plane refers to the study of themes resulting in textual interrelationship of
signifiers, requiring a counter hegemonic reading of the text. Intertextual reading lacks
68 Pakistan Journal of Social Sciences Vol. 31, No. 1

independent meanings as Allan (2000) refers it relational to beliefs, ideas, and socio-
cultural situation.

Psychosemiotics provides a room to decipher the textual code of The Hunger

Artist independently following Black’s (2006) assertion that signifiers “create an image
of reality by connecting apparently quite disparate objects”. The role of signs and
symbols, in decoding the socio-cultural or ideological phenomenon has been discovered
through the tropes which control images and theme. Lee (1992) authenticates this by
arguing that language constitutes an important part of our ideology. The analysis
represents realities, value judgments and rationalizes to reflect or depart from the cultural
and ideological social patterns following Gounelas’ (2001) judgment that identifies
symbolic patterns as narrative strategy and ideological medium as well as recognizes
“signifiers are polyvalence” in terms of “radical destabilization”. Hunger artist’s hunger
and quest for secret nourishment is the main theme of the narrative. This textual strategy
of organizing the quest for ‘secret nourishment’ is brought by the conceptual organization
of the similar and opposite underlying relations foregrounded in the arrangements of
signifiers. Circus and the hunger artist serve as compound of significatory components to
underpin the logic of human existence and his search for meanings.

Argumentative and ideological level encompasses the network of the fields of

action with the interplay of their conceptual oppositions and how they organize a
semantic universe that underlies the surface structure of the text. Paradigmatic and
syntagmatic choices occurring in different signs and symbols have been scrutinized in
depth to make an observation of the surface level. Eco’s (1984) declaration is appropriate
that a symbol relies on a large extent on the cultural matrix and reader’s context. The
narrative opens ‘the hunger artist’s world of signs and symbols evoking the struggling
myth of Christ and the mythological origin of salvation in a Jewish symbolic order.
However, the images of the appetite of the hunger artist are paradoxically and
psychosemiotically overwhelmed by the hunger and food signifiers. The discourse is
situated and overshadowed by the reflection of the search for the meanings of life and
existence evoking the myth of Buddha and Christ in the Judeo-Christian symbolic order
and symbolizes hope of death as the possibility of life. The signs of the hunger artist and
death caution the reader to the subversive disposition of the text which is exceeded
paradoxically by the images of food and life as his text is redolent with them. The hunger
artist’s will to attain a control over his instinctive desires and his volition to attain
transcendence is axiomatic of the ambition to go beyond the predetermined limitations
Providence has established for him, offering the disordered prospect of the life into
death. These signifiers expose the abstract ideologies hidden in the narrative. As the
hunger artist foregrounds the socio- ideological and psychological inscription of the life
of Kafka as a subject by bringing it in contrast to the modern society. Kafka has
coalesced and juxtaposes these symbols to determine the organization of the narrative as
a psychosemiotic text.

The Hunger Artist possesses a subversive character. It foregrounds the signifiers of

holy inscription of the hunger artist’s search for spiritual autonomy in a materialistic
society. As Schiffrin (1987) argues that these signifiers signpost the discussion. An
examination of the signifiers of the narrative indicates that there is little evidence to
support Kafka’s claim either the hunger artist is a circus artist hired by circus, or, on the
contrary, a man about whom people were conscious that he was enjoying “some secret
 Bushra Naz 69
nourishment” as “for their elders he was often just a joke that happened to be in fashion”.
However, the argument of Lacan (2003) is apposite that meanings are born in metaphoric
structures, which designate and verify the substitution of signifier for signifier. In both
the psychoanalytical tradition and literary practices, there is a tendency to search the
unknown recesses of mind which is also followed by The Hunger Artist as it
hypothesizes the existence and need of a spiritual truth. Gounelas (2001) drawing upon
Lacan vindicates the truth that language is the manifestation of repressed tendencies by
arguing “If language, as we have seen, is constitutive of reality and meaning, it is desire
which is its permanent condition. Desire emerges, as Lacan says at the moment of its
incarnation into speech”. The Hunger Artist as a signifier implicates itself like the double
image of existence and spirituality a kind of paradox. The conception of the existence and
spiritual hunger experiences the repression in the text that forces the potentially ‘anxiety-
provoking’ events, situations and notions distant from the access of the consciousness. In
this sense, the repression provides a medium to display those withholding disagreeable
impressions of personality at the echelon of superego. The narrative shows a marked
deviation from the existing modes of discourse concerned with the conscious,
preconscious, unconscious and subconscious structures where objective delineation of
ideas is abandoned, and makes room for psychoanalytic theory that investigates the
unconscious materialization of the ‘latent content,’ which generates the ‘manifest
content’ to enter into the symbolic organization of the discourse. It is through the
operation and signification of paradox and metaphor in the discourse, the narrative is
developed.

The paradox of Kafka’s hunger artist is ambivalent as he is not what he seems to

be. The hunger artist’s signifier is equivocal that he is not only an artist but also a man
who is in search of his identification as a human being, seeking salvation. Therefore,
Kundera (1991) argues that Kafka always seems to be interested in exploration of
“hitherto unknown aspects of existence”. In this relation, “barred cage” is too equivocal.
The cage of the body in which the shackled soul is trying to seek freedom is tantamount
of the cage of the instinctive desires with which man is born. It serves to be a reversal of
that disagreement which is made with the help of The Hunger Artist and proves artist’s
claim that “during his …forbade it” and the denial of cage and hunger artist is made
through the claim that “not every watcher, of course, was capable of understanding this”.
The signifier of cage serves as a cobweb, which is the result of man’s contemplation,
reflection, wisdom and meditation. It helps to understand, rationally and skeptically, the
mystery of man’s being and situation but does not liberate him to exercise his free will.
As the hunger artist is enslaved in this cage – the cage of his wisdom - and any means to
liberate him is nothing but a dream. Hunger artist’s relation with the cage where “clock”
is the only piece of furniture brings him in relations to world where he has been hurled
down to live his life by setting his relation with God.

The signifiers of clock and the time play a central role in this background. The
clock is a microcosm of time in which the hunger artist moves and shows the struggle of
mankind from specific to universal level. As Ricoeur (1984) opines with reference the
technique of the fluidity of time that time becomes a human time. In this association, this
clock shows the entire world in which he lives. Clock is a symbol of chronological time
which has linear direction and neither stops nor hark anyone. Man, on the other hand,
wants to incarcerate it, and does not seem to yearn for any other landscape. Barred cage,
clock and bed of straw constitute his whole world. These visions and references to time in
70 Pakistan Journal of Social Sciences Vol. 31, No. 1

the narrative show man’s awakening and the positioning of man’s wisdom by the
construction of time symbols as a narrative technique. The employment of such a
technique presupposes Kafka’s struggle as an original man who is in constant journey
against the “natural law” to discover the mystery of human existence by his wisdom; to
wash out the ‘originals sin’ of ignorance. As, has been argued by Mann, in the backdrop
of Kafkan biography, (1946) that ‘Kafka was haunted by all sorts of fears and
apprehensions, ideas of original sin, of guilt and punishment where the basis of his
feeling and thinking”. In this relation, the hunger artist’s struggle for transcendent is
actually the struggle of Kafka as a Jew to coordinate with God to atone for guilt, to take
off the burden of ‘original sin’.

Embedded in The Hunger Artist is the psychological dilemma that “not every
watcher, of course, was capable of understanding it”. Rather, “the fast had really been
rigorous and continuous; only the artist himself could know that he was therefore bound
to be the sole completely satisfied spectator of his own fast”. It signifies Kafka’s religious
and Zodiac belief that he has been promised salvation. The hunger artist’s timeless
journey is the journey of man towards God, and mirrors the reconstruction and
completion of the human soul which can be earned by self-sacrifice, acts of penitence,
and complete submission to the will of God, the cause of goodness, ethical virtue, and
opting religious and moral complacency. Hence in this way “the narrative takes its lead
from the concept of association of ideas” (Sim, 2002). In this regard, the demonstration
of the signifiers of food appetite and morsel in contrast to fasting and hunger add
additional dimensions to the usual interpretation of the hunger artist. The quest of the
“secret nourishment” basically indicates his endeavor to save his “self’; the self of the
human specie. The hunger artist is the projection of eternal God whose self is
overwhelmingly undefeatable force. This timeless journey is the reflection of the self–
imposed punishment of man to pay back the original sin.

The “heaven” and “clock” are again brought into opposition but are linked
together by patterning the signifiers paradoxically in the narrative structure. The contrast
of the heaven and clock symbolically reflects on man’s situation in the modern
materialistic world across clock time to yield and surpass the physical limitations to
discover what lies behind the seven skies. The signification of eternal time is a reversal of
time which hunger artist wants to gain by disposing the clock time off in terms of
continuing his fasting even after the laps of forty days. The hunger artist’s desire to
discover the obscure self of human being by attainting the self denial is, in fact, an
attempt to solve the human predicament by reaching the state of timeless ecstasy where
the ultimate truth reveals itself to get final autonomy. The clock here signifies the ever
historical search of man to ascertain the human predicament and its solution to provide
meanings to his existence.

Through the character of the hunger artist, Kafka represents the relationship
between body and mind, and the material and spiritual dimensions with the modern
consciousness subordinate to the appetites of the body. The character of the hunger artist
has been singled out of the physical world, and he no longer has anything to do with it.
The physical world also with all its pleasures, pearls and glitters, for him, becomes
useless. The psychosemiotic world of The Hunger Artist shows how the days and
months have nothing to do with the eternal struggle of man to reconcile through the
sufferings and tragedies to pay back the old wages of sin; the original sin. This
 Bushra Naz 71
paradoxical doubling of physical and spiritual perspective, deals with the symbolic order
of human existence at superego level. It has nothing to do with the age and time of the
physical world. Man should not hope for salvation, for he can not atone for the guilt by
enduring sacrifice as is done by the hunger artist by continuing his fast.

Parallelism is created by bringing the tyranny of time and fate together which is
well expressed in the form of the clock and the duration of forty days. Psychosemiotically
it enters the symbolic order not only by showing the tragedy and struggle of mankind but
also man’s struggle to overcome his weaknesses to please God. God, to whom he fails to
please, Who, becomes nothing but a merciless Father and pronounces a decree for his
disobedient son in the form of ruthless death. In this regard, Mann (1946) argument
substantiates the very fact that “the God …merciless Father.”

The Hunger Artist emphasizes upon the difference between the time on the clock
and time in the mind by casting time symbols over and over again. There is much
substantiation, throughout the Hunger Artist, of the modern conception of time where the
time is absent and this lack is demonstrated by the employment of time signs and
symbols. Signifying isolation, fragmentation, and mechanical nature of contemporary age
and man, Kafka presents the hunger artist as a symbol of soul, striving to transcend in
order to get spiritual ecstasy in a clock less background. The clock strike but there is no
mention of physical time. This constant striking and pleasure of the “only piece of
furniture” shows that man’s life is transitional as well as commented with the bond of
time.

The scheme of the time signifiers come into view and resurface in the whole
narrative with regular intervals with the paradoxical propensities and foregrounds the
psychosemiotic disposition of the “Kafkan problem” identifying the “speaking object”
(Kristeva, 1989) truncated in the signs and signifiers of the text. It occupies significant
place in Kafkan fiction. It is the presence of clock in the barred cage which signifies the
tyranny of time and the transient nature of man’s life where time and never turns back, as
in the form contrast to soul which is abstract and clock time illuminates the presence of
existence in terms of a particular time span, which is fixed and limited. In the narrative,
when gradually clock stops at a stage to strike or bang, shows the artist’s steady
psychological detachment from the physical world.

This detachment and indifference from the physical time constructed by the
random symbols anticipate the discursive and heterogeneous concoction of both spiritual
and corporeal symbolic array. It is this stage that the hunger artist is shown caged but is
escaped from the mechanical oppression of time, which fundamentally becomes his quest
for eternal salvation by locating and identifying his lost self in socio-psychological
differences. The fantasy offers him psychological autonomy and adventure. Constant
reiteration of such phases and clauses such as “during these last decades”, “we live in a
different world now”, last few days”, “fortieth day”, “now”, “after any term of fasting”,
“about forty days”, “then”, “often”, “in times like this”, “last few days”, “at now time”,
“in times like his”, “many more days went by”, shows the constant reaffirmation of the
absence of time. His unending self-hunger strike comes in the background of silence
when clock stops clicking; even the change of date and day has also become the matters
of past, signifies that his constant fasting dawns upon him the truth of ultimate reality.
72 Pakistan Journal of Social Sciences Vol. 31, No. 1

The dichotomies of various signifiers continue in a zigzag manner throughout the

narrative. The clock is also the symbol of earthy feelings, worldliness, and spiritual
deterioration and decline of the modern man. Forty days feat of the hunger artist is
appreciated but the continuity of the same strike gradually loses its appeal to the masses,
and becomes fatal and destructible for him. Ostensibly, the absence of time is one of the
prominent features of the postmodern fiction, and one of the sublime characteristics of
the narrative. The absence of time, date, day and the clock stopping, basically, show the
submission of the hunger artist to the law of nature which follows no calendar.

The Hunger Artist is redolent with the signifiers dealing with the presence of time.
Anti clock expressions flow out of the text to show the artistic sequences built in the
structure of the story where events are sequenced without maintaining the chronological
order. It openly follows the modern conception of ‘time in mind’. The time, day, date and
clock are brought in contrast in the first half of the story to the absence of time, day, date
and clock in the later half to show the state of opposition in terms of physical and
spiritual existence respectively. The conception of past and present has been made
obvious. A new conception of narrative time has been given in hunger artist. Temporal
setting of the story is set against the absence of time to emphasize a logical sequence that
occurred instead of sequence of events as has been observed by the narrator in terms of
progression. The swinging between past and present liberates the story from the shackles
of chronological time. As the story moves away from the chronological order and so does
the ticking of clock gradually.

The apparent configuration of the narrative is proscribed by immanent sign

ensembles ingrained in the discourse and reflects the tremendous skill of Kafka as a
psychologist in the words of Rahv (1952) “an artist of neurosis”. The hunger artist’s
consciousness develops toward intellectual height and confirms the evolution of the
hunger artist from the ego to the superego level through signs and symbols of time. The
constitution of time durations and division of narrative in multiple strands of time are out-
and-out a mental experience, happening and occurring in the mind of the artist, leading
towards intuition and psychological experience. The narrative proclaims the presence of
time but as an absolute, definite, eternal, and universal entity. In this relation, The Hunger
Artist’s world appears in conformity with the universal nature of time rather than the time
of the clock or calendar.

It is within this nexus of signifiers “Food” and “appetite” is brought, constantly, in

contrast to each other throughout the story to intensify the magnitude of difference
between instincts and soul. Here we are confronted with Kafka’s dilemma being a
modern man, who has lost God and in a constant quest to recourse to God. He is born
with body, which is dependent on instinctive desires and retains them till the time,
instinctive needs are fulfilled. He is spiritually empty. This spiritual vacuum and lack is
not man made for which he blames God who does not reveal Himself to man except for
death. And it is because of this revelation of the truth that the hunger artist expresses: “I
have to fast, I can’t help it”. For the surprise of the overseer “because” said the hunger
artist, lifting his head a little and speaking with his lips pursed, as if for a kiss, right into
the overseer’s ear, so that no syllable might lost, “because I could not find the food I
liked. If I had found it believe me, I should have made no fuss and stuffed myself like
you or anyone else.”
 Bushra Naz 73
A corollary to the human failing in The Hunger Artist is the pronounced
damnation. The self-damnation is basically an excuse to blame God for not providing him
the channel to restore his relationship with God. The hunger epitomizes the ambivalence
towards human body. He blames the instinctive desires, his biological apparatus and
social needs to secure his ego’ from eternal damnation. He seeks refuge in the thought
and philosophy of pantheism when man and God were one and were separated to show
his might, grandeur, sublimity as Creator. The hunger artist, thus, is an exercise to remind
God that once they were one, sublime, unyielding, undefeatable, inseparable, and had the
relationship of unison. The signifier of God represents the unconscious ideal hero of the
man.

The torment, agony and turbulence the hunger artist suffered from, is, in fact, the
suffering on the part of the whole humanity. “Since it was not the hunger artist who was
cheating, he was working honestly but the whole world was cheating him of his reward”.
In this relation, the image of the hunger artist gives an impression of Jesus Christ and his
crucifixion symbolizes the atonement for the sins of the mankind. After questioning the
human existence, the hunger artist rationalizes the human passions and is crucified like
Jesus Christ mercilessly. “Leopard” is the symbol of merciless Father, who comes when
man fails to atone for his original sin to help to save the sufferer to transcendent, and
waits for the final verdict from God. Kafka’s religious pathos shows that he is not only
aware of God’s being but also that He is cruel and merciless and at the same instance, the
hunger artist enters the psychosemiotic order of desire which becomes visible “at the
moment of its incarnation in speech” in the words of Lacan (1991).

Simultaneously, the symbolism of the death scene is outwardly Christian. For

Christ’s quest for spiritual truth and struggle against the physical world resulted in his
crucifixion. As the words of The Holy Bible manifest:

And he took bread, and gave thanks, and brake it, and gave unto them, saying, this
is my body which is given for you: this do in remembrance of me.
(Luke, pp. 1091)

In the same vein, the hunger artist’s search for the ‘secret nourishment’ and
realization of the pointlessness of physical existence leads him towards a tragic end. This
conception of death, a forced death or perhaps a desired death, provides Kafka with a
source to discover and rediscover the link and communion between the human being and
God. In this relation, Webster (1950) asserts that “Kafka knew that, although there were
a thousand places of refuge, there was only one place of salvation”. However, the hunger
artist’s urge “why stop fasting at this particular moment after forty days of it? He had
held out of for a long time; why stop now”, indicates his moment of the fulfillment of
resurrection. He keeps on thinking “why he should be cheated of the fame he would get
for fasting longer, for being not only the record hunger artist of all time, which
presumably he was already, but for beating his own record by a performance beyond
human imagination”. The desire of the hunger artist to see himself unbeaten and
triumphant beyond the human imagination is the unconscious desire for resurrection that
“Are you still fasting?”.... understood him”. (pp. 276)

In the same connection, the character of Father as ‘Christ’ is, brought in the middle
of the story to portray the Christ’s truth. “Father”, who is magnanimous, magnificent,
74 Pakistan Journal of Social Sciences Vol. 31, No. 1

glorious and towering, is Christ. Father is a guide, protector and sage. The symbols of the
Father and children have been brought instantaneously in the story when the hunger artist
becomes conscious of the “troubled in spirit, and all the more troubled because no one
would take his trouble seriously. What comfort could he possibly need? What more could
he possibly wish for […] to fight against this lack of understanding, against a whole
world of non-understanding was impossible”. These lines symbolically indicate the
dilemma of the modern man generally, and of Kafka specifically.

In this unification, the psychosemiotic analysis substantiates and proves that

Kafka’s art lies in revealing the dilemma of speechlessness, fragmentation, indifference
and the consciousness of existence in his narrative as a consequence of psychosis. In
practical terms, this means that Kafka has all the resources to invite multiplicity and
diversity on the same plane of investigation. I have observed and analyzed this
potentiality of Kafka under Psychosemiotic scholarship not only on the plane of symbolic
order but on the psychological plane in order to trace out the deep psychic structure
embedded within the text.

The arguments are presented in the form of the signifiers in narrative such as Food
and Hunger, Life and Death, Knowledge and the Quest of Knowledge, Religion and
Immorality, God and Humanity, Spiritual and Physical, Existence and Suffering,
Salvation and Punishment, Sin, Duty and Right, etc., recurring in the whole narrative with
varying degree and compose the field of action and meanings. The death of the hero in
The Hunger Artist, illustrates the unconscious resistance for death and a conscious
endeavor for existence and life apparently of hunger artist but in truth they signify the
psychological obsessions of Kafka providing source material to understand the “Kafkan
problem”. These signs appear in an interconnected universe of ideas in the narrative in
paradigmatic associations, syntagmatics linear orders, conceptual congruities or contrasts
unfolding the unlimited semantic cosmos of the story through the paradoxical and
metaphoric relations or binary oppositions.

In this association, the analysis of Kafkan fiction also attests the interpretation that
psychology and linguistic alternatives impinge on each other and consequently show a
consistency in the exploitation of hidden code of signs that is stranded in psychological
evolution in terms of id, ego and superego. Hence, in this connection, the frequencies of
signs and symbols of ‘bed’, ‘hunger’, ‘food’, ‘clock’, ‘time’, ‘God’, ‘death’, ‘room’,
‘hunger artist’s occupation with the salvation’, The Hunger Artist is not only the
demonstration of obsessed psyche and structured imagination of Kafka, but also is the
consequence of an intrinsic psychic incongruity between Kafka and the reticent
propensities. Kafka’s consistency in the exploitation of these signifiers with incessant
variations in terms of its symbolic order renders his complete personality.

This symbolic realization helps to understand not only sign phenomenon but also
the psycho-neurotic aspect of the “Kafkan problem”. Furthermore, it helps to reconstruct
his unconscious and subconscious aspects by way of sign choices and underwrites the
importance of these signs and signifiers in relative entirety. Therefore, Kafkan problem is
not only the rationale of this signification but is the result of this linguistic project in the
Kafkan unconscious. As this debate outlines it clearly that I was not dealing with any
aspect of Kafkan personality in terms of behavior rather with reference to the inner
 Bushra Naz 75
sensibilities and patterns of thought which become obvious on the close analysis of the
recurring signifiers as is evident in the analysis.

In the course of this psychosemiotic study I also have measured Kafka’s response
and psychological patterning to the principal sources of condensation and displacement in
order to show how Kafka has reconciled the apparent irreconcilable. Furthermore, the
analysis also demonstrates how The Hunger Artist has unraveled the interlocked and
interwoven signifiers to articulate Kafka’s aesthetics, predilections, fears, desires,
loneliness, fragmentation, and sensibilities etc., which are foregrounded through this
psychological signification in his narratives. It is through this psychosemiotic implication
of deconstructive and counter-hegemonic reading that Kafka achieves indeterminacy of
meanings which underscores enormity and immensity of suggestions as well as endorses
patterns of psyche.

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