Western philosophy takes for granted binary opposites such as masculine versus feminine, white versus black, logic versus emotion, etc. and raises one side of the binary above the other. In doing so, one side of the binary is considered to be self-evident — to be made up of its own identity rather than through differences against others — and is established as the “truth” to which all else follows. Post-structuralism, the topic at hand in Julie Rivkin and Michael Ryan’s “The Class of 1968 — Post-Structuralism par lui-même,” focuses on dismantling the seemingly stable binaries through close scrutiny of language, therefore disrupting the hierarchies created through socially constructed categories. Additionally, Rivkin and Ryan especially focus …show more content…
Being stripped from his ability to work, Gregor is now able to enjoy himself and take pleasure in life. The detail of Gregor being able to “breathe more freely” is a metaphor for the relief of pressure he feels as he is no longer constrained to the expectations society places on him as society does not consider Gregor a human anymore. While Gregor is a “monstrous vermin” and physically not human, his consciousness, Kafka argues, is more human than pre-metamorphosis Gregor. This concept that Gregor is both animal and human alludes to the post structuralism concept that the categories that Western philosophy has set upon are false. Post-metamorphosis Gregor is cast out as “Other” because Gregor is a blended figure which disrupts the orderly system society has in place. Kafka conveys that what society defines as animalistic and as humanistic is found in both pre- and post-metamorphosis Gregor, illustrating that the binary that …show more content…
Towards the conclusion of the novella, Gregor is referred to an “it” by Grete (Kafka 37). In doing so, Grete dehumanizes Gregor, even though ironically Gregor has a more human consciousness than the rest of his family, and makes a last attempt to categorize Gregor as “it” is a signifier for many things. Here, Kafka shows the extent to which society will go to for order to remain, which is to dehumanize, and even demonize, those who do not fit the system. In Gregor’s final moments, “his conviction that he would have to disappear was, if possible, even firmer than his sister’s.” Then, “without his consent, his head sank down to the floor” (Kafka 39). The detail “without his consent” suggests that Gregor did not want to die. However, because of society’s pressure and standards, because society would not accept him no matter how many attempts he made, Gregor agrees that he must disappear. Kafka illustrates that Gregor, who is sympathetic and kind, as seen in his selfless will to provide for his family, qualities that should be valued in humanity, is being rejected because he does not fit into a category which shows how categories are in nature damaging and dehumanizing. To illustrate the damaging effects of categories, the bath bombs in my photomontage have a red halo around them, which signifies that the
In fact, according to her, Gregor is contributing to the disintegration of the family and must be killed to help save the family. Grete was the concerned one and now she refuses to call him her brother, and insists that he has to be disposed of just like any old household pest. Franz Kafka had explored two conflicting ideas with the use of his protagonist Gregor: unity and isolation. Gregor’s transformation formed a whole life in which he could not escape. But on the other hand his family members were able to improve from his isolation.
When comparing Franz Kafka and his personal life to The Metamorphosis it is obvious in more ways than one that he was writing a twisted story of his life. The emotional and physical abuse Gregor goes through are similar to what Kafka went through in real life. They were both abused and neglected by their fathers when they were disappointed with them. Kafka uses Gregor transforming into a bug as a way of exaggerating himself, trying to express his feelings and point of view. When writing, Kafka felt as if he was trapped in his room which he referred to as "the noise headquarters of the apartment". Gregor was an exaggeration of this because he could not leave the house to escape the noises and abuse.
Many views of existentialism are exposed in Kafka's Metamorphosis. One of these main views is alienation or estrangement which is demonstrated by Gregor's relationship with his family, his social life, and the way he lives his life after the metamorphosis. Namely, it suggests that man is reduced to an insect by the modern world and his family; human nature is completely self absorbed. Kafka reflects a belief that the more generous and selfless one is, the worse one is treated. This view is in direct conflict with the way things should be; man, specifically Gregor should be treated in accordance to his actions. Gregor should be greatly beloved by his family regardless of his state. This idea is displayed in three separate themes. First, Gregor's family is only concerned with the effect Gregor's change will have on them, specifically the effect it will have on their finances and reputation. They are more than willing to take completely gratuitous advantage of Gregor; he works to pay their debt and they are happy to indulge themselves with luxury. Gregor is the soul employed member of his family and this is their primary interest when Gregor is transformed. Secondly, Gregor is penalized for his efforts to be a good son, and a good worker; his toils are completely taken for granted by his family. The Samsa family is not interested in Gregor beyond their own needs, outsiders are reverentially treated. Thirdly, it is displayed by the positive changes that occur in the Samsa family as Gregor descends into tragedy and insignificance. As Gregor's life becomes more painful, isolated, and worthless the Samsa family becomes more functional and self-reliant.
In Franz Kafka’s The Metamorphosis, the transformation of the character Gregor from a man to one of the most hated insects, a vermin, may seem exaggerated and ridiculous, becoming more so over the course of the story the action builds and the emotions and ideas of the characters in the story begin to change and become more prominent. Kafka’s intention, however, is to expose and explore the impoverishment of human psychology with respect to the ways in which changes in one’s circumstances and conditions reshape notions people have of the way they believe in justice and mercy which will be explore further in this analysis of Gregor Samsa.
...ur and the “conviction” in his final decision (Kafka 141). The permanently dehumanized then are the Samsa family, the oppressors, living a life lacking culpability for the death of their only son. Hence, with the restoration of his self-identity, Gregor dies peacefully with a human consciousness in the body of a cockroach.
...ning. The first broadening of light in the world outside the window just entered his consciousness. Then his head sank to the floor of its own accord and from his nostrils came the last faint flicker of his breath.” (Kafka,48) Gregor’s death indicates the end to the mistreatment, but also indicates the fact that he never fully realized what had been happening for so long.
‘’Kafka gives no explanation for Gregor's change, nor is any sought. His change is accepted for what it is. This lack of a scientific explanation, or even any attempt to provide one, highlights the fact that the transformation is meant to be seen as allegorical and literal’’(Ker). Which adds to the melancholy mood Kafka establishes. This quote gives insight on Kafka’s reason for no explanation behind Gregor transformation.
Gregor’s denial takes place when he prepares for work, ignoring his transformation, “First of all he wanted to get up quietly, […] get dressed, […] have breakfast, and only then think about what to do next” (Kafka 6). By characterizing Gregor as determined, Kafka shows his protagonist’s resolve to remain firm in ignoring his transformation for his family’s sake. Typically, such a metamorphosis would warrant panic, but Gregor is so selfless that he denies his own emotions to be useful for his family. Through the sequential syntax employed in this quoate, Kafka shows that Gregor does not want to stray from his usual routine. This attribute, along with his physical transformation, separates Gregor from humanity.
Kafka uses impractical symbolism in order to stress that Gregor being authentic as a bug still is dissatisfying as his inauthentic state as a human. The reason his family continually is discontented with Gregor is, the reason he never meets the expectations that they he should pay off the family debt and stabilize the family with his hard work; the fact that his bug form enables him to support his family they no longer deem him a burden. No matter what Gregor does to get his family’s approval, it either leaves him depressed because he isn’t being authentic or his family is upset that he doesn’t support them. Either way Gregor sways, authentic or inauthentic, Gregor and his family are displeased.
Franz Kafka illustrates in his book the struggle that most humans have throughout their life: ‘Who am I?’ He demonstrates this through his radical and exaggerated formation of The Metamorphosis, a man becoming a bug; or a bug always thinking he was a man, then realizing that he is and always has been a bug. This bug, Gregor Samsa, goes through an immense psychological realization at the beginning of the book; he had been deceived by his own mind from the beginning of his life. Throughout Gregor’s Metamorphosis, Gregor experiences the loss of his self actualization, recognition, belonging, security, and physiological needs. His situation had taken away all the basic psychological needs of any human as illustrated by Maslow’s Hierarchy of
Conrad changes the environment to cause his protagonist struggles, and Kafka does the same but through internal contrasts. Kafka’s transformation of Gregor into a disgusting vermin causes doubt within him. These doubts place his family in a position where they lose any love and care they ever had in their son. On what should have been a normal morning, Gregor awoke and “found himself changed in his bed into a monstrous vermin” (Kafka 3). Gregor's surreal transformation forces him to doubt and deny anything happening around him.
Kafka’s shows the shifting in the structural dynamics when Gregor’s new formation changes the attitudes from supportive to neglect when his needs affect their wants, needs and lifestyle. Gregor’s sense of duty to family was his main propriety towards his family. Even though he loathed his job as a travelling salesman, his devotion to financially clear his parent’s debt and care for his sister Grete was more important. He dreamt of fleeing the tightly coiled grip from his parent’s hands, but his loyalty was a pertinent family duty. To Gregor, this was what family was all about.
For the majority of the story, Gregor can only explore one room. This one room becomes the majority of Gregor’s reality. By designing Gregor’s reality this way, Kafka emphasizes that Gregor has become cut off from reality and is placed in his own enclosed world. This claustrophobic setting helps to add an element of unease to the story and helps to express Gregor’s loneliness. By cutting Gregor off from his former reality, Kafka is emphasizing that Gregor is no longer a part of humanity. By doing this, Kafka shows that Gregor’s transformation has erased Gregor the man and all that remains is Gregor the bug. This is further highlighted by the removal of the furniture of the room. This removal shows that even Gregor’s own family has stopped seeing him as a part of humanity highlighting his loneliness. This can be seen here, “I won't pronounce the name of my brother in front of this monster, and so all I say is: we have to try to get rid of it. We've done everything humanly possible to take care of it and to put up with it."(Kafka
In Franz Kafka’s short story, Metamorphosis, the idea of existentialism is brought out in a subtle, yet definite way. Existentialism is defined as a belief in which an individual is ultimately in charge of placing meaning into their life, and that life alone is meaningless. They do not believe in any sort of ultimate power and focus much of their attention on concepts such as dread, boredom, freedom and nothingness. This philosophical literary movement emerged in the twentieth-century, when Kafka was establishing his writing style in regards to alienation and distorted anxiety. A mirror to his own personal lifestyle, this story follows the short and sad life of a man unable to break out of the bonds society has placed on him. These bonds are not only evident in the work place, but at home too. Being constantly used and abused while in his human form, Gregor’s lifestyle becomes complicated once he becomes a giant insect and is deemed useless. Conflicts and confusion arise primarily between Gregor and his sister Grete, his parents, and his work. Each of these three relationships has different moral and ethical complications defining them. However, it is important for one to keep in mind that Gregor’s metamorphosis has placed him into a position of opposition, and that he has minimal control over the events to take place. Conflicts will also occur between family members as they struggle with the decision of what to do with Gregor. In the end they all come to the agreement that maintaining his uselessness is slowly draining them and they must get rid of him.
This signals the progressive change that occurs to Gregor as he doesn't represent a human in the eyes of his family. In Kafka’s original novel in German, he “makes Gregor an. ungeziefer. ungeziefer means not merely vermin but an unclean animal unfit for sacrifice” (Tonkin 35). The word ungeziefer, is a very degrading term to use on a human being.