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About this product. ThriftBooks Store thrift. He seems to be more troubled by the rain and about missing his train than he is about being an insect. When she sees the trail of slime he leaves behind him, she decides to remove the furniture from his room; Gregor thinks this is to help him manoeuvre, but it could just be to save the furniture. Grete declares that the insect is not worthy to be called her brother any more and that they must get rid of it. Shortly after hearing these words, Gregor dies. By focussing on the reactions of Gregor and his family, e.
As Freud or Jung would say: if monsters exist at all, then they exist in us. After the metamorphosis, he is forced to return to work in order to support the family financially. His attitude towards his son is harsh; he regards the transformed Gregor with disgust and possibly even fear, and he attacks him on multiple occasions. Samsa is Grete and Gregor's mother.
She is initially shocked at Gregor's transformation; however, she wants to enter his room.
This proves too much for her, thus giving rise to a conflict between her maternal impulse and sympathy, and her fear and revulsion at Gregor's new form. The Charwoman is an old lady who is employed by the Samsa family to help take care of their household duties.
Die Verwandlung: Reclam XL - Text und Kontext (German Edition) eBook: Franz Kafka, Ralf Kellermann: tecnichenpulchper.ml: Kindle Store. Die Verwandlung (German Edition) has 58 pages. Reading Length provides a calculation for the word count of this book, find out how long it will take you to.
Apart from Grete and her father, she is the only person who is in close contact with Gregor. She is the one who notices that Gregor had died and disposes of his body. Like most Kafka works, The Metamorphosis tends to entail the use of a religious Max Brod or psychological interpretation by most of its interpreters.
Besides the psychological approach, interpretations focusing on sociological aspects which see the Samsa family as a portrayal of general social circumstances, have gained a large following as well. Vladimir Nabokov rejected such interpretations, noting that they do not live up to Kafka's art. He instead chose an interpretation guided by the artistic detail but categorically excluded any and all attempts at deciphering a symbolic or allegoric level of meaning.
Arguing against the popular father complex theory, he observed that it is the sister, more so than the father, who should be considered the cruelest person in the story, as she is the one backstabbing Gregor. As the central narrative theme he makes out the artist's struggle for existence in a society replete with philistines that destroys him step by step. Gegensatz und Einheitlichkeit, Stil und Dargestelltes, Darstellung und Fabel sind in vollkommener Weise ineinander verwoben. In , Nina Pelikan Straus wrote a feminist interpretation of Metamorphosis, bringing to the forefront the transformation of the main character Gregor's sister, Grete, and foregrounding the family and, particularly, younger sister's transformation in the story.
Traditionally, critics of Metamorphosis have underplayed the fact that the story is not only about Gregor but also his family and especially, Grete's metamorphosis as it is mainly Grete, woman, daughter, sister, on whom the social and psychoanalytic resonances of the text depend.
Es wird One of Kafka's best-known works, The Metamorphosis tells the story of salesman Gregor Samsa who wakes one morning to find himself inexplicably transformed into a huge insect German ungeheures Ungeziefer , literally "monstrous vermin" , subsequently struggling to adjust to this new condition. Reduced to carrying out his professional responsibilities, anxious to guarantee his advancement and vexed with the fear of making commercial mistakes, he is the creature of a functionalistic professional life. Make an Offer. In , Ralf Sudau took the view that particular attention should be paid to the motifs of self-abnegation and disregard for reality.
In , Gerhard Rieck pointed out that Gregor and his sister Grete form a pair, which is typical for many of Kafka's texts: It is made up of one passive, rather austere person and another active, more libidinal person. The appearance of figures with such almost irreconcilable personalities who form couples in Kafka's works has been evident since he wrote his short story Description of a Struggle e. They also appear in The Judgement Georg and his friend in Russia , in all three of his novels e. Robinson and Delamarche in Amerika as well as in his short stories A Country Doctor the country doctor and the groom and A Hunger Artist the hunger artist and the panther.
Rieck views these pairs as parts of one single person hence the similarity between the names Gregor and Grete , and in the final analysis as the two determining components of the author's personality. Not only in Kafka's life but also in his oeuvre does Rieck see the description of a fight between these two parts. Reiner Stach argued in that no elucidating comments were needed to illustrate the story and that it was convincing by itself, self-contained, even absolute.
He believes that there is no doubt the story would have been admitted to the canon of world literature even if we had known nothing about its author. Reduced to carrying out his professional responsibilities, anxious to guarantee his advancement and vexed with the fear of making commercial mistakes, he is the creature of a functionalistic professional life.
In , Ralf Sudau took the view that particular attention should be paid to the motifs of self-abnegation and disregard for reality. Gregor's earlier behavior was characterized by self-renunciation and his pride in being able to provide a secure and leisured existence for his family. When he finds himself in a situation where he himself is in need of attention and assistance and in danger of becoming a parasite, he doesn't want to admit this new role to himself and be disappointed by the treatment he receives from his family, which is becoming more and more careless and even hostile over time.
Sudau p. Beicken, Sokel, Sautermeister and Schwarz. According to them, the narrative is a metaphor for the suffering resulting from leprosy, an escape into the disease or a symptom onset, an image of an existence which is defaced by the career, or a revealing staging which cracks the veneer and superficiality of everyday circumstances and exposes its cruel essence. He further notes that Kafka's representational style is on one hand characterized by an idiosyncratic interpenetration of realism and fantasy, a worldly mind, rationality and clarity of observation, and on the other hand by folly, outlandishness and fallacy.
He also points to the grotesque and tragicomical, silent film-like elements.