چکیده:
This study aims of illustrating the specific absurd elements portrayed by
Frantz Kafka in The Metamorphosis. Kafka’s characters suffer from the
modern society’s complexities and problems that surround their daily lives,
and they also suffer from the lack of mutual love and relationship between
them and the members of their families and societies. Kafka reflects all these
concerns in Order to show how modern man tolerates hardships which are
imposed by an alienated and absurd world. In this study there will be focus
on the absurdity and alienation which are the key elements of existentialism
in the character of Gregor Samsa who is descended to an animal because of
the situation which his family and society have provided for him. This study
analyses the absurdity and alienation in The Metamorphosis by Kafka
especially by taking close look at the character of Gregor Samsa.
خلاصه ماشینی:
In this study there will be focus on the absurdity and alienation which are the key elements of existentialism in the character of Gregor Samsa who is descended to an animal because of the situation which his family and society have provided for him.
This study analyses the absurdity and alienation in The Metamorphosis by Kafka especially by taking close look at the character of Gregor Samsa.
Existentialism is both a philosophical and literary phenomena, Sartre’s own ideas were and are better known through his fictional works (such as Nausea and No Exit) than through his more purely philosophical ones (such as Being and Nothingness and Critique of Dialectical Reason), among Existential writers and artists are: Dostoevsky, Ibsen, and Kafka were conscripted; in Paris there were Jean Genet, Andre Gide, Andre Malraux, and the expatriate Samuel Beckett; the Norwegian Knut Hamsun and the Romanian Eugene Ionesco belong to the club; artists such as Alberto ٥٨ / فصلنامه تحقيقات جديد در علوم انساني، دوره جديد، شماره هجدهم ، تابستان ١٣٩٨ * * * * * Giacometti and even Abstract Expressionists such as Jackson Pollock, Arshile Gorky, and Willem de Kooning, and filmmakers such as Jean-Luc Godard and Ingmar Bergman were understood in existential terms.
Dostoevsky, Nietzsche, and Kierkegaard all have certain existentialist dimension in their ٦٠ / فصلنامه تحقيقات جديد در علوم انساني، دوره جديد، شماره هجدهم ، تابستان ١٣٩٨ * * * * * writings, as do Camus, Sartre, Jaspers and Heidegger, with whose works the term existentialism has been more or less equated since World War H.