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Class Exercise: the Metamorphosis, by Franz Kafka and Expressionism

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Class Exercise: the Metamorphosis, by Franz Kafka and Expressionism Class Exercise: The Metamorphosis, by Franz Kafka and Expressionism GW 2050 Jeanne Stauffer-Merle [Bracketed items are addressed to teachers; this site was originally created for the students.] [Students were already given a general background on Kafa's life and themes/interests.] [Difficulties for students with “The Metamorphosis”: 1. That Kafka chose to use this unrealistic device, forcing students to let go of their dependence on the rational. 2. That the image goes beyond symbolism, propelling the image of an interior state into an exterior reality; the difficulty here is that the image is both symbol and “real.” Gregor both is and is not (in the literal German translation) a monstrous vermin (ein ungeheueres Ungeziefer). Kafka gives this creature a vague name, "a monstrous vermin," to allude to its symbolic nature, yet describes the creature very realistically, reminding us that it is not just a traditional symbol, but a part of a concrete reality. Hopefully, after the end of this exercise, students begin to understand this dual nature of Gregor. The intent of this exercise, then, is to give students a tool for interpreting a text that not only moves sharply away from realism, but uses a paradoxical image.] [A way of introducing this concept is with Expressionistic painting, so students see the importance of this kind of image in "The Metamorphosis," as well as helping students to see connections between art and literature. I chose The Scream because it is of the same era as Kafka's work, is iconic and familiar to most students (although most students don't know what Munch is trying to express) and because The Scream so famous, it gives an added authenticity to using Expressionism.] Expressionism: Expression of an inner psychological state as a literal, physical condition. The representation/image is usually greatly exaggerated in some way, is abstract or even grotesque. Expressionistic art was a revolt against the mannered, commissioned portraits and landscapes of the day, presenting the upper classes as noble and generous. Expressionism was concerned with voicing an inner, often irrational or abstract truth, rather than presenting a rational, realistic view of the world. Expressionism in art and literature often used exaggerated images, to emphasize this distinction. Wassily Kandinsky on Expressionism: “ . presenting nature not as an external phenomenon, but predominantly the element of inner expression.” Wolf Dieter Dube, a writer on the Expressionistic movement: “The central thing was spontaneity of expression . derived from natural attitudes . much like chance . with the models frequently changing their positions.” The Scream (1890) Edvard Munch (pronounced Moonk) Norwegian, 1863- 1944. https://en.wikipedia.org/wiki/The_Scream#/media/File:The_Scream.jpg Class Exercise: 1st free write: What seems odd or unrealistic about this painting? 2nd free write: Why might Munch choose to convey his ideas as distorted or abstracted images, rather than present his feelings simply and realistically? (Other examples of Expressionistic artists: Kandinsky, Kokoshka, Nolde, Klee, Kirchner, Schiele.) Connections to Surrealism, in the 1920s to the 1950s. Kafka quotes (from his diaries): “For [the poet] his song is only a scream.” “Man cannot see beyond himself. He is in the dark.” “One cannot escape oneself. The only possibility is to look on and forget that a game is being played with us.” Of Kokoschka’s Expressionistic paintings, Kafka said, interestingly: "I do not understand them. All they show me is the painter’s internal confusion and disorder.” [This helps students to have some sympathy with Kafka, as they often feel that way about his work]. [The idea of the following exercise is to let the students respond with their first impressions, while having the tool of Expressionism to guide their understanding away from the literal. I have also done this exercise in reverse, e.g. asked students to respond to the beginning of the narrative, and then I have gone over Expressionism. Both work.] Class Exercise: Re-read the first two paragraphs of "The Metamorphosis." 1)Free write: what is odd/unrealistic about the first few sentences? Brainstorm if you like. Don’t think about why it's odd, just get on paper what seems odd/unrealistic to you. Share with the class. 2) Silent Dialogue: Rewrite one or two sentences, so that they are more realistic. If you like, you can write this in the first person, and write and you yourself would realistically respond. When you're finished, pass your work to the person to your right, then add/subtract to your peer's sentences so that they are even more realistic [can also pass this a few more times if you like]. 3) Discussion: What are the salient differences between the original and your more realistic translations? Which do you like better? Does Kafka's purpose seem to align with the purpose and interests of Munch in The Scream? [Students begin to notice an inappropriate tone, as well as irregularities in Gregor's perceptions and thoughts, and then then begin to see that the image of the "monstrous vermin" is stronger than a traditional symbol, because it is so real, and therefore a much more shocking representation of not only how Gregor feels about himself, but how how his family and society also feel about him.] "The Metamorphosis" (Muir translation, which is close to the Norton translation that we read in class) http://fullreads.com/literature/the- metamorphosis/ AS GREGOR SAMSA awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect insect [the Norton edition uses the word “beetle” instead of “insect”]. He was lying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his dome-like brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes. What has happened to me? he thought. It was no dream. His room, a regular human bedroom, only rather too small, lay quiet between the four familiar walls. Above the table on which a collection of cloth samples was unpacked and spread out—Samsa was a commercial traveler—hung the picture which he had recently cut out of an illustrated magazine and put into a pretty gilt frame. It showed a lady, with a fur cap on and a fur stole, sitting upright and holding out to the spectator a huge fur muff into which the whole of her forearm had vanished! .
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