Final Paper: Nietzschean Notion Of Self-Definition

The deeper meaning of “The Metamorphosis”, by Frank Kafka, can be interpreted in many ways depending on critical theory is used to examine it. From a feminist criticism, one can observe how Gregor’s dominance as a male diminishes after he becomes a bug as his sister’s strength and role in the family grows stronger. From a biographical criticism, one can compare and contrast the traits of Gregor and the people around him with that of Kafka’s own life and his relationships. However, the focus of this essay will be applying a psychoanalytical criticism to the characters in “The Metamorphosis”, using the studies of Sigmund Freud to approach

Friedrich Nietzsche’s own skepticism symbolized the secular changes in contemporary Western civilization, in which he details mankind’s break away from faith into a new rule of chaos. In Book 5 of The Gay Science, Nietzsche establishes that “God is dead”, meaning that modern Europe has abandoned religion in favor of rationality and science (Nietzsche 279). From this death, the birth of a ‘new’ infinite blossoms in which the world is open to an unlimited amount of interpretations that do not rely on the solid foundations of faith in religion or science. However, in contrast to the other philosophers of his age such as Immanuel Kant and Georg Wilhelm Friedrich Hegel, Nietzsche deviates from the omniscient determinism of history towards a

Franz Kafka’s The Metamorphosis (1915) is a novella about protagonist Gregor, a hard-working traveling salesman transforms into some a vermin overnight and struggles to adjust to his startling change. Kafka characterizes Gregor as a selfless individual whose profound love for his family misleads him about their genuine disposition. As he adjusts to his new change, he undergoes great difficulty to determine his identity and humanity. Gregor has deceived himself into believing that his family will love him despite his repulsive appearance. In The Metamorphosis, Kafka uses characterization and third-person narrative to demonstrate Gregor’s self-deception and self-awareness regarding his family and circumstances to establish the theme of identity.

The Metamorphosis (Die Verwandlung 1912), Franz Kafka’s best known short story, is a master work of incredible psychological, sociological and existential malaise. Although his points are simple and straightforward, this richly layered and textured story is open to many interpreta-tions, making it complex, yet critical to decipher. There is an incredible amount of theories based off of what this story could possibly symbolize or represent, but it is of the autobiographical in-terpretation that is undeniably the most enlightening. This interpretation allows the reader to gen-uinely understand the tale on an intense level that would not be able to be reached, otherwise. In order to gain true insight on the autobiographical approach to The Metamorphosis, a brief examination of his life is required; his thoughts, his beliefs, the acknowledgment of the cruel circumstances of his life, especially his home life, must be made clear that the anguish of his own world is the model for the themes in his stories.

Nietzsche starts this second essay by looking at and reviewing the importance of our ability to make and keep promises. To hold yourself and others to a promise means having the need of both a good memory, the ability to remember making said promise and a strong feeling of confidence what will happen next and a long term ability to know you will be able to fulfil said promise. In order for us to make the commitment and have the confidence to do so means that on some level, we must give a feeling and make ourselves into the ideal of becoming in a way predictable, to be able to achieve this we as humans need a set of guideline to follow, certain rules that make this predictability a possibility, the certainty that a set of actions will lead to a set of reactions both internally and externally.

Nietzsche makes an attempt on “Restoring the innocence of becoming” by getting rid of “Punishment” and “Guilt”. He makes this claim in his “Error of Free Will”, by saying that, “Nowadays, since we are engaged in a movement in the opposite direction, since we immoralists especially are seeking with all our strength to eliminate the concept of guilt and punishment again and to cleanse psychology, history, nature, social institutions and sanctions of them, there is in our view no more radical opposition than that which comes from the theologians who, with their concept of ‘moral world order’, persist in plaguing the innocence of becoming with ‘punishment’ and ‘guilt” (pg. 472). Nietzsche

In The Metamorphosis, Kafka establishes, through his religious imagery and gospel-esque episodic narration, the character of Gregor Samsa simultaneously as a kind of inverse Messianic figure and a god-like artist, relating the two and thus turning the conventional concept of the literary hero on its ear. The structure of the novel reflects that of the Gospel of Mark in that it is narrated in individual events, and in this it is something of a Künstlerroman - that is, the real metamorphosis is over the course of the novel, rather than just at the beginning, and that change is a heightened sensitivity to the world in an artistic sense. The motif of change is a rather theological one as well: we see it in a religious sense, in the form of

Although the problem of the relationship between Nietzsche and metaphysics might seem to be a settled issue, this is in fact a quite complicated and fascinating problematic. The difficulty with this subject lies in the often unacknowledged ambiguity that the term ‘metaphysics’ exhibits in Nietzsche's writing, as this word assumes different nuances and connotations in different contexts. Therefore, if we can get past the usual rhetoric on the topic, we come to realize that Nietzsche addresses the topic of metaphysics in at least two distinct ways.

  Kafka uses symbolism in his short story, Metamorphosis.  He uses this technique to make the reader try and figure out what was going on in his head.  He brought out in this story many things about his life, including his father/family, love life, and his future.  He used metaphors to show his love for people in his life.  This story is autobiographical about the forces that control Franz Kafka's life.  In this paper I will explain how Kafka relates his life to the readers through the story in Metamorphosis.

The Merriam – Webster Dictionary defines existentialism as a chiefly 20th century philosophical movement embracing diverse doctrines but centering on analysis of individual existence in an unfathomable universe and the plight of the individual who must assume ultimate responsibility for acts of free will without any certain knowledge of what is right or wrong or good or bad (Merriam, 2011). In other words, an existentialist believes that our natures are the natures we make for ourselves, the meaning of our existence is that we just exist and there may or may not be a meaning for the existence, and we have to individually decide what is right or wrong and good or bad for ourselves. No one can answer any of those things for us. A good

Friedrich Nietzsche was a 19th-century German philosopher and held in regard amongst the greatest philosophers of the early part century. He sharpened his philosophical skills through reading the works of the earlier philosophers of the 18th century such as Immanuel Kant, John Stuart Mill, Arthur Schopenhauer and African Spir; however, their works and beliefs were opposite to his own. His primary mentor was Author Schopenhauer, whose belief was that reality was built on the foundation of experience. Such as it is, one of his essays, Schopenhauer als Erzieher, published in 1874, was dedicated to Schopenhauer (Mencken, 2008). In the past two centuries, his work has had authority and influence in both

Born nearly 70 years apart from each other, Francis Schaeffer and Friedrich Nietzsche were two very important figures in creating the modern philosophy. Two different men that studied two different parts of philosophy. Because of their differences, most are unable to recognize their many similarities.Each of the men had the things they studied, but the basis of their theories were almost identical.

Nietzsche´s eternal return is similar to the 1993 film Groundhog Day where a news reporter got stuck into a time loop reliving the same day over and over until breaking the loop. The contrast here, however, is the film focusing on the reporter´s unhappiness of reliving the same day everyday, whereas Nietzsche philosophized that every decision and action made would be the setup to be relived from the changing point when it all began; the cycle would be repeated when the person dies and then is immediately reborn into the point of change. In terms of the film Groundhog Day, the main character “died” at the end of each day to be reborn at the point his alarm clock went off in the morning. (Faust, 2012)

Nietzsche shares a similar view of man. The important thing in man is his potential; man is striving but for something different, Ubermensch or superman. It represents man constantly striving to overcome himself and become a man whose values are independent from societal conceptions of good and evil. Ubermensch must be willing and able to reject what he is now to become something different and never become content with present values. Similar to Kierkegaard, Nietzsche sees life as a series of stages that take man from the herd to Ubermensch. The first step for man to achieve Ubermensch is to overcome a collective herd view of values because they are not bridges to Ubermensch. Once this herd is overcome, man can begin to concentrate on overcoming himself.

3). In his most basic claims, Nietzsche implicitly negates the possibility of a “disinterested” or “objective” truth. He would not urge so definitively for an affirmation of reality, if he held out for the possibility of fantasy or god. The ‘innocence of becoming’ is a clear example of how Nietzsche, for all intents and purposes, “debunk[‘s]” the relevance of claims made by traditional authorities. In essence, Nietzsche basically nullifies the relevance of societal hierarchy. Not only this, but the further claims made by such a society regarding morality and philosophical thinking, are seen to be – at best – gullible and naïve. The ‘innocence of becoming’ refers to even the lowest classes of society finding power in their status. In lieu of accepting that we are completely alone in the world, Nietzsche asserts that we have a constant need to blame others for our state. It is simply much easier to do than to accept that everything we do has no genuine or reaching consequences. While the ‘innocence of becoming’ is not necessarily an innocent process as those we choose to blame are usually blameless, it is fair to say that we are innocent of it; much like the ‘will to power’ it also works through self-deception. Evidently we are able to commit to life affirmation by essentially taking no responsibility for our weakness. Christianity itself is closely connected with the ‘becoming’ process as in its