Example 1

Student Example

Emily Pasmore Doyle

Composition II

Due Date

Annotated Bibliography: Literary Criticism of “The Metamorphosis” by Franz Kafka

Bernofsky, Susan. "On Translating Kafka's "The Metamorphosis"" The New Yorker (2014): 1-4.

W.W. Norton and Company, Inc. Web. 16 Nov. 2016.

In 2014, The New Yorker published an article by Susan Bernofsky entitled, “On Translating

Kafka’s “The Metamorphosis.” In this article, Bernofsky provides context information about the

difficulties Kafka experienced while writing the story and trying to get it published in a timely

manner. Bernofsky begins by describing how Kafka went about writing the novella. Bernofsky

states that Kafka told his fiancé in a letter that the idea for the story came to him in his “misery”

while lying in bed. After many distractions and “interruptions,” Kafka finally published “The

Metamorphosis” in December 1915. Bernofsky also comments on the humorous aspects of the

story, calling the work “tragicomic” because although Gregor endures immense suffering, the

absurdity of his transformation and the irrational ways that he and his family react to it add

humor to the story. Bernofsky goes on to explain in great detail her careful process of translating

“The Metamorphosis” from its original German text into English. She draws attention to the

various terms in German that challenged her as a translator and emphasizes their specific

definitions and connotations. Bernofsky remarks that each German word Kafka choses to
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describe Gregor has a specific sense or interpretation in English. For example, the German word

s Ungeziefer means “nasty, dirty bug” in English, while the other word Kafka used when

discussing the story with friends, wanze, could mean any sort of insect, not necessarily an object

of disgust. Bernofsky claims that Kafka’s choice to use multiple words to describe the type of

insect Gregor becomes adds complexity and serves to emphasize the confusion Gregor feels as

he tries to understand what has happened to him. Bernofsky indicates that the word for

“metamorphosis” in German, Verwandlung, means a supernatural transformation, like one that

would take place in a fairy tale. However, the equivalent in English can mean either a natural or

supernatural change in the shape or form of something. Bernofsky also points out that the main

characters in the story are mostly named by their functions like “father,” “mother,” and “sister.”

Gregor’s sister, Grete, is the only character who is often referred to by her first name. Bernofsky

claims that this allows Gregor’s point of view to overpower the story even when he is not present

in a scene, while conveying the closeness he feels to his sister. Bernofsky describes some

difficulties she experienced in maintaining the subtle meaning of specific word choices, in

particular the leitmotif of anxiety and tranquility Gregor experiences in his insect form. She

remarks that she was unable to find two specific words that would convey this contrast exactly,

so she chose to describe these opposing feelings using a variety of English words throughout the

text.

One particularly interesting point that Bernofsky makes is that Gregor Samsa is the stereotypical

Kafka “anti-hero.” Bernofsky backs up this claim by illustrating the fact that Gregor is not only

exhausted from all his work to pay off his parent’s debts, but also humiliated by his tendency to

acquiesce to the demands of others. Bernofsky claims that when his “grotesque” transformation

comes about, it is the “physical manifestation of his abasement.” Bernofsky remarks that Kafka
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was inspired by the humiliation he suffered in his personal life as a struggling author. In addition

to the context information provided, Bernofsky’s main idea is to convey to the reader that the

story’s language can be interpreted in many different ways, depending on the specific translation,

which in Bernofsky’s view, does not detract from Kafka’s intended meaning, but rather adds

richness and complexity to it.

Bernofsky’s article is interesting because it encourages the reader to pay more attention to

specific terms and how Kafka uses them in the story. Bernofsky is also effective and thorough in

her explanation of the connotations of each word Kafka uses to describe Gregor, his

transformation, his habits, movements, and feelings in “The Metamorphosis.” Bernofsky’s article

is valuable because points out details that a reader might not consider upon a first reading, and

makes the compelling argument that differences in translation can add to Gregor’s sense of

confusion at his transformation, while enhancing the overall depth of meaning in the work.

Ryan, Michael P. "Samsa and Samsara: Suffering, Death, and Rebirth in "The Metamorphosis"

The German Quarterly 72.2 (1999): 133-52. Wiley, AATG. Web. 17 Nov. 2016.

In 1999, Wiley and AATG published an article by Michael Ryan entitled, "Samsa and Samsara:

Suffering, Death, and Rebirth in "The Metamorphosis.” In this article, Ryan explains that Kafka

wrote “The Metamorphosis” intending for a Christian audience, but the story’s plot also lends

itself to the tenants of Eastern religion, particularly the cycle of life, suffering, and rebirth known

as Samsara. Ryan states, “Kafka may be portraying a reality in which death is not a curse, but a

goal.” Ryan explains that Kafka creates the character Gregor to model after himself. Ryan states,

“Gregor and the author wish to make a break from life and all its anxiety.” Ryan goes on to say
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that Gregor feels as if he would rather die than live, and this is the only resolution to his pain and

alienation.

Ryan views Gregor’s metamorphosis as a rebirth that does not last long for Gregor. Ryan’s most

important idea is the argument that no matter what life cycle one is in, he or she will suffer, but

this suffering can lead to rebirth and enlightenment. Essentially Ryan makes the claim that, as

the tenets of Hinduism and Buddhism emphasize, there is no way to escape suffering in life.

Ryan proves this by explaining Gregor’s transformation and the various obstacles that it brings.

By contrast, Ryan sees Gregor’s metamorphosis as a sort of restoration for his family because it

forces the family members to revise their lives and change for the better. Ryan’s most

compelling argument is that before his eventual death, the mistreatment and alienation that

Gregor suffers leads to a form of enlightenment because as a result of his suffering, he is able to

understand his true role in the family and how their dynamic functions.

Ryan’s article is one that readers who are unfamiliar with Eastern religion might find

complicated upon a first reading. However, Ryan’s perspective is valuable because it

interchanges the opposition between suffering, death, and rebirth in the story with these same

aspects of real life. This article is important because it provides readers with a way of

communicating “The Metamorphosis” to others as a story of the cycle of human life, and the

inevitable suffering that comes with it, but also the potential for enlightenment and more

profound understanding of the self.

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Sokel, Walter H. "Kafka's "Metamorphosis": Rebellion and Punishment." Monatshefte 4th ser.

48 (1956): 203-14. University of Wisconsin Press. Web. 17 Nov. 2016.

In 1956, the University of Wisconsin Press published an article by Walter Sokel called, "Kafka's

‘Metamorphosis’: Rebellion and Punishment." In this article, Sokel calls attention to Gregor’s

wish to resist or rebel against those with control over him. Sokel suggests that the metamorphosis

makes it easier for Gregor to defy obligation because it stops him from going to work for a boss

he cannot stand. Sokel explains that there is a sense of joy in the transformation because Gregor

does not have to work any longer, but his only power is lost as a result. Sokel points out that

Gregor’s humanity slips away in the eyes of his family. Sokel describes that Gregor’s family was

only using him for the income he was bringing in to the household. Sokel demonstrates that

Gregor goes from his family’s provider to a useless insect. Sokel emphasizes the reader’s view of

Gregor as the human he is and not the nasty bug that his family sees. Sokel explains that

Gregor’s family does not understand that he still thinks as a human, which causes Gregor intense

suffering. However, Sokel also examines the Freudian perspective of “accidents” and wish

fulfillment in his argument that Gregor’s transformation is a manifestation of latent desires and a

sense of guilt upon attaining them. Sokel states, “To put it in positive terms: the metamorphosis

accommodates Gregor’s conflicting needs, the need to rebel, and the need to suffer punishment

for this rebellion.”

Sokel contrasts Gregor’s desire for rebellion and the self-inflicted punishment that Gregor

endures. Prior to the transformation, Gregor had wanted to rebel against his boss and his

oppressive family, Sokel explains. He gets his wish, but Gregor’s wish is granted in a different

way than what he would have wanted. Sokel emphasizes that Gregor is not aggressive or

assertive enough to stand up to his boss or his family as a human. Therefore, his metamorphosis
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gives him the freedom he craves, but he loses his humanity along the way. The most essential

idea that Sokel points out is that Gregor’s metamorphosis is a way for Gregor to rebel against the

oppression he endures, and escape the duties that are imposed on him while remaining

“innocent” Sokel states that Gregor enjoys a sense of freedom as not a deliberate rebel, but “a

mere victim of uncontrollable calamity.”

Sokel makes many thought-provoking points throughout his article. The article is valuable to

readers of “The Metamorphosis” by Franz Kafka because it identifies the positive side of

Gregor’s metamorphosis, not just the harm. Sokel’s choice to examine the story from a Freudian

perspective enhances a psychological study of the work. This perspective is important because

Gregor’s psychological state is the aspect of the story that readers connect with on the most

intimate level.