Joyce's "The Dead" and Kafka's "Metamorphosis"

In both Joyce’s The Dead, and Kafka’s Metamorphosis, the main character is suffering from a severe delusion about their own self. Gabriel, in Joyce’s The Dead, accepts he is the one genuine affection in Gretta’s life. At the point when this trickiness is uncovered his reality gets broke. So also, in The Metamorphosis, Gregor Samka understands that he is just a laborer in the public arena, and his whole life is based on consequence. The importance of self knowledge self-information gets clear in these two stories.

James Joyce, in The Dead, gives us a brief look into the life of a man full with self-double dealing. He is secure in the information that he is more brilliant than his colleagues, more capable than his colleagues in his picked calling, and that he is on a social level far expelled from people around him. This effectively can be seen through any number of talks given by Gabriel, yet it is especially clear when he states, ‘He was unsure about the lines from Robert Browning for he expected that they would be over the leaders of his readers”.

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He masters his boss information and social amenities over the remainder of his family, treating them like some subclass of mankind better left clean. His significant other laughs at the way that most of the attenders of the gathering don’t get a handle on the idea of boots, a ‘need’ of life that has not separated down to the less lucky.

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Gabriel’s disgrace for his family is promptly clear. He talks down to them, will not gain proficiency with their normal language, and likes to get away from away from their territory however much as could be expected. At the point when he is gotten some information about this disgrace and it is brought to the cutting edge, he turns out to be vexed and even lashes back at his family. ‘O to come clean with you, countered Gabriel abruptly, I’m tired of my own nation, tired of it!’ (The Dead, 363) All of these figments come slamming down when Gabriel understands that even the most minimal among his family has the one thing that he needs, genuine affection.

In The Metamorphosis, Kafka uses the third individual point of view to introduce his hero, Gregor, yet additionally to present the supporting characters who influence Gregor’s temperament and character. Gregor’s presentation is rough in conveyance for its conditions of Gregor having become a creepy crawly. Kafka takes a constrained third individual perspective, in this manner, describe Gregor’s considerations, activities and feelings in an enlightening tone, permitting the peruser to make their own supposition of his circumstance. Kafka starts his portrayal by depicting Gregor’s activity and its significance to the Samsa family. Gregor is depicted as a dependable figure of power and the sole supplier for his family.

When Gregor experiences the transformation, he no longer can work and turns into a weight to his family. As the story advances, the peruser witnesses Gregor fall further and more profound into dark , which makes him become a hermit under the couch in his room. ‘He remained there throughout the night, investing the energy halfway in a light sleep, from which his appetite kept awakening him with a beginning, and incompletely in stressing and drawing ambiguous expectations… help the family to manage the bother he will undoubtedly cause them in his current condition’ (Kafka 225). Now, Kafka shows Gregor’s circumstance as impermanent. Sadly, the circumstance isn’t transitory and becomes a weight on the family, stripping Gregor of his pride and characteristics that make him human.

Joyce advocates ease in portrayal and builds up an artistic method of portrayal that underlines mood, development and natural advancement instead of mechanical and static vignettes. Joyce was strongly intrigued by film and a master, for example, Scarlett Baron, Philip Sicker and Thomas L. Burkdall have followed the relations between Joyce’s composition and the rising mode of film. Photography, then again, with its presenting, organizing and fixity, is as often as possible related with restricted points of view and generalizations in Joyce’s work. Than In his initial article ‘A Portrait of the Artist’ (1904), Joyce contended for a method of portrayal that presents unobtrusive advancements as opposed to static vignettes.

Photography couldn’t pass on the ‘individuating mood’ or ‘the bend of a feeling’ that Joyce portrays as essential for workmanship, nor could a photograph do equity to history if ‘the past without a doubt infers a liquid progression of presents.’ Finally, This reaction looks like the response of an impersonator. ‘The camera, they accepted, was a liar. Its accuracy was bogus. Why? Since reality didn’t comprise of static pictures. Since the camera stops time, which can’t be halted; in light of the fact that it renders everything in center … Because the eye isn’t a focal point, and the mind isn’t a machine.’ Joyce questioned, ‘Can a photo be a show-stopper?’ and replied: ‘A photo is a demeanor of reasonable issue and might be so arranged for a tasteful end however it’s anything but a human air of reasonable issue. Along these lines it’s anything but a work of art.’ Photography just offers a mechanical point of view thus it can’t sufficiently pass on enthusiastic transition, uncovering the centrality of the ‘human demeanor’ for Joyce.

As Leopold Bloom says in Ulysses, the photo ‘basically wasn’t craftsmanship in a word’ (16.1454-1455)(6); it can accomplish tasteful closures, however it isn’t workmanship since it can’t speak to the musical passionate development of the human world. There is visit incongruity around photos in Joyce’s work, recommending his tendency for pictures moving. Film, which joins pictures for tasteful impact, comes nearer to Joyce’s own story method.

Both Joyce and Kafka describe innovative and enthusiastic commitment with photographic pictures and mechanical generations while likewise highlighting their impediments as instruments for visual dominance and self comprehension. For Walter Benjamin, photography uncovers the ‘optical oblivious’ of reality with subtleties, points, and viewpoints which get away from the unmediated human gaze.Joyce dismisses the assumption of the picture’s straightforwardness and exhaustibility as he underlines the significance of human creative mind for portrayal. Kafka investigates the extreme indecision of the photo and poses us to think about the inquiry of ‘who’ encounters. The two creators express tension over character development through the twisting presentation of photography.

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Joyce's "The Dead" and Kafka's "Metamorphosis". (2021, Dec 07). Retrieved from

Joyce's "The Dead" and Kafka's "Metamorphosis"

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