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Franz Kafka

Franz Kafka (3 July 1883 – 3 June 1924) was a German-language novelist and writer from Prague. He is widely regarded as one of the major figures of 20th-century literature. His work fuses elements of realism and the fantastic. It typically features isolated protagonists facing bizarre or surrealistic predicaments and incomprehensible socio-bureaucratic powers. It has been interpreted as exploring themes of alienation, existential anxiety, guilt, and absurdity. His best known works include the novella The Metamorphosis and novels The Trial and The Castle. The term Kafkaesque has entered English to describe absurd situations like those depicted in his writing.

Kafka was born into a middle-class German-speaking Czech Jewish family in Prague, the capital of the Kingdom of Bohemia, then part of the Austro-Hungarian Empire (today the capital of the Czech Republic). He trained as a lawyer, and after completing his legal education was employed full-time by an insurance company, forcing him to relegate writing to his spare time. Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and formal relationship. He became engaged to several women but never married. He died in obscurity in 1924 at the age of 40 from tuberculosis.

Kafka was a prolific writer, spending most of his free time writing, often late in the night. He burned an estimated 90 percent of his total work due to his persistent struggles with self-doubt. Much of the remaining 10 percent is lost or otherwise unpublished. Few of Kafka's works were published during his lifetime; the story collections Contemplation and A Country Doctor, and individual stories, such as his novella The Metamorphosis, were published in literary magazines but received little attention.

In his will, Kafka instructed his close friend and literary executor Max Brod to destroy his unfinished works, including his novels The Trial, The Castle, and Amerika, but Brod ignored these instructions and had much of his work published. Kafka's writings became famous in German-speaking countries after World War II, influencing German literature, and its influence spread elsewhere in the world in the 1960s. It has also influenced artists, composers, and philosophers.

Early life
Kafka was born near the Old Town Square in Prague, then part of the Austro-Hungarian Empire. His family were German-speaking middle-class Ashkenazi Jews. His father, Hermann Kafka (1854–1931), was the fourth child of Jakob Kafka, a shochet or ritual slaughterer in Osek, a Czech village with a large Jewish population located near Strakonice in southern Bohemia. Hermann brought the Kafka family to Prague. After working as a travelling sales representative, he eventually became a fashion retailer who employed up to 15 people and used the image of a jackdaw (kavka in Czech, pronounced and colloquially written as kafka) as his business logo. Kafka's mother, Julie (1856–1934), was the daughter of Jakob Löwy, a prosperous retail merchant in Poděbrady, and was better educated than her husband.

Kafka's parents probably spoke a German influenced by Yiddish that was sometimes pejoratively called Mauscheldeutsch, but, as German was considered the vehicle of social mobility, they probably encouraged their children to speak Standard German. Hermann and Julie had six children, of whom Franz was the eldest. Franz's two brothers, Georg and Heinrich, died in infancy before Franz was seven; his three sisters were Gabriele ("Elli") (1889–1942), Valerie ("Valli") (1890–1942) and Ottilie ("Ottla") (1892–1943). All three were murdered in the Holocaust of World War II. Valli was deported to the Łódź Ghetto in occupied Poland in 1942, but that is the last documentation of her; it is assumed she did not survive the war. Ottilie was Kafka's favourite sister.

Hermann is described by Kafka scholar and translator Stanley Corngold as a "huge, selfish, overbearing businessman" and by Franz Kafka as "a true Kafka in strength, health, appetite, loudness of voice, eloquence, self-satisfaction, worldly dominance, endurance, presence of mind, knowledge of human nature, a certain way of doing things on a grand scale, of course with all the defects and weaknesses that go with all these advantages and into which your temperament and sometimes your hot temper drive you". On business days, both parents were absent from the home, with Julie Kafka working as many as 12 hours each day helping to manage the family business. Consequently, Kafka's childhood was somewhat lonely, and the children were reared largely by a series of governesses and servants. Kafka's troubled relationship with his father is evident in his Brief an den Vater (Letter to His Father) of more than 100 pages, in which he complains of being profoundly affected by his father's authoritarian and demanding character; his mother, in contrast, was quiet and shy. The dominating figure of Kafka's father had a significant influence on Kafka's writing.

The Kafka family had a servant girl living with them in a cramped apartment. Franz's room was often cold. In November 1913 the family moved into a bigger apartment, although Ellie and Valli had married and moved out of the first apartment. In early August 1914, just after World War I began, the sisters did not know where their husbands were in the military and moved back in with the family in this larger apartment. Both Ellie and Valli also had children. Franz at age 31 moved into Valli's former apartment, quiet by contrast, and lived by himself for the first time.

Education

From 1889 to 1893, Kafka attended the Deutsche Knabenschule German boys' elementary school at the Masný trh/Fleischmarkt (meat market), now known as Masná Street. His Jewish education ended with his bar mitzvah celebration at the age of 13. Kafka never enjoyed attending the synagogue and went with his father only on four high holidays a year.

After leaving elementary school in 1893, Kafka was admitted to the rigorous classics-oriented state gymnasium, Altstädter Deutsches Gymnasium, an academic secondary school at Old Town Square, within the Kinský Palace. German was the language of instruction, but Kafka also spoke and wrote in Czech. He studied the latter at the gymnasium for eight years, achieving good grades. Although Kafka received compliments for his Czech, he never considered himself fluent in the language, though he spoke German with a Czech accent. He completed his Matura exams in 1901.

Admitted to the Deutsche Karl-Ferdinands-Universität of Prague in 1901, Kafka began studying chemistry but switched to law after two weeks. Although this field did not excite him, it offered a range of career possibilities which pleased his father. In addition, law required a longer course of study, giving Kafka time to take classes in German studies and art history. He also joined a student club, Lese- und Redehalle der Deutschen Studenten (Reading and Lecture Hall of the German students), which organised literary events, readings and other activities. Among Kafka's friends were the journalist Felix Weltsch, who studied philosophy, the actor Yitzchak Lowy who came from an orthodox Hasidic Warsaw family, and the writers Ludwig Winder, Oskar Baum and Franz Werfel.

At the end of his first year of studies, Kafka met Max Brod, a fellow law student who became a close friend for life. Years later, Brod coined the term Der enge Prager Kreis ("The Close Prague Circle") to describe the group of writers, which included Kafka, Felix Weltsch and Brod himself. Brod soon noticed that, although Kafka was shy and seldom spoke, what he said was usually profound. Kafka was an avid reader throughout his life; together he and Brod read Plato's Protagoras in the original Greek, on Brod's initiative, and Flaubert's L'éducation sentimentale and La Tentation de St. Antoine (The Temptation of Saint Anthony) in French, at his own suggestion. Kafka considered Fyodor Dostoevsky, Gustave Flaubert, Nikolai Gogol, Franz Grillparzer, and Heinrich von Kleist to be his "true blood brothers". Besides these, he took an interest in Czech literature and was also very fond of the works of Goethe. Kafka was awarded the degree of Doctor of Law on 18 June 1906 and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts.

Employment

On 1 November 1907, Kafka was employed at the Assicurazioni Generali, an insurance company, where he worked for nearly a year. His correspondence during that period indicates that he was unhappy with a work schedule—from 08:00 until 18:00—that made it extremely difficult to concentrate on writing, which was assuming increasing importance to him. On 15 July 1908, he resigned. Two weeks later, he found employment more amenable to writing when he joined the Worker's Accident Insurance Institute for the Kingdom of Bohemia (Úrazová pojišťovna dělnická pro Čechy v Praze). The job involved investigating and assessing compensation for personal injury to industrial workers; accidents such as lost fingers or limbs were commonplace, owing to poor work safety policies at the time. It was especially true of factories fitted with machine lathes, drills, planing machines and rotary saws, which were rarely fitted with safety guards.

His father often referred to his son's job as an insurance officer as a Brotberuf, literally "bread job", a job done only to pay the bills; Kafka often claimed to despise it. Kafka was rapidly promoted and his duties included processing and investigating compensation claims, writing reports, and handling appeals from businessmen who thought their firms had been placed in too high a risk category, which cost them more in insurance premiums. He would compile and compose the annual report on the insurance institute for the several years he worked there. The reports were well received by his superiors. Kafka usually got off work at 2 p.m., so that he had time to spend on his literary work, to which he was committed. Kafka's father also expected him to help out at and take over the family fancy goods store. In his later years, Kafka's illness often prevented him from working at the insurance bureau and at his writing.

In late 1911, Elli's husband Karl Hermann and Kafka became partners in the first asbestos factory in Prague, known as Prager Asbestwerke Hermann & Co., having used dowry money from Hermann Kafka. Kafka showed a positive attitude at first, dedicating much of his free time to the business, but he later resented the encroachment of this work on his writing time. During that period, he also found interest and entertainment in the performances of Yiddish theatre. After seeing a Yiddish theatre troupe perform in October 1911, for the next six months Kafka "immersed himself in Yiddish language and in Yiddish literature". This interest also served as a starting point for his growing exploration of Judaism. It was at about this time that Kafka became a vegetarian. Around 1915, Kafka received his draft notice for military service in World WarI, but his employers at the insurance institute arranged for a deferment because his work was considered essential government service. He later attempted to join the military but was prevented from doing so by medical problems associated with tuberculosis, with which he was diagnosed in 1917. In 1918, the Worker's Accident Insurance Institute put Kafka on a pension due to his illness, for which there was no cure at the time, and he spent most of the rest of his life in sanatoriums.

Private life

Kafka never married. According to Brod, Kafka was "tortured" by sexual desire, and Kafka's biographer Reiner Stach states that his life was full of "incessant womanising" and that he was filled with a fear of "sexual failure". Kafka visited brothels for most of his adult life and was interested in pornography. In addition, he had close relationships with several women during his lifetime. On 13 August 1912, Kafka met Felice Bauer, a relative of Brod's, who worked in Berlin as a representative of a dictaphone company. A week after the meeting at Brod's home, Kafka wrote in his diary:

"Miss FB. When I arrived at Brod's on 13 August, she was sitting at the table. I was not at all curious about who she was, but rather took her for granted at once. Bony, empty face that wore its emptiness openly. Bare throat. A blouse thrown on. Looked very domestic in her dress although, as it turned out, she by no means was. (I alienate myself from her a little by inspecting her so closely ...) Almost broken nose. Blonde, somewhat straight, unattractive hair, strong chin. As I was taking my seat I looked at her closely for the first time, by the time I was seated I already had an unshakeable opinion."

Shortly after this meeting, Kafka wrote the story "Das Urteil" ("The Judgment") in only one night and in a productive period worked on Der Verschollene (The Man Who Disappeared) and Die Verwandlung (The Metamorphosis). Kafka and Felice Bauer communicated mostly through letters over the next five years, met occasionally, and were engaged twice. Kafka's extant letters to Bauer were published as Briefe an Felice (Letters to Felice); her letters do not survive. After he had written to Bauer's father asking to marry her, Kafka wrote in his diary:

"My job is unbearable to me because it conflicts with my only desire and my only calling, which is literature.... I am nothing but literature and can and want to be nothing else ... Nervous states of the worst sort control me without pause ... A marriage could not change me, just as my job cannot change me."

According to the biographers Stach and James Hawes, Kafka became engaged a third time around 1920, to Julie Wohryzek, a poor and uneducated hotel chambermaid. Kafka's father objected to Julie because of her Zionist beliefs. Although Kafka and Julie rented a flat and set a wedding date, the marriage never took place. During this time, Kafka began a draft of Letter to His Father. Before the date of the intended marriage, he took up with yet another woman. While he needed women and sex in his life, he had low self-confidence, felt sex was dirty, and was cripplingly shy—especially about his body.

Stach and Brod state that during the time that Kafka knew Felice Bauer, he had an affair with a friend of hers, Margarethe "Grete" Bloch, a Jewish woman from Berlin. Brod says that Bloch gave birth to Kafka's son, although Kafka never knew about the child. The boy, whose name is not known, was born in 1914 or 1915 and died in Munich in 1921. However, Kafka's biographer Peter-André Alt says that, while Bloch had a son, Kafka was not the father, as the pair were never intimate. Stach points out that there is a great deal of contradictory evidence around the claim that Kafka was the father.

Kafka was diagnosed with tuberculosis in August 1917 and moved for a few months to the Bohemian village of Zürau (Siřem in Czech), where his sister Ottla worked on the farm of her brother-in-law Karl Hermann. He felt comfortable there and later described this time as perhaps the best period of his life, probably because he had no responsibilities. He kept diaries and made notes in exercise books (Oktavhefte). From those notes, Kafka extracted 109 numbered pieces of text on single pieces of paper (Zettel); these were later published as Die Zürauer Aphorismen oder Betrachtungen über Sünde, Hoffnung, Leid und den wahren Weg (The Zürau Aphorisms or Reflections on Sin, Hope, Suffering, and the True Way).

In 1920, Kafka began an intense relationship with Milena Jesenská, a Czech journalist and writer who was non-Jewish and who was married, but when she met Kafka, her marriage was a "sham". His letters to her were later published as Briefe an Milena. During a vacation in July 1923 to Graal-Müritz on the Baltic Sea, Kafka met Dora Diamant, a 25-year-old kindergarten teacher from an orthodox Jewish family. Kafka, hoping to escape the influence of his family to concentrate on his writing, moved briefly to Berlin (September 1923-March 1924) and lived with Diamant. She became his lover and sparked his interest in the Talmud. He worked on four stories, including Ein Hungerkünstler (A Hunger Artist), which were published shortly after his death.

Siblings

Kafka's parents had six children; Kafka was the eldest. His two brothers, Georg and Heinrich, died in infancy; his three sisters, Gabriele ("Elli") (September 22, 1889 – fall of 1942), Valerie ("Valli") (1890–1942) and Ottilie ("Ottla") (1892–1943), are believed to have been murdered in the Holocaust of the Second World War. Ottilie was Kafka's favourite sister.

Gabriele was Kafka's eldest sister. She was known as Elli or Ellie; her married name is variously rendered as Hermann or Hermannová. She attended a German girls' school in Prague's Řeznická Street and later a private girls' secondary school. She married Karl Hermann (1883–1939), a salesman, in 1910. The couple had a son, Felix (1911–1940), and two daughters, Gertrude (Gerti) Kaufmann (1912–1972), and Hanna Seidner (1920–1941). After her marriage to Hermann, she became closer to her brother, whose letters showed an active interest in the upbringing and education of her children. He accompanied her on a 1915 trip to Hungary to visit Hermann, who was stationed there, and spent a summer with her and her children in Müritz the year before he died.

With the outbreak of the Great Depression in 1929, the Hermann family business experienced financial difficulties and eventually went bankrupt. Karl Hermann died February 27, 1939, and Elli was supported financially by her sisters. On October 21, 1941, she was deported together with her daughter Hanna to the Łódź Ghetto, where she lived temporarily with her sister Valli and Valli's husband in the spring of 1942. She was probably killed in the Kulmhof extermination camp in the fall of 1942. Of Elli's three children, only her daughter Gerti survived the Second World War. A memorial plaque commemorates the three sisters at the family grave in the New Jewish Cemetery in Prague.

Personality
Kafka had a lifelong suspicion that people found him mentally and physically repulsive. However, many of those who met him found him to possess obvious intelligence and a sense of humour; they also found him handsome, although of austere appearance. Kafka was thought to be "very self-analytic". Brod compared Kafka to Heinrich von Kleist, noting that both writers had the ability to describe a situation realistically with precise details. Brod thought Kafka was one of the most entertaining people he had met; Kafka enjoyed sharing his humour with his friends but also helped them in difficult situations with good advice. According to Brod, he was a passionate reciter, able to phrase his speech as though it were music. Brod felt that two of Kafka's most distinguishing traits were "absolute truthfulness" (absolute Wahrhaftigkeit) and "precise conscientiousness" (präzise Gewissenhaftigkeit). He explored inconspicuous details in depth and with such precision and love that unforeseen things surfaced that seemed strange but absolutely true (nichts als wahr).

Kafka's letters and unexpurgated diaries reveal repressed homoerotic desires, including an infatuation with novelist Franz Werfel and fascination with the work of Hans Blüher on male bonding. Saul Friedländer argues that this mental struggle may have informed the themes of alienation and psychological brutality in his writing.

Although Kafka showed little interest in exercise as a child, he later developed a passion for games and physical activity, and was an accomplished rider, swimmer, and rower. On weekends, he and his friends embarked on long hikes, often planned by Kafka himself. His other interests included alternative medicine, modern education systems such as Montessori, and technological novelties such as airplanes and film. Writing was vitally important to Kafka; he considered it a "form of prayer". He was highly sensitive to noise and preferred absolute quiet when writing.

Pérez-Álvarez has claimed that Kafka had symptomatology consistent with schizoid personality disorder. His style, it is claimed, not only in Die Verwandlung (The Metamorphosis) but in other writings, appears to show low- to medium-level schizoid traits, which Pérez-Álvarez claims to have influenced much of his work. His anguish can be seen in this diary entry from 21 June 1913:

and in Zürau Aphorism number 50:

Alessia Coralli and Antonio Perciaccante of San Giovanni di Dio Hospital have posited that Kafka may have had borderline personality disorder with co-occurring psychophysiological insomnia. Joan Lachkar interpreted Die Verwandlung as "a vivid depiction of the borderline personality" and described the story as "model for Kafka's own abandonment fears, anxiety, depression, and parasitic dependency needs. Kafka illuminated the borderline's general confusion of normal and healthy desires, wishes, and needs with something ugly and disdainful."

Though Kafka never married, he held marriage and children in high esteem. He had several girlfriends and lovers across his life. He may have suffered from an eating disorder. Doctor Manfred M. Fichter of the Psychiatric Clinic, University of Munich, presented "evidence for the hypothesis that the writer Franz Kafka had suffered from an atypical anorexia nervosa", and that Kafka was not just lonely and depressed but also "occasionally suicidal". In his 1995 book Franz Kafka, the Jewish Patient, Sander Gilman investigated "why a Jew might have been considered 'hypochondriacal' or 'homosexual' and how Kafka incorporates aspects of these ways of understanding the Jewish male into his own self-image and writing". Kafka considered suicide at least once, in late 1912.

Political views
Before World War I, Kafka attended several meetings of the Klub mladých, a Czech anarchist, anti-militarist, and anti-clerical organization. Hugo Bergmann, who attended the same elementary and high schools as Kafka, fell out with Kafka during their last academic year (1900–1901) because "[Kafka's] socialism and my Zionism were much too strident". Bergmann said: "Franz became a socialist, I became a Zionist in 1898. The synthesis of Zionism and socialism did not yet exist." Bergmann claims that Kafka wore a red carnation to school to show his support for socialism. In one diary entry, Kafka made reference to the influential anarchist philosopher Peter Kropotkin: "Don't forget Kropotkin!"

During the communist era, the legacy of Kafka's work for Eastern Bloc socialism was hotly debated. Opinions ranged from the notion that he satirised the bureaucratic bungling of a crumbling Austro-Hungarian Empire, to the belief that he embodied the rise of socialism. A further key point was Marx's theory of alienation. While the orthodox position was that Kafka's depictions of alienation were no longer relevant for a society that had supposedly eliminated alienation, a 1963 conference held in Liblice, Czechoslovakia, on the eightieth anniversary of his birth, reassessed the importance of Kafka's portrayal of bureaucracy. Whether Kafka was a political writer is still an issue of debate.

Judaism and Zionism

Kafka grew up in Prague as a German-speaking Jew. He was deeply fascinated by the Jews of Eastern Europe, who he thought possessed an intensity of spiritual life that was absent from Jews in the West. His diary contains many references to Yiddish writers. Yet he was at times alienated from Judaism and Jewish life. On 8 January 1914, he wrote in his diary:

In his adolescent years, Kafka declared himself an atheist.

Hawes suggests that Kafka, though very aware of his own Jewishness, did not incorporate it into his work, which, according to Hawes, lacks Jewish characters, scenes or themes. In the opinion of literary critic Harold Bloom, although Kafka was uneasy with his Jewish heritage, he was the quintessential Jewish writer. Lothar Kahn is likewise unequivocal: "The presence of Jewishness in Kafka's oeuvre is no longer subject to doubt". Pavel Eisner, one of Kafka's first translators, interprets Der Process (The Trial) as the embodiment of the "triple dimension of Jewish existence in Prague... his protagonist Josef K. is (symbolically) arrested by a German (Rabensteiner), a Czech (Kullich), and a Jew (Kaminer). He stands for the 'guiltless guilt' that imbues the Jew in the modern world, although there is no evidence that he himself is a Jew".

In his essay Sadness in Palestine?!, Dan Miron explores Kafka's connection to Zionism: "It seems that those who claim that there was such a connection and that Zionism played a central role in his life and literary work, and those who deny the connection altogether or dismiss its importance, are both wrong. The truth lies in some very elusive place between these two simplistic poles." Kafka considered moving to Palestine with Felice Bauer, and later with Dora Diamant. He studied Hebrew while living in Berlin, hiring a friend of Brod's from Palestine, Pua Bat-Tovim, to tutor him and attending Rabbi Julius Grünthal and Rabbi Julius Guttmann's classes in the Berlin Hochschule für die Wissenschaft des Judentums (College for the Study of Judaism), where he also studied Talmud.

Livia Rothkirchen calls Kafka the "symbolic figure of his era". His contemporaries included numerous Jewish, Czech, and German writers who were sensitive to Jewish, Czech, and German culture. According to Rothkirchen, "This situation lent their writings a broad cosmopolitan outlook and a quality of exaltation bordering on transcendental metaphysical contemplation. An illustrious example is Franz Kafka".

Towards the end of his life Kafka sent a postcard to his friend Hugo Bergmann in Tel Aviv, announcing his intention to emigrate to Palestine. Bergmann refused to host Kafka because he had young children and was afraid that Kafka would infect them with tuberculosis.

Death

Kafka's laryngeal tuberculosis worsened and in March 1924 he returned from Berlin to Prague, where members of his family, principally his sister Ottla and Dora Diamant, took care of him. He went to Hugo Hoffmann's sanatorium in Kierling just outside Vienna for treatment on 10 April, and died there on 3 June 1924. The cause of death seemed to be starvation: the condition of Kafka's throat made eating too painful for him, and since parenteral nutrition had not yet been developed, there was no way to feed him. Kafka was editing "A Hunger Artist" on his deathbed, a story whose composition he had begun before his throat closed to the point that he could not take any nourishment. His body was brought back to Prague where he was buried on 11 June 1924, in the New Jewish Cemetery in Prague-Žižkov. Kafka was virtually unknown during his own lifetime, but he did not consider fame important. He rose to fame rapidly after his death, particularly after World War II. The Kafka tombstone was designed by architect Leopold Ehrmann.

Works

All of Kafka's published works, except some letters he wrote in Czech to Milena Jesenská, were written in German. What little was published during his lifetime attracted scant public attention.

Kafka finished none of his full-length novels and burned around 90 percent of his work, much of it during the period he lived in Berlin with Diamant, who helped him burn the drafts. In his early years as a writer he was influenced by von Kleist, whose work he described in a letter to Bauer as frightening and whom he considered closer than his own family.

Kafka drew and sketched extensively. Until May 2021, only about 40 of his drawings were known. In 2022, Yale University Press published Franz Kafka: The Drawings.

Stories
Kafka's earliest published works were eight stories that appeared in 1908 in the first issue of the literary journal Hyperion under the title Betrachtung (Contemplation). He wrote the story "Beschreibung eines Kampfes" ("Description of a Struggle") in 1904; he showed it to Brod in 1905 who advised him to continue writing and convinced him to submit it to Hyperion. Kafka published a fragment in 1908 and two sections in the spring of 1909, all in Munich.

In a creative outburst on the night of 22 September 1912, Kafka wrote the story "Das Urteil" ("The Judgment", literally: "The Verdict") and dedicated it to Felice Bauer. Brod noted the similarity in names of the main character and his fictional fiancée, Georg Bendemann and Frieda Brandenfeld, to Franz Kafka and Felice Bauer. The story is often considered Kafka's breakthrough work. It deals with the troubled relationship of a son and his dominant father, facing a new situation after the son's engagement. Kafka later described writing it as "a complete opening of body and soul", a story that "evolved as a true birth, covered with filth and slime". The story was first published in Leipzig in 1912 and dedicated "to Miss Felice Bauer", and in subsequent editions "for F."

In 1912, Kafka wrote Die Verwandlung (The Metamorphosis, or The Transformation), published in 1915 in Leipzig. The story begins with a travelling salesman waking to find himself transformed into an ungeheures Ungeziefer, a monstrous vermin, Ungeziefer being a general term for unwanted and unclean pests, especially insects. Critics regard the work as one of the seminal works of fiction of the 20th century. The story "In der Strafkolonie" ("In the Penal Colony"), dealing with an elaborate torture and execution device, was written in October 1914, revised in 1918, and published in Leipzig during October 1919. The story "Ein Hungerkünstler" ("A Hunger Artist"), published in the periodical Die neue Rundschau in 1924, describes a victimized protagonist who experiences a decline in the appreciation of his strange craft of starving himself for extended periods. His last story, "Josefine, die Sängerin oder Das Volk der Mäuse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.

Novels

Kafka began his first novel in 1912; its first chapter is the story "Der Heizer" ("The Stoker"). He called the work, which remained unfinished, Der Verschollene (The Man Who Disappeared or The Missing Person), but when Brod published it after Kafka's death he named it Amerika. The inspiration for the novel was the time Kafka spent in the audience of Yiddish theatre the previous year, bringing him to a new awareness of his heritage, which led to the thought that an innate appreciation for one's heritage lives deep within each person. More explicitly humorous and slightly more realistic than most of Kafka's works, the novel shares the motif of an oppressive and intangible system putting the protagonist repeatedly in bizarre situations. It uses many details of experiences from his relatives who had emigrated to America and is the only work for which Kafka considered an optimistic ending.

In 1914 Kafka began the novel Der Process (The Trial), the story of a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. He did not complete the novel, although he finished the final chapter. According to Nobel Prize winner and Kafka scholar Elias Canetti, Felice is central to the plot of Der Process and Kafka said it was "her story". Canetti titled his book on Kafka's letters to Felice Kafka's Other Trial, in recognition of the relationship between the letters and the novel. Michiko Kakutani notes in a review for The New York Times that Kafka's letters have the "earmarks of his fiction: the same nervous attention to minute particulars; the same paranoid awareness of shifting balances of power; the same atmosphere of emotional suffocation—combined, surprisingly enough, with moments of boyish ardour and delight."

According to his diary, Kafka was already planning his novel Das Schloss (The Castle), by 11 June 1914; however, he did not begin writing it until 27 January 1922. The protagonist is the Landvermesser (land surveyor) named K., who struggles for unknown reasons to gain access to the mysterious authorities of a castle who govern the village. Kafka's intent was that the castle's authorities notify K. on his deathbed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was to be permitted to live and work there". Dark and at times surreal, the novel is focused on alienation, bureaucracy, the seemingly endless frustrations of man's attempts to stand against the system, and the futile and hopeless pursuit of an unattainable goal. Hartmut M. Rastalsky noted in his thesis: "Like dreams, his texts combine precise 'realistic' detail with absurdity, careful observation and reasoning on the part of the protagonists with inexplicable obliviousness and carelessness."

Publishing history

Kafka's stories were initially published in literary periodicals. His first eight were printed in 1908 in the first issue of the bi-monthly Hyperion. Franz Blei published two dialogues in 1909 which became part of "Beschreibung eines Kampfes" ("Description of a Struggle"). A fragment of the story "Die Aeroplane in Brescia" ("The Aeroplanes at Brescia"), written on a trip to Italy with Brod, appeared in the daily Bohemia on 28 September 1909. On 27 March 1910, several stories that later became part of the book Betrachtung were published in the Easter edition of Bohemia. In Leipzig during 1913, Brod and publisher Kurt Wolff included "Das Urteil. Eine Geschichte von Franz Kafka." ("The Judgment. A Story by Franz Kafka.") in their literary yearbook for the art poetry Arkadia. In the same year, Wolff published "Der Heizer" ("The Stoker") in the Jüngste Tag series, where it enjoyed three printings. The story "Vor dem Gesetz" ("Before the Law") was published in the 1915 New Year's edition of the independent Jewish weekly Selbstwehr; it was reprinted in 1919 as part of the story collection Ein Landarzt (A Country Doctor) and became part of the novel Der Process. Other stories were published in various publications, including Martin Buber's Der Jude, the paper Prager Tagblatt, and the periodicals Die neue Rundschau, Genius, and Prager Presse.

Kafka's first published book, Betrachtung (Contemplation, or Meditation), was a collection of 18stories written between 1904 and 1912. On a summer trip to Weimar, Brod initiated a meeting between Kafka and Kurt Wolff; Wolff published Betrachtung in the Rowohlt Verlag at the end of 1912 (with the year given as 1913). Kafka dedicated it to Brod, "Für M.B.", and added in the personal copy given to his friend "So wie es hier schon gedruckt ist, für meinen liebsten Max—Franz K." ("As it is already printed here, for my dearest Max").

Kafka's novella Die Verwandlung (The Metamorphosis) was first printed in the October 1915 issue of Die Weißen Blätter, a monthly edition of expressionist literature, edited by René Schickele. Another story collection, Ein Landarzt (A Country Doctor), was published by Kurt Wolff in 1919, dedicated to Kafka's father. Kafka prepared a final collection of four stories for print, Ein Hungerkünstler (A Hunger Artist), which appeared in 1924 after his death, in Verlag Die Schmiede. On 20 April 1924, the Berliner Börsen-Courier published Kafka's essay on Adalbert Stifter.

Max Brod

Kafka left his work, both published and unpublished, to his friend and literary executor Max Brod with explicit instructions that it should be destroyed on Kafka's death; Kafka wrote: "Dearest Max, my last request: Everything I leave behind me... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread." Brod ignored this request and published the novels and collected works between 1925 and 1935. Brod defended his action by claiming that he had told Kafka, "I shall not carry out your wishes", and that "Franz should have appointed another executor if he had been absolutely determined that his instructions should stand".

Brod took many of Kafka's papers, which remain unpublished, with him in suitcases to Palestine when he fled there in 1939. Kafka's last lover, Dora Diamant (later, Dymant-Lask), also ignored his wishes, secretly keeping 20notebooks and 35letters. These were confiscated by the Gestapo in 1933, but scholars continue to search for them.

As Brod published the bulk of the writings in his possession, Kafka's work began to attract wider attention and critical acclaim. Brod found it difficult to arrange Kafka's notebooks in chronological order. One problem was that Kafka often began writing in different parts of the book; sometimes in the middle, sometimes working backwards from the end. Brod finished many of Kafka's incomplete works for publication. For example, Kafka left Der Process with unnumbered and incomplete chapters and Das Schloss with incomplete sentences and ambiguous content; Brod rearranged chapters, copy-edited the text, and changed the punctuation. Der Process appeared in 1925 in Verlag Die Schmiede. Kurt Wolff published two other novels, Das Schloss in 1926 and Amerika in 1927. In 1931, Brod edited a collection of prose and unpublished stories as The Great Wall of China, including the titular short story "The Great Wall of China". The book appeared in the Gustav Kiepenheuer Verlag. Brod's sets are usually called the "Definitive Editions".

Modern editions
In 1961 Malcolm Pasley acquired for the Oxford Bodleian Library most of Kafka's original handwritten works. The text for Der Process was later purchased through auction and is stored at the German Literary Archives in Marbach am Neckar, Germany. Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit and Jürgen Born) which reconstructed the German novels; S. Fischer Verlag republished them. Pasley was the editor for Das Schloss, published in 1982, and Der Process (The Trial), published in 1990. Jost Schillemeit was the editor of Der Verschollene (Amerika) published in 1983. These are called the "Critical Editions" or the "Fischer Editions".

In 2023, the first unexpurgated edition of Kafka's diaries was published in English, "more than three decades after this complete text appeared in German. The sole previous English edition, with Brod's edits, was issued in the late 1940s". The new edition revealed that Brod had expunged homoerotic references, and negative comments about Eastern European Jews.

Unpublished papers
When Brod died in 1968, he left Kafka's unpublished papers, which are believed to number in the thousands, to his secretary Esther Hoffe. She released or sold some, but left most to her daughters, Eva and Ruth, who also refused to release the papers. A court battle began in 2008 between the sisters and the National Library of Israel, which claimed these works became the property of the nation of Israel when Brod emigrated to British Palestine in 1939. Esther Hoffe sold the original manuscript of Der Process for US$2 million in 1988 to the German Literary Archive Museum of Modern Literature in Marbach am Neckar. A ruling by a Tel Aviv family court in 2010 held that the papers must be released and a few were, including a previously unknown story, but the legal battle continued. The Hoffes claim the papers are their personal property, while the National Library of Israel argues they are "cultural assets belonging to the Jewish people". The National Library also suggests that Brod bequeathed the papers to them in his will. The Tel Aviv Family Court ruled in October 2012, six months after Ruth's death, that the papers were the property of the National Library. The Israeli Supreme Court upheld the decision in December 2016.

Critical interpretations
The poet W. H. Auden called Kafka "the Dante of the twentieth century"; the novelist Vladimir Nabokov placed him among the greatest writers of the 20th century. Gabriel García Márquez noted the reading of Kafka's The Metamorphosis showed him "that it was possible to write in a different way". A prominent theme of Kafka's work, first established in the short story "Das Urteil", is father–son conflict: the guilt induced in the son is resolved through suffering and atonement. Other prominent themes and archetypes include alienation, physical and psychological brutality, characters on a terrifying quest, and mystical transformation.

Kafka's style has been compared to that of Kleist as early as 1916, in a review of "Die Verwandlung" and "Der Heizer" by Oscar Walzel in Berliner Beiträge. The nature of Kafka's prose allows for varied interpretations and critics have placed his writing into a variety of literary schools. Marxists, for example, have sharply disagreed over how to interpret Kafka's works. Some accused him of distorting reality whereas others claimed he was critiquing capitalism. The hopelessness and absurdity common to his works are seen as emblematic of existentialism. Some of Kafka's books are influenced by the expressionist movement, though the majority of his literary output was associated with the experimental modernist genre. Kafka also touches on the theme of human conflict with bureaucracy. William Burrows claims that such work is centred on the concepts of struggle, pain, solitude, and the need for relationships. Others, such as Thomas Mann, see Kafka's work as allegorical: a quest, metaphysical in nature, for God.

According to Gilles Deleuze and Félix Guattari, the themes of alienation and persecution, although present in Kafka's work, have been overemphasised by critics. They argue that Kafka's work is more deliberate and subversive—and more joyful—than may first appear. They point out that reading Kafka while focusing on the futility of his characters' struggles reveals Kafka's humour; he is not necessarily commenting on his own problems, but rather pointing out how people tend to invent problems. In his work, Kafka often creates malevolent, absurd worlds. Kafka read drafts of his works to his friends, typically concentrating on his humorous prose. The writer Milan Kundera suggests that Kafka's surrealist humour may have been an inversion of Dostoevsky's presentation of characters who are punished for a crime. In Kafka's work, a character is punished although a crime has not been committed. Kundera believes that Kafka's inspirations for his characteristic situations came both from growing up in a patriarchal family and from living in a totalitarian state.

Attempts have been made to identify the influence of Kafka's legal background and the role of law in his fiction. Most interpretations identify aspects of law and legality as important in his work, in which the legal system is often oppressive. The law in Kafka's works, rather than being representative of any particular legal or political entity, is usually interpreted to represent a collection of anonymous, incomprehensible forces. These are hidden from the individual but control the lives of the people, who are innocent victims of systems beyond their control. Critics who support this absurdist interpretation cite instances where Kafka describes himself in conflict with an absurd universe, such as the following entry from his diary:

"Enclosed in my own four walls, I found myself as an immigrant imprisoned in a foreign country;... I saw my family as strange aliens whose foreign customs, rites, and very language defied comprehension;... though I did not want it, they forced me to participate in their bizarre rituals;... I could not resist."

However, James Hawes argues many of Kafka's descriptions of the legal proceedings in Der Process—metaphysical, absurd, bewildering and nightmarish as they might appear—are based on accurate and informed descriptions of German and Austrian criminal proceedings of the time, which were inquisitorial rather than adversarial. Although he worked in insurance, as a trained lawyer Kafka was "keenly aware of the legal debates of his day". In an early 21st-century publication that uses Kafka's office writings as its point of departure, Pothik Ghosh states that with Kafka, law "has no meaning outside its fact of being a pure force of domination and determination".

Translations
The first instance of Kafka being translated into English was in 1925, when William A. Drake published "A Report for an Academy" in the New York Herald Tribune. Eugene Jolas translated Kafka's "The Judgment" for the modernist journal transition in 1928. In 1930, Edwin and Willa Muir translated the first German edition of Das Schloss. This was published as The Castle by Secker & Warburg in England and Alfred A. Knopf in the United States. A 1941 edition, including a homage by Thomas Mann, spurred a surge in Kafka's popularity in the United States during the late 1940s. The Muirs translated all shorter works that Kafka had seen fit to print; they were published by Schocken Books in 1948 as The Penal Colony: Stories and Short Pieces, including additionally The First Long Train Journey, written by Kafka and Brod, Kafka's "A Novel about Youth", a review of Felix Sternheim's Die Geschichte des jungen Oswald, his essay on Kleist's "Anecdotes", his review of the literary magazine Hyperion, and an epilogue by Brod.

Later editions, notably those of 1954 (Dearest Father: Stories and Other Writings), included text, translated by Eithne Wilkins and Ernst Kaiser, that had been deleted by earlier publishers. Known as "Definitive Editions", they include translations of The Trial, Definitive, The Castle, Definitive, and other writings. These translations are generally accepted to have a number of biases and are considered to be dated in interpretation. Published in 1961 by Schocken Books, Parables and Paradoxes presented in a bilingual edition by Nahum N. Glatzer selected writings, drawn from notebooks, diaries, letters, short fictional works and the novel Der Process.

New translations were completed and published based on the recompiled German text of Pasley and Schillemeit—The Castle, Critical by Mark Harman (Schocken Books, 1998), The Trial, Critical by Breon Mitchell (Schocken Books, 1998), and The Man Who Disappeared (Amerika) by Michael Hofmann (Penguin Books, 1996) and Amerika: The Missing Person by Mark Harman (Schocken Books, 2008).

Translation problems to English
Kafka often made extensive use of a characteristic particular to German, which permits long sentences that sometimes can span an entire page. Kafka's sentences then deliver an unexpected impact just before the full stop—this being the finalizing meaning and focus. This is due to the construction of subordinate clauses in German, which require that the verb be at the end of the sentence. Such constructions are difficult to duplicate in English, so it is up to the translator to provide the reader with the same (or at least equivalent) effect as the original text. German's more flexible word order and syntactical differences provide for multiple ways in which the same German writing can be translated into English. An example is the first sentence of Kafka's The Metamorphosis, which is crucial to the setting and understanding of the entire story:

The sentence above also exemplifies an instance of another difficult problem facing translators: dealing with the author's intentional use of ambiguous idioms and words that have several meanings, which results in phrasing that is difficult to translate precisely. English translators often render the word Ungeziefer as 'insect'; in Middle German, however, Ungeziefer literally means 'an animal unclean for sacrifice'; in today's German, it means 'vermin'. It is sometimes used colloquially to mean 'bug'—a very general term, unlike the scientific 'insect'. Kafka had no intention of labeling Gregor, the protagonist of the story, as any specific thing but instead wanted to convey Gregor's disgust at his transformation. Another example of this can be found in the final sentence of "Das Urteil" ("The Judgement"), with Kafka's use of the German noun Verkehr. Literally, Verkehr means 'intercourse' and, as in English, can have either a sexual or a non-sexual meaning. The word is additionally used to mean 'transport' or 'traffic'; therefore the sentence can also be translated as: "At that moment an unending stream of traffic crossed over the bridge." The double meaning of Verkehr is given added weight by Kafka's confession to Brod that when he wrote that final line he was thinking of "a violent ejaculation".

Literary and cultural influence
Unlike many famous writers, Kafka is rarely quoted by others. Instead, he is noted more for his visions and perspective. Kafka had a strong influence on Gabriel García Márquez, Milan Kundera and the novel The Palace of Dreams by Ismail Kadare. Shimon Sandbank, a professor, literary critic, and writer, also identifies Kafka as having influenced Jorge Luis Borges, Albert Camus, Eugène Ionesco, J. M. Coetzee and Jean-Paul Sartre. A Financial Times literary critic credits Kafka with influencing José Saramago, and Al Silverman, a writer and editor, states that J. D. Salinger loved to read Kafka's works. The Romanian writer Mircea Cărtărescu said "Kafka is the author I love the most and who means, for me, the gate to literature"; he also described Kafka as "the saint of literature".

Kafka has been cited as an influence on the Swedish writer Stig Dagerman, and the Japanese writer Haruki Murakami, who paid homage to Kafka in his novel Kafka on the Shore with the namesake protagonist.

In 1999 a committee of 99 authors, scholars, and literary critics ranked Der Process and Das Schloss the second and ninth most significant German-language novels of the 20th century. Harold Bloom said "when he is most himself, Kafka gives us a continuous inventiveness and originality that rivals Dante and truly challenges Proust and Joyce as that of the dominant Western author of our century". Sandbank argues that despite Kafka's pervasiveness, his enigmatic style has yet to be emulated. Neil Christian Pages, a professor of German Studies and Comparative Literature at Binghamton University who specialises in Kafka's works, says Kafka's influence transcends literature and literary scholarship; it impacts visual arts, music, and popular culture. Harry Steinhauer, a professor of German and Jewish literature, says that Kafka "has made a more powerful impact on literate society than any other writer of the twentieth century". Brod said that the 20th century will one day be known as the "century of Kafka".

Michel-André Bossy writes that Kafka created a rigidly inflexible and sterile bureaucratic universe. Kafka wrote in an aloof manner full of legal and scientific terms. Yet his serious universe also had insightful humour, all highlighting the "irrationality at the roots of a supposedly rational world". His characters are trapped, confused, full of guilt, frustrated, and lacking understanding of their surreal world. Much post-Kafka fiction, especially science fiction, follows the themes and precepts of Kafka's universe. This can be seen in the works of authors such as George Orwell and Ray Bradbury.

The following are examples of works across a range of dramatic, literary, and musical genres that demonstrate the extent of Kafka's cultural influence:

"Kafkaesque"
The term "Kafkaesque" is used to describe concepts and situations reminiscent of Kafka's work, particularly Der Process (The Trial) and Die Verwandlung (The Metamorphosis). Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu that evokes feelings of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape a labyrinthine situation. Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre, or illogical.

Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this genre that have been thus described include Patrick Bokanowski's film The Angel (1982), Terry Gilliam's film Brazil (1985), and Alex Proyas' science fiction film noir, Dark City (1998). Films from other genres which have been similarly described include Roman Polanski's The Tenant (1976), Joseph Losey’s Monsieur Klein (1976) and the Coen brothers' Barton Fink (1991). The television series The Prisoner and The Twilight Zone are also frequently described as Kafkaesque.

However, with common usage, the term has become so ubiquitous that Kafka scholars note it is often misused. More accurately then, according to author Ben Marcus, paraphrased in "What it Means to be Kafkaesque" by Joe Fassler in The Atlantic, "Kafka's quintessential qualities are affecting use of language, a setting that straddles fantasy and reality, and a sense of striving even in the face of bleakness—hopelessly and full of hope."

Commemorations
3412 Kafka is an asteroid from the inner regions of the asteroid belt, approximately 6 kilometers in diameter. It was discovered on 10 January 1983 by American astronomers Randolph Kirk and Donald Rudy at Palomar Observatory in California, United States, and named after Kafka by them.

The Franz Kafka Museum in Prague is dedicated to Kafka and his work. A major component of the museum is an exhibit, The City of K. Franz Kafka and Prague, which was first shown in Barcelona in 1999, moved to the Jewish Museum in New York City, and finally established in Prague in Malá Strana (Lesser Town), along the Moldau, in 2005. The Franz Kafka Museum calls its display of original photos and documents Město K. Franz Kafka a Praha ("City K. Kafka and Prague") and aims to immerse the visitor into the world in which Kafka lived and about which he wrote.

The Franz Kafka Prize, established in 2001, is an annual literary award of the Franz Kafka Society and the City of Prague. It recognizes the merits of literature as "humanistic character and contribution to cultural, national, language and religious tolerance, its existential, timeless character, its generally human validity, and its ability to hand over a testimony about our times". The selection committee and recipients come from all over the world, but are limited to living authors who have had at least one work published in Czech. The recipient receives $10,000, a diploma, and a bronze statuette at a presentation in Prague's Old Town Hall, on the Czech State Holiday in late October.

San Diego State University operates the Kafka Project, which began in 1998 as the official international search for Kafka's last writings.

title: Franz Kafka


text:
Fields Medal

The Fields Medal is a prize awarded to two, three, or four mathematicians under 40 years of age at the International Congress of the International Mathematical Union (IMU), a meeting that takes place every four years. The name of the award honours the Canadian mathematician John Charles Fields.

The Fields Medal is regarded as one of the highest honors a mathematician can receive, and has been described as the Nobel Prize of Mathematics,  although there are several major differences, including frequency of award, number of awards, age limits, monetary value, and award criteria. According to the annual Academic Excellence Survey by ARWU, the Fields Medal is consistently regarded as the top award in the field of mathematics worldwide, and in another reputation survey conducted by IREG in 2013–14, the Fields Medal came closely after the Abel Prize as the second most prestigious international award in mathematics.

The prize includes a monetary award which, since 2006, has been CA$15,000. Fields was instrumental in establishing the award, designing the medal himself, and funding the monetary component, though he died before it was established and his plan was overseen by John Lighton Synge.

The medal was first awarded in 1936 to Finnish mathematician Lars Ahlfors and American mathematician Jesse Douglas, and it has been awarded every four years since 1950. Its purpose is to give recognition and support to younger mathematical researchers who have made major contributions. In 2014, the Iranian mathematician Maryam Mirzakhani became the first female Fields Medalist. In total, 64 people have been awarded the Fields Medal.

The most recent group of Fields Medalists received their awards on 5 July 2022 in an online event which was live-streamed from Helsinki, Finland. It was originally meant to be held in Saint Petersburg, Russia, but was moved following the 2022 Russian invasion of Ukraine.

Conditions of the award
The Fields Medal has for a long time been regarded as the most prestigious award in the field of mathematics and is often described as the Nobel Prize of Mathematics. Unlike the Nobel Prize, the Fields Medal is only awarded every four years. The Fields Medal also has an age limit: a recipient must be under age 40 on 1 January of the year in which the medal is awarded. The under-40 rule is based on Fields's desire that "while it was in recognition of work already done, it was at the same time intended to be an encouragement for further achievement on the part of the recipients and a stimulus to renewed effort on the part of others." Moreover, an individual can only be awarded one Fields Medal; winners are ineligible to be awarded future medals.

First awarded in 1936, 64 people have won the medal as of 2022. With the exception of two PhD holders in physics (Edward Witten and Martin Hairer), only people with a PhD in mathematics have won the medal.

List of Fields medalists
In certain years, the Fields medalists have been officially cited for particular mathematical achievements, while in other years such specificities have not been given. However, in every year that the medal has been awarded, noted mathematicians have lectured at the International Congress of Mathematicians on each medalist's body of work. In the following table, official citations are quoted when possible (namely for the years 1958, 1998, and every year since 2006). For the other years through 1986, summaries of the ICM lectures, as written by Donald Albers, Gerald L. Alexanderson, and Constance Reid, are quoted. In the remaining years (1990, 1994, and 2002), part of the text of the ICM lecture itself has been quoted. The upcoming Fields Medal ceremony is scheduled for 2026, taking place in Philadelphia, US.

Landmarks
The medal was first awarded in 1936 to the Finnish mathematician Lars Ahlfors and the American mathematician Jesse Douglas, and it has been awarded every four years since 1950. Its purpose is to give recognition and support to younger mathematical researchers who have made major contributions.

In 1954, Jean-Pierre Serre became the youngest winner of the Fields Medal, at 27. He retains this distinction.

In 1966, Alexander Grothendieck boycotted the ICM, held in Moscow, to protest Soviet military actions taking place in Eastern Europe. Léon Motchane, founder and director of the Institut des Hautes Études Scientifiques, attended and accepted Grothendieck's Fields Medal on his behalf.

In 1970, Sergei Novikov, because of restrictions placed on him by the Soviet government, was unable to travel to the congress in Nice to receive his medal.

In 1978, Grigory Margulis, because of restrictions placed on him by the Soviet government, was unable to travel to the congress in Helsinki to receive his medal. The award was accepted on his behalf by Jacques Tits, who said in his address: "I cannot but express my deep disappointment—no doubt shared by many people here—in the absence of Margulis from this ceremony. In view of the symbolic meaning of this city of Helsinki, I had indeed grounds to hope that I would have a chance at last to meet a mathematician whom I know only through his work and for whom I have the greatest respect and admiration."

In 1982, the congress was due to be held in Warsaw but had to be rescheduled to the next year, because of martial law introduced in Poland on 13 December 1981. The awards were announced at the ninth General Assembly of the IMU earlier in the year and awarded at the 1983 Warsaw congress.

In 1990, Edward Witten became the first physicist to win the award.

In 1998, at the ICM, Andrew Wiles was presented by the chair of the Fields Medal Committee, Yuri I. Manin, with the first-ever IMU silver plaque in recognition of his proof of Fermat's Last Theorem. Don Zagier referred to the plaque as a "quantized Fields Medal". Accounts of this award frequently make reference that at the time of the award Wiles was over the age limit for the Fields medal. Although Wiles was slightly over the age limit in 1994, he was thought to be a favorite to win the medal; however, a gap (later resolved by Taylor and Wiles) in the proof was found in 1993.

In 2006, Grigori Perelman, who proved the Poincaré conjecture, refused his Fields Medal and did not attend the congress.

In 2014, Maryam Mirzakhani became the first Iranian as well as the first woman to win the Fields Medal, and Artur Avila became the first South American and Manjul Bhargava became the first person of Indian origin to do so.

In 2022, Maryna Viazovska became the first Ukrainian to win the Fields Medal, and June Huh became the first person of Korean ancestry to do so.

Medal
The medal was designed by Canadian sculptor R. Tait McKenzie. It is made of 14KT gold, has a diameter of 63.5mm, and weighs 169g.

 * On the obverse is Archimedes and a quote attributed to 1st century AD poet Manilius, which reads in Latin: Transire suum pectus mundoque potiri ("To surpass one's understanding and master the world"). The year number 1933 is written in Roman numerals and contains an error (MCNXXXIII rather than MCMXXXIII). In capital Greek letters the word Ἀρχιμηδους, or "of Archimedes," is inscribed.
 * On the reverse is the inscription:

 * Congregati ex toto orbe mathematici ob scripta insignia tribuere

Translation: "Mathematicians gathered from the entire world have awarded [understood but not written: 'this prize'] for outstanding writings."

In the background, there is the representation of Archimedes' tomb, with the carving illustrating his theorem On the Sphere and Cylinder, behind an olive branch. (This is the mathematical result of which Archimedes was reportedly most proud: Given a sphere and a circumscribed cylinder of the same height and diameter, the ratio between their volumes is equal to $2/3$.)

The rim bears the name of the prizewinner.

Female recipients
The Fields Medal has had two female recipients, Maryam Mirzakhani from Iran in 2014, and Maryna Viazovska from Ukraine in 2022.

In popular culture
The Fields Medal gained some recognition in popular culture due to references in the 1997 film, Good Will Hunting. In the movie, Gerald Lambeau (Stellan Skarsgård) is an MIT professor who won the award prior to the events of the story. Throughout the film, references made to the award are meant to convey its prestige in the field.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Fields Medal


text:
Talk:Franz Kafka

Nationality
Assigning historical figures modern nationalities is always questionable, but in the case of Kafka calling him Czech is certainly incorrect. He was a German-Jewish (German being his only native language) from Austria-Hungary). 213.55.224.121 (talk) 19:28, 2 February 2023 (UTC)
 * Jewish isn't a nationality. See MOS:ETHNICITY  Acroterion   (talk)   13:31, 7 February 2023 (UTC)

Frans Kafka has hardly set his foot in Germany and cannot possibly be German. He lived and worked in the Czech Lands - in the Czech city of Prague. He spoke and wrote perfect Czech. He was a Czech Jew with a Czech surname. He was obviously not a German Jew. Franz Kafka took Czechoslovakian citizenship when he got the chance in 1918. — Preceding unsigned comment added by 171.23.6.193 (talk) 14:39, 16 February 2023 (UTC)
 * He spoke German, and the article doesn't say he was German. The Germany we have today didn't even exist when he was born. He was an citizen of the Austrian Empire, which - without his choice - became Czechoslovakia in 2018. --Gerda Arendt (talk) 15:32, 16 February 2023 (UTC)

He was primarily Jewish author. He would move to Izrael, but back then Izrael didn't exist. Czech Jews choose German language for practical reasons, it was quite common. Because he never lived in Austria, he had czech ancestors, he was born in today Czechia and spent all his life here, he spoke Czech very well, had Czechoslovak citizenship from 1918, he was without no doubt Czech. Čapek, Hašek, Masaryk and Alfons Mucha were also citizen of the Austrian Empire but nobody says they were Austrian. Why? Annikahegarova (talk) 12:51, 17 February 2023 (UTC)
 * I restored a former wording and added Prague. For citizenship: the infobox has it best. --Gerda Arendt (talk) 14:49, 17 February 2023 (UTC)
 * "Izrael" has nothing to do with Judaism. 142.126.188.216 (talk) 14:28, 8 November 2023 (UTC)

Gerda Arent is wrong. Czechia existed before Austria. The Habsburgs were crowned Czech kings. Last one was Karl I in 1916. Franz Kafka did not choose his Austrian citizenship, but chose his Czechoslovak citizenship and his siblings were also Czechs. They were killed by the Germans during the Second World War, by the way. Bohemia has always been Czech Crown Land. — Preceding unsigned comment added by 171.23.6.193 (talk) 14:51, 20 February 2023 (UTC)

 * I'd like to point out this has been discussed at length, particularly regarding Kafka's daily experience and cultural traditions he stood in, at Talk:Franz Kafka/Archive 4. I'd like to particularly point to the last post in that section which discusses these matters in depth. --2003:DA:CF39:B871:E507:A917:C1BB:2257 (talk) 12:54, 23 October 2023 (UTC)

Ellipsis, direct quote
From MOS:CONFORM – "'A quotation is not a facsimile and, in most cases, it is not a requirement that the original formatting be preserved. Formatting and other purely typographical elements of quoted text should be adapted to English Wikipedia's conventions without comment, provided that doing so will not change or obscure meaning or intent of the text.'" What are your reasons for reverting? — TARDIS builder ✉    • ★       02:03, 25 April 2024 (UTC)

 * I just edited the ellipses again. The first ellipsis follows a period at the end of a sentence, and, since an ellipsis is three periods and the end of a sentence already has a period, we have a total of four periods. The other two ellipses come in the middle of a sentence, so they need only three periods, but there should be spaces around them so that the first of the three periods doesn't appear to be the period at the end of a sentence. At least that's how I see it. Maurice Magnus (talk) 02:18, 25 April 2024 (UTC)

title: Talk:Franz Kafka


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The Trial

The Trial (Der Process) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best-known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative. Like Kafka's two other novels, The Castle and Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.

After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937. In 1999, the book was listed in Le Monde 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century.

Development
Kafka drafted the opening sentence of The Trial in August 1914, and continued work on the novel throughout 1915. This was an unusually productive period for Kafka, despite the outbreak of World War I, which significantly increased the pressures of his day job as an insurance agent.

Having begun by writing the opening and concluding sections of the novel, Kafka worked on the intervening scenes in a haphazard manner, using several different notebooks simultaneously. His friend Max Brod, knowing Kafka's habit of destroying his own work, eventually took the manuscript into safekeeping. This manuscript consisted of 161 loose pages torn from notebooks, which Kafka had bundled together into chapters. The order of the chapters was not made clear to Brod, nor was he told which parts were complete and which unfinished. Following Kafka's death in 1924, Brod edited the work and assembled it into a novel to the best of his ability. Further editorial work has been done by later scholars, but Kafka's final vision for The Trial remains unknown.

Plot summary
On the morning of his thirtieth birthday, Josef K., the chief clerk of a bank, is unexpectedly arrested by two agents from an unidentified agency for an unspecified crime. The agents discuss the situation with Josef in the unoccupied room of his fellow lodger Fräulein Bürstner, in the unexplained presence of three junior clerks from Josef's bank. Josef is not imprisoned, but left free to go about his business. His landlady, Frau Grubach, tries to console Josef about the trial. He visits Bürstner to explain the events, and then harasses her by kissing her without consent.

Josef finds that Fräulein Montag, a lodger from another room, has moved in with Fräulein Bürstner. He suspects that this is a coy manoeuvre meant to distance him from Bürstner, and resolves that she will eventually fall for his charms.

Josef is invited to appear at the court's address the coming Sunday, without being told the time or location. After a period of exploration he finds the court in the attic of a dilapidated working-class tenement block, at the back of a young washerwoman's home. Josef is rebuked for his lateness and mistaken for a house painter rather than a bank clerk. He arouses the assembly's hostility after a passionate plea about the absurdity of the trial and the falseness of the accusation, despite still not knowing the charges. The proceedings are interrupted by a man sexually assaulting the washerwoman in a corner. Josef notices that all the assembly members are wearing pins on their lapels which he interprets as signifying their membership of a secret organisation.

The following Sunday Josef goes to the courtroom again, but the court is not in session. The washerwoman gives him information about the process and attempts to seduce him before a law student, the man who assaulted her the previous week, takes her away, claiming her to be his mistress. The woman's husband, a court usher, then takes Josef on a tour of the court offices, which ends after Josef becomes extremely weak in the presence of other court officials and defendants.

One evening, in a storage room at his own bank, Josef discovers the two agents who arrested him being whipped for soliciting bribes from Josef, which he had complained about at court. Josef tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the storage room and is shocked to find everything as he had found it the day before, including the whipper and the two agents.

Josef is visited by his uncle Karl, who lives in the country. Worried by the rumors about his nephew, Karl introduces Josef to Herr Huld, a sickly and bedridden lawyer tended to by Leni, a young woman who shows an immediate attraction to Josef. During a conversation between Karl and Huld about Josef's case, Leni calls Josef away for a sexual encounter. Afterwards, Josef meets his angry uncle outside, who claims that Josef's lack of respect for the advocate, by leaving the meeting and romantically engaging with the woman who is apparently Huld's mistress, has hurt his case.

Josef has become increasingly preoccupied by his case, to the detriment of his work. He has further meetings with Huld, and continues to engage in discreet trysts with Leni, but the advocate's work appears to be having no effect on the proceedings. At the bank, one of Josef's clients recommends he seek the advice of Titorelli, the court's official painter. Titorelli outlines the options he can help Josef pursue: indefinite postponement of the process, or a temporary acquittal that could at any point result in re-arrest. Unequivocal acquittal is not a viable option.

Suspicious of the advocate's motives and the apparent lack of progress, Josef finally decides to dismiss Huld and take control of matters himself. Upon arriving at Huld's office, he meets a downtrodden merchant, Rudi Block, who offers Josef some insight from a fellow defendant's perspective. Block's case has continued for five years and he has gone from being a successful businessman to being almost bankrupt and is virtually enslaved by his dependence on the lawyer and Leni, with whom he appears to be sexually involved. The lawyer mocks Block in front of Josef for his dog-like subservience. This experience further poisons Josef's opinion of his lawyer.

Josef is put in charge of accompanying an important Italian client to the city's cathedral, but the client never meets him there. While inside the cathedral, a priest calls Josef by name and tells him a fable (which was published earlier as "Before the Law") that is meant to explain his situation. The priest tells Josef that the parable is an ancient text of the court, and many generations of court officials have interpreted it differently.

On the eve of Josef's thirty-first birthday, two men arrive at his apartment. The three walk through the city, and Josef catches a brief glimpse of Fräulein Bürstner. They arrive at a small quarry outside the city, and the men kill Josef, stabbing him in the heart with a butcher's knife while strangling him. Josef summarizes his situation with his last words: "Like a dog!"

English translations

 * Everyman's Library, 30 June 1992, Translation: Willa and Edwin Muir, ISBN 978-0-679-40994-6
 * Penguin Books, 1994, Translation: Idris Parry
 * Schocken Books, 1998, Translation: Breon Mitchell, ISBN 0-8052-4165-5. Translator's preface is available online.
 * Hesperus Press Limited, 2005, Translation: Richard Stokes, ISBN 1-84391-401-8
 * Dover Thrift Editions, 22 July 2009, Translation: David Wyllie (2003), ISBN 978-0-486-47061-0
 * Oxford World's Classics, 4 October 2009, Translation: Mike Mitchell, ISBN 978-0-19-923829-3
 * , 15 September 2012, Translation: Susanne Lück and Maureen Fitzgibbons, ISBN 978-80-7253-298-8

Stage

 * The writer and director Steven Berkoff adapted several of Kafka's novels into plays and directed them for stage. His version of The Trial was first performed in 1970 in London and published in 1981.
 * Israeli director Rina Yerushalmi adapted The Trial (paired with Samuel Beckett's Malone Dies) for a production called Ta, Ta, Tatata presented in June 1970 at La MaMa Experimental Theatre Club.
 * Chicago based writer, Greg Allen, wrote and directed K., based on The Trial. After award-winning runs in Chicago and New York, it was produced by The Hypocrites and ran for several months in 2010 at The Chopin Theater in Chicago.
 * Joseph K, written by Tom Basden and based on The Trial, takes place in modern-day London, with the protagonist cast as a City banker. It ran at the Gate Theatre, Notting Hill, London, in late 2010.
 * Gottfried von Einem wrote an opera, Der Prozeß, based on the novel. Its American debut was directed by Otto Preminger.
 * The writer Serge Lamothe adapted The Trial for the stage. Directed by François Girard, his version of The Trial was first performed in 2004 in Montreal and Ottawa, Canada, and published in 2005.
 * Between June and August 2015 The Young Vic theatre in London staged a version of The Trial adapted by Nick Gill and starring Rory Kinnear as K.
 * Jean-Louis Barrault and Andre Gide adapted the novel for the stage, performed in Paris in 1947.
 * An operatic adaptation of The Trial by the composer Philip Glass was premiered by Music Theatre Wales in October 2014.

Radio

 * On 19 May 1946, Columbia Workshop broadcast an adaptation of The Trial by Davidson Taylor with an original musical score by Bernard Herrmann and starring Karl Swenson as Joseph K.
 * In 1982, Mike Gwilym starred as Josef K. with Miriam Margolyes as Leni in an adaptation on BBC Radio 4 dramatised for radio by Hanif Kureishi.
 * Sam Troughton starred as Joseph Kay in a new adaptation by Mark Ravenhill titled The Process directed by Polly Thomas and broadcast on 10 May 2015 on BBC Radio 3's Drama on 3 program.

Film

 * In the 1962 film adaptation by Orson Welles, Josef K. is played by Anthony Perkins and The Advocate by Welles.
 * The 1993 film The Trial was based on Harold Pinter's screenplay adaptation. Directed by David Jones, it starred Kyle MacLachlan as Josef K. and Anthony Hopkins as The Priest.

Graphic novel

 * A graphic novel adaptation by Chantal Montellier (illustrations) and David Zane Mairowitz (adaptation) appeared on April 15, 2008.

title: The Trial


text:
The Metamorphosis

The Metamorphosis (Die Verwandlung), also translated as The Transformation, is a novella by Franz Kafka published in 1915. One of Kafka's best-known works, The Metamorphosis tells the story of salesman Gregor Samsa, who wakes one morning to find himself inexplicably transformed into a huge insect (ungeheueres Ungeziefer,  "monstrous vermin") and struggles to adjust to this condition. The novella has been widely discussed among literary critics, who have offered varied interpretations. In popular culture and adaptations of the novella, the insect is commonly depicted as a cockroach.

With a length of about 70 printed pages over three chapters, it is the longest of the stories Kafka considered complete and published during his lifetime. The text was first published in 1915 in the October issue of the journal Die weißen Blätter under the editorship of René Schickele. The first edition in book form appeared in December 1915 in the series Der jüngste Tag, edited by Kurt Wolff.

Plot
Gregor Samsa wakes up one morning to find himself transformed into a "monstrous vermin". He initially considers the transformation to be temporary and slowly ponders the consequences of his metamorphosis. Stuck on his back and unable to get up and leave the bed, Gregor reflects on his job as a traveling salesman and cloth merchant, which he characterizes as being full of "temporary and constantly changing human relationships, which never come from the heart". He sees his employer as a despot and would quickly quit his job if he were not his family's sole breadwinner and working off his bankrupt father's debts. While trying to move, Gregor finds that his office manager, the chief clerk, has shown up to check on him, indignant about Gregor's unexcused absence. Gregor attempts to communicate with both the manager and his family, but all they can hear from behind the door is incomprehensible vocalizations. Gregor laboriously drags himself across the floor and opens the door. The clerk, upon seeing the transformed Gregor, flees the apartment. Gregor's family is horrified, and his father drives him back towards his room. Gregor is injured when he tries to force himself through the doorway (which is too narrow for him), but gets unstuck when his father shoves him through.

With Gregor's unexpected transformation, his family is deprived of financial stability. They keep Gregor locked in his room, and he begins to accept his new identity and adapt to his new body. His sister Grete is the only one willing to bring him food, which she finds Gregor only likes if it is rotten. He spends much of his time crawling around on the floor, walls, and ceiling. Upon discovering Gregor's new pastime, Grete decides to remove his furniture to give him more space. She and her mother begin to empty the room of everything, except the sofa under which Gregor hides whenever anyone comes in. He finds their actions deeply distressing, fearing that he might forget his past as a human, and desperately tries to save a particularly loved portrait on the wall of a woman clad in fur. His mother loses consciousness at the sight of him clinging to the image to protect it. When Grete rushes out of the room to get some aromatic spirits, Gregor follows her and is slightly hurt when she drops a medicine bottle and it breaks. Their father returns home and angrily hurls apples at Gregor, one of which becomes lodged in a sensitive spot in his back and severely wounds him.

Gregor suffers from his injuries and eats very little. His father, mother, and sister all get jobs and increasingly begin to neglect him, and his room begins to be used for storage. For a time, his family leaves Gregor's door open in the evenings so he can listen to them talk to each other, but this happens less frequently once they rent a room in the apartment to three male tenants, since they are not told about Gregor. One day, the charwoman, who briefly looks in on Gregor each day when she arrives and before she leaves, neglects to close his door fully. Attracted by Grete's violin-playing in the living room, Gregor crawls out and is spotted by the unsuspecting tenants, who complain about the apartment's unhygienic conditions and say they are leaving, will not pay anything for the time they have already stayed, and may take legal action. Grete, who is tired of taking care of Gregor and realizes the burden his existence puts on each member of the family, tells her parents they must get rid of "it" or they will all be ruined. Gregor, understanding that he is no longer wanted, laboriously makes his way back to his room and dies of starvation before sunrise. His body is discovered by the charwoman, who alerts his family and then disposes of the corpse. The relieved and optimistic father, mother, and sister all take the day off work. They travel by tram into the countryside and make plans to move to a smaller apartment to save money. During the short trip, Mr. and Mrs. Samsa realize that, despite the hardships that have brought some paleness to her face, Grete has grown up into a pretty young lady with a good figure and they think about finding her a husband.

Gregor Samsa
Gregor is the main character of the story. He works as a traveling salesman in order to provide money for his sister and parents. He wakes up one morning finding himself transformed into an insect. After the metamorphosis, Gregor becomes unable to work and is confined to his room for most of the remainder of the story. This prompts his family to begin working once again. Gregor is depicted as isolated from society and often both misunderstands the true intentions of others and is misunderstood.

The name "Gregor Samsa" appears to derive partly from literary works Kafka had read. A character in The Story of Young Renate Fuchs, by German novelist Jakob Wassermann (1873–1934), is named Gregor Samassa. The Viennese author Leopold von Sacher-Masoch, whose sexual imagination gave rise to the idea of masochism, was also an influence. Sacher-Masoch wrote Venus in Furs (1870), a novel whose hero assumes the name Gregor at one point. A "Venus in furs" recurs in The Metamorphosis in the picture that Gregor Samsa has hung on his bedroom wall, although Kafka does not refer to "Venus".

Grete Samsa
Grete is Gregor's younger sister, and she becomes his caretaker after his metamorphosis. They initially have a close relationship, but this quickly fades. At first, she volunteers to feed him and clean his room, but she grows increasingly impatient with the burden and begins to leave his room in disarray out of spite. Her initial decision to take care of Gregor may have come from a desire to contribute and be useful to the family, since she becomes angry and upset when the mother cleans his room. It is made clear that Grete is disgusted by Gregor, as she always opens the window upon entering his room to keep from feeling nauseous and leaves without doing anything if Gregor is in plain sight. She plays the violin and dreams of going to the conservatory to study, a dream Gregor had intended to make happen; he had planned on making the announcement on Christmas Day. To help provide an income for the family after Gregor's transformation, she starts working as a salesgirl. Grete is also the first to suggest getting rid of Gregor, which causes Gregor to plan his own death. At the end of the story, Grete's parents realize that she has become beautiful and full-figured and decide to consider finding her a husband.

Mr. Samsa
Mr. Samsa is Gregor's father. After the metamorphosis, he is forced to return to work in order to support the family financially. His attitude towards his son is harsh. He regards the transformed Gregor with disgust and possibly even fear and attacks Gregor on several occasions. Even when Gregor was human, Mr. Samsa regarded him mostly as a source of income for the family. Gregor's relationship with his father is modelled after Kafka's own relationship with his father. The theme of alienation becomes quite evident here.

Mrs. Samsa
Mrs. Samsa is Gregor's mother. She is portrayed as a submissive wife. She suffers from asthma, which is a constant source of concern for Gregor. She is initially shocked at Gregor's transformation, but she still wants to enter his room. However, it proves too much for her and gives rise to a conflict between her maternal impulse and sympathy and her fear and revulsion at Gregor's new form.

The Charwoman
The charwoman is an old widowed lady who is employed by the Samsa family after their previous maid begs to be dismissed on account of the fright she experiences owing to Gregor's new form. She is paid to take care of their household duties. Apart from Grete and her father, the charwoman is the only person who is in close contact with Gregor, and she is unafraid in her dealings with Gregor. She does not question his changed state; she seemingly accepts it as a normal part of his existence. She is the one who notices Gregor has died and disposes of his body.

Interpretation
Like much of Kafka's work, The Metamorphosis tends to be given a religious (Max Brod) or psychological interpretation. It has been particularly common to read the story as an expression of Kafka's father complex, as was first done by Charles Neider in his The Frozen Sea: A Study of Franz Kafka (1948). Besides the psychological approach, interpretations focusing on sociological aspects, which see the Samsa family as a portrayal of general social circumstances, have also gained a large following.

Vladimir Nabokov rejected such interpretations, noting that they do not live up to Kafka's art. He instead chose an interpretation guided by the artistic detail but excluded any symbolic or allegoric meanings. Arguing against the popular father-complex theory, he observed that it is the sister more than the father who should be considered the cruelest person in the story, since she is the one backstabbing Gregor. In Nabokov's view, the central narrative theme is the artist's struggle for existence in a society replete with philistines who destroy him step by step. Commenting on Kafka's style, he writes, "The transparency of his style underlines the dark richness of his fantasy world. Contrast and uniformity, style and the depicted, portrayal and fable are seamlessly intertwined".

In 1989, Nina Pelikan Straus wrote a feminist interpretation of The Metamorphosis, noting that the story is not only about the metamorphosis of Gregor but also about the metamorphosis of his family and, in particular, his younger sister Grete. Straus suggested that the social and psychoanalytic resonances of the text depend on Grete's role as a woman, daughter, and sister, and that prior interpretations failed to recognize Grete's centrality to the story.

In 1999, Gerhard Rieck pointed out that Gregor and his sister, Grete, form a pair, which is typical of many of Kafka's texts: it is made up of one passive, rather austere, person and another active, more libidinal, person. The appearance of figures with such almost irreconcilable personalities who form couples in Kafka's works has been evident since he wrote his short story "Description of a Struggle" (e.g. the narrator/young man and his "acquaintance"). They also appear in "The Judgment" (Georg and his friend in Russia), in all three of his novels (e.g. Robinson and Delamarche in Amerika) as well as in his short stories "A Country Doctor" (the country doctor and the groom) and "A Hunger Artist" (the hunger artist and the panther). Rieck views these pairs as parts of one single person (hence the similarity between the names Gregor and Grete) and in the final analysis as the two determining components of the author's personality. Not only in Kafka's life but also in his oeuvre does Rieck see the description of a fight between these two parts.

Reiner Stach argued in 2004 that no elucidating comments were needed to illustrate the story and that it was convincing by itself, self-contained, even absolute. He believes that there is no doubt the story would have been admitted to the canon of world literature even if we had known nothing about its author.

According to Peter-André Alt (2005), the figure of the insect becomes a drastic expression of Gregor Samsa's deprived existence. Reduced to carrying out his professional responsibilities, anxious to guarantee his advancement and vexed with the fear of making commercial mistakes, he is the creature of a functionalistic professional life.

In 2007, Ralf Sudau took the view that particular attention should be paid to the motifs of self-abnegation and disregard for reality. Gregor's earlier behavior was characterized by self-renunciation and his pride in being able to provide a secure and leisured existence for his family. When he finds himself in a situation where he himself is in need of attention and assistance and in danger of becoming a parasite, he doesn't want to admit this new role to himself and be disappointed by the treatment he receives from his family, which is becoming more and more careless and even hostile over time. According to Sudau, Gregor is self-denyingly hiding his nauseating appearance under the sofa and gradually famishing, thus pretty much complying with the more or less blatant wish of his family. His gradual emaciation and "self-reduction" shows signs of a fatal hunger strike (which on the part of Gregor is unconscious and unsuccessful, on the part of his family not understood or ignored). Sudau also lists the names of selected interpreters of The Metamorphosis (e.g. Beicken, Sokel, Sautermeister and Schwarz). According to them, the narrative is a metaphor for the suffering resulting from leprosy, an escape into the disease or a symptom onset, an image of an existence which is defaced by the career, or a revealing staging which cracks the veneer and superficiality of everyday circumstances and exposes its cruel essence. He further notes that Kafka's representational style is on one hand characterized by an idiosyncratic interpenetration of realism and fantasy, a worldly mind, rationality, and clarity of observation, and on the other hand by folly, outlandishness, and fallacy. He also points to the grotesque and tragicomical, silent film-like elements.

Fernando Bermejo-Rubio (2012) argued that the story is often viewed unjustly as inconclusive. He derives his interpretative approach from the fact that the descriptions of Gregor and his family environment in The Metamorphosis contradict each other. Diametrically opposed versions exist of Gregor's back, his voice, of whether he is ill or already undergoing the metamorphosis, whether he is dreaming or not, which treatment he deserves, of his moral point of view (false accusations made by Grete), and whether his family is blameless or not. Bermejo-Rubio emphasizes that Kafka ordered in 1915 that there should be no illustration of Gregor. He argues that it is exactly this absence of a visual narrator that is essential for Kafka's project, for he who depicts Gregor would stylize himself as an omniscient narrator. Another reason why Kafka opposed such an illustration is that the reader should not be biased in any way before reading. That the descriptions are not compatible with each other is indicative of the fact that the opening statement is not to be trusted. If the reader isn't hoodwinked by the first sentence and still thinks of Gregor as a human being, he will view the story as conclusive and realize that Gregor is a victim of his own degeneration.

Volker Drüke (2013) believes that the crucial metamorphosis in the story is that of Grete. She is the character the title is directed at. Gregor's metamorphosis is followed by him languishing and ultimately dying. Grete, by contrast, has matured as a result of the new family circumstances and assumed responsibility. In the end – after the brother's death – the parents also notice that their daughter, "who was getting more animated all the time, [...] had recently blossomed into a pretty and shapely girl", and they want to look for a partner for her. From this standpoint Grete's transition, her metamorphosis from a girl into a woman, is the subtextual theme of the story.

Translations of the opening sentence
The Metamorphosis has been translated into English more than twenty times. In Kafka's original, the opening sentence is "Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt". In their 1933 translation of the story — the first into English — Willa Muir and Edwin Muir rendered it as "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect".

The phrase "ungeheuren Ungeziefer", describing the creature into which Gregor Samsa metamorphoses, has been translated in at least sixteen different ways. These include the following:
 * "gigantic insect" (Willa and Edwin Muir, 1933)
 * "monstrous kind of vermin" (A. L. Lloyd, 1946)
 * "monstrous vermin" (Stanley Corngold, 1972, Joachim Neugroschel, 1993, Donna Freed, 1996)
 * "giant bug" (J. A. Underwood, 1981)
 * "monstrous insect" (Malcolm Pasley, 1992, Richard Stokes, 2002, Katja Pelzer, 2017, Mark Harman, 2024 )
 * "enormous bug" (Stanley Appelbaum, 1996)
 * "gargantuan pest" (M. A. Roberts, 2005)
 * "monstrous cockroach" (Michael Hofmann, 2007)
 * "monstrous verminous bug" (Ian Johnston, 2007)
 * "a vile insect, one of gigantic proportions" (Philip Lundberg, 2007)
 * "some kind of monstrous vermin" (Joyce Crick, 2009)
 * "horrible vermin" (David Wyllie, 2011)
 * "some sort of monstrous insect" (Susan Bernofsky, 2014)
 * "some kind of monstrous bedbug" (Christopher Moncrieff, 2014)
 * "huge verminous insect" (John R. Williams, 2014)
 * "a kind of giant bug" (William Aaltonen, 2023)

In Middle High German, Ungeziefer literally means "unclean animal not suitable for sacrifice" and is sometimes used colloquially to mean "bug", with the connotation of "dirty, nasty bug". It can also be translated as "vermin". English translators of The Metamorphosis have often rendered it as "insect".

What kind of bug or vermin Kafka envisaged remains a debated mystery. Kafka had no intention of labeling Gregor as any specific thing, but instead was trying to convey Gregor's disgust at his transformation. In his letter to his publisher of 25 October 1915, in which he discusses his concern about the cover illustration for the first edition, Kafka does use the term Insekt, though, saying "The insect itself is not to be drawn. It is not even to be seen from a distance."

Vladimir Nabokov, who was a lepidopterist as well as a writer and literary critic, concluded from details in the text that Gregor was not a cockroach, but a beetle with wings under his shell, and capable of flight. Nabokov left a sketch annotated "just over three feet long" on the opening page of his English teaching copy. In his accompanying lecture notes, he discusses the type of insect Gregor has been transformed into. Noting that the cleaning lady addressed Gregor as "dung beetle" (Mistkäfer), e.g., 'Come here for a bit, old dung beetle!' or 'Hey, look at the old dung beetle!'", Nabokov remarks that this was just her friendly way addressing him, and that Gregor "is not, technically, a dung beetle. He is merely a big beetle."

title: The Metamorphosis


text:
FSF

FSF may refer to:

Organizations

 * Free Software Foundation, an American non-profit organization with a mission to promote computer user freedom
 * Federal Security Force (Pakistan)
 * Federación de Sindicatos Ferroviarios, a defunct Argentine trade union
 * Financial Stability Forum, a defunct international organization of financial regulators
 * Flight Safety Foundation, an international independent, non-profit organization for research, education, and communications in the field of civil aviation flight safety
 * Föreningen Sveriges Filmfotografer, the Swedish Society of Cinematographers
 * Progressive Party, an Icelandic political party (in Icelandic: Framsóknarflokkurinn)

Arts and entertainment

 * Folsom Street Fair, a street fair in San Francisco, California, United States
 * Further Seems Forever, a rock band
 * Fugitive Strike Force, a 2006 television series
 * The Magazine of Fantasy & Science Fiction, also abbreviated F&SF
 * Speculative fiction (genre) containing the subgenre of fantasy/science fiction (F/SF)
 * Science fantasy (genre), a mixed genre of fantasy and science fiction elements
 * Festival of Slovenian Film, an annual film festival in Portorož, Slovenia

Sports

 * Faroe Islands Football Association (Faroese: Fótbóltssamband Føroya)
 * Federação Sergipana de Futebol, the Football Federation of Sergipe, Brazil
 * Football Supporters' Federation
 * Fuerte San Francisco, a Salvadoran football club
 * Sahrawi Football Federation (Spanish: Federación Saharaui de Fútbol)
 * São Toméan Football Federation (Portuguese: Federação Santomense de Futebol)
 * Senegalese Footrrball Federation (French: Fédération Sénégalaise de Football)

Other uses

 * Familial Shar Pei fever
 * Fibrin-stabilizing factor
 * Flexible Support Fund in the United Kingdom
 * Fourth suit forcing, a bidding convention in the game of contract bridge
 * Free speech fights, a series of 20th-century labor-related conflicts in the United States
 * Full state feedback

title: FSF