Under the tyranny of his father, Franz Kafka uses writing as an escape. Nevertheless, this writing only asserts itself as a substitution self underlining, paradoxically, the father's superpower.The failure of this revolt leads not only to a psychological void but to a spatial, temporal and specially an existential one which put the writer and his characters in a state of suspension in void, failing forever to assume their life and bearing for good the shame of being born.

GERMAN: Es gibt wohl keinen Leser, der die Texte Franz Kafkas liest und sich nicht fragt, was der Autor eigentlich damit sagen möchte, der also keinen anderen Sinn hinter diesen Texten sucht, als ihren augenscheinlichen. Die hoffnungslosen Labyrinthe, in denen sich die Helden verirren; die bis zur vollkommenen Absurdität grotesken Charaktere und Verhaltensweisen der Gegenspieler dieser Helden; ... ENGLISH: Franz Kafka’ s works can be considered as the epitome of interpretability in the modern fiction. Abandoning the search for the one and only correct meaning of Kafka’ s stories makes it possible to gain access to the meanings beneath the surface. The attempt to understand his stories brings out possible interpretations and discovers elements on which the stories are based. One part of Kafka’s literary effort is certainly the processing of concrete events and circumstances of his life; therefore, this article tries to examine the autobiographical element of his stories. Although the biography of the author does not fully unlock the meaning of his texts, it facilitates their partial understanding and development of possible interpretations. As an example, reading Kafka’s novel, The Castle, alongside his autobiographical sources of information (letters and diaries), provides a new interpretation of the fragmented text.

Haruki Murakami is one of the most well-known authors in contemporary world literature. Kafke on the Shore is considered amongst his best novels. In this essay, this novel is analyzed from narratology perspective and in this regard, narratological and mythological approaches are used. To this end, after looking at Roland Barthes’ attitude towards narratology, the narrative of the novel is shown in a table. Besides, a passage rite pattern which leads the protagonist towards maturity is examined using Joseph Campbell’s theory in The Hero with a Thousand Faces. In the end, this article attempts at answering the question of how a narrative uses mythological pattern of passage and maturity in a contemporary novel and how this Universalist rite is presented in different cultures and various narratives.

Each architectural element, in a building, is designed and built for a specific purpose. Using these elements in the usual way will create comfort for users. In The Trial, Kafka tries to express his ideas with paradoxical uses of these architectural elements and with an expressionist view. The first point that appears is the concept of contradiction. In this regard, in the world of The Trial, even the window, the wall, the stairs and other elements have lost their usual uses. Another concept that Kafka expresses with the help of these components, is the concept of alienation and loneliness, which is seen in allover The Trial. It seems these architectural elements are built for others and these common uses will be lost for Josef K. in front of the others. This alienation is a reminder of various aspects of Kafka's personal life. The last but not least concept that Kafka expresses with the help of the architectural elements is being subordination that, with disappearance of the private space of Joseph K. 's life, it becomes more apparent.

When Kafka started to write the Metamorphosis as an allegory in 1912, he had a concealed purpose and aim in his mind. He has described his own idea and somehow himself in Metamorphosis. In other words, his attitude in Metamorphosis is the reflection of himself. Gregor Samsa, the main character in the story, is a hardworking person who loves his family. He takes no notice of enjoyment in his life because of his family. His family don't know anything about his feelings and impressions. His family know the benefit of Gregor just as a supplyier of livelihood. During his metamorphosis, he transformes into a worthless existence and nobody likes him except for his mother. The current conditions lead his soul and mind to the futility of his life and he dies in his room with the wound he received from his father.

Cross comparison of works of art and literature has stabilized itself as an outstanding field which has attracted many researchers. Intellectuals and their works have contributed to the revelation of current themes of the communities of their times. This paper has tried to detect the thematic commonalities of Franz Kafka’, s the Metamorphosis and Aldous Huxley’, s Brave New World regarding modern man’, s obsessions. Based on the theoretical views and content analysis of the two works, the research reveals the illustration of the serial and linear world trend from bureaucracy as the initial offshoot of modernism to totalitarianism as a global movement which is detected in dystopian literary works as the commonality of the two writers. The two writers have deployed similar fiction elements, namely characterization and theme, to achieve these goals. On the line of their artistic endeavor, their reflection of such trends in the two selected works shed light of the clarification, manifestation, prognostication, and the possible eradication of these modern man’, s obsessions.

Metamorphosis, the most prominent work of Kafka (1833 – 1924), is one of the most controversial contemporary stories in 20th century Europe. After its publication in 1915, the story was the subject of debate for critics, and it was discussed from many perspectives. It narrates an imaginary event occurring in social realities of the time, and it shows an industrial society as a result of political and social changes in Europe. An industrial society, besides its advantages, willy-nilly brought with it unpleasant consequences. The study, explores the social and economic condition of Europe in the early 20th century and explains Gunter Andres theory, attempts to show that huge insect in the story is a metaphor that on the one hand appeared in the story in its common sense and has all the characteristics of an insect. On the other hand, based on the textual evidence, it represents one of the issues of modern and recently industrialized society. It compares the metamorphosis of a human to an insect to the human condition in bourgeoisie society.

This paper, through an interdisciplinary and comparative study, seeks to uncover the connection between Foucault’s approach to the concept of power and Kafka’s perspective in his novel The Trial. The point of convergence between Foucault and Kafka can be found in the concept of biopolitics, where life itself becomes the subject of politics. The emergence of biopolitics marks the distinction between the modern world and the traditional one. In the pre-modern world, power manifested itself in the figure of the executioner and in the moment of death. However, modern power engages in the management of the living and free subject. The case study of this research is Kafka’s The Trial. The character K. (the protagonist) is entangled in the same panoptic power that Foucault describes in his works—a power that pursues not just a specific criminal act, but the entirety of the criminal's life. This is why K. is never accused of a specific crime; instead, he is compelled to narrate and bring to light his entire life, from childhood to the present. According to Foucault, the more modern power hides itself, the more it brings the lives of the masses into the light. Similarly, in Kafka’s novel, K. never gains access to the court, which remains hidden from his view until the end. The court, like Foucault’s diffuse power, is omnipresent and has no fixed location. This paper demonstrates that this omnipresent power is not a theological force but the very biopolitics that Foucault speaks of.