Category 1

Question 1 A – What is the significance of Gregor’s nonchalant attitude about his metamorphosis ? He never feels like his life is over ,rather he is still curious about how he can go to work. – Karen Opong

When Gregor learns of his odd and bizarre transformation, he seemed  nonchalant because the pressures of human life were stressful. He didn’t mind his transformation because as a human being, he was exploited and depended on by his family, especially his parents. His life was  no longer over but he had to adjust to a new life .The story is somewhat vague because it doesn’t suggest how he might have turned into this insect. There is no indication of why he would turn into one. We know of Gregor as the breadwinner as a  somewhat successful salesman and obligated to repay his parents debt. The pressures of life he had to face were unbearable. Instead of being more concerned of why and how he turned into this bug he says on page 21, “what a demanding job I’ve chosen! Day in, day out, on the road. The stresses of selling are much greater than the actual work going on at head office, and , in addition to that, I still have to cope with the problems of traveling, the worries about train connections , irregular bad good, temporary and constantly changing human interactions, which never come from the heart, To hell with it all.” Gregor is simply tired of life and just rather be a bug on the wall where no one will bother him about anything and detach himself from society as a whole.

Gregor’s first reaction when he discovers he has turned into a bug, is a shock and he thought he was able to sleep it off but it was real. This shock was only for a few minutes .Of course anyone’s reaction would be how am I going to get to work or school but he knew there was no way he could get to work in the condition he was in. Did he really care to go to work ?  Did he really care to live a human life anymore? There seemed to be a battle with himself figuring out how to get to work and complaining about going to work. On page 22 he says, “This getting up early”, he thought, “makes a man idiotic.” If it weren’t for him having to pay off his parents debts, he would have left a long time ago. The pressures of life has taken a toll on him and he simply can’t take it anymore.

Question 1B – What is the significance of his family’s reactions? – Maybe Lee Chen

When Gregor’s family first discovered the hideous transformation, the reaction differs from family member.  On page 31, we see that, “His mother…first looked at his father with her hands clasped, then went to steps towards Gregor and collapsed right in the middle…”  Clearly, the mother is shocked to see her son in such a state.  However, the way her body language is expressed “her hands clasped” is somewhat open to interpretation.  One possibility is that she may be clasping her hands to calm herself from the awful situation.  Another possibility might be that she’s clasping her hands as if in prayer – wishing for everything to revert back to normal.  This is plausible because if the mother were truly disgusted, she wouldn’t try to approach Gregor.   

Meanwhile, “His father clenched his fist with a hostile expression, as if he wished to push Gregor back into his room…”(32).  Unlike his mother, Gregor’s father is more direct with his body language and his message.  When one clenches their fist at someone, they see that person as a threat and are mentally preparing themselves for a fight.  Although Kafka combines both the “clenched fists” and “hostile expression” he seems to diminish the perceived threat by following with “wished to push Gregor back into his room”.  It seems odd that two strong gestures are followed by a mere “wish to push” – not punch. Moreover, Kafka ends by painting a completely different picture of the father who “looked uncertainty into the room , covered his eyes with his hands, and cried so that his mighty breast shook”.  While his body language is more direct than the mother’s, there seems to be an internal conflict taking place with Gregor’s father.

Lastly, on page 38, we see that Gregor’s sister is inwardly caring but outwardly frightened.  As she goes into his room to replace Gregor’s food,  “She did not find him immediately , but when she noticed him under the couch…she got such a shock that…she slammed the door shut…However as if she was sorry for her behavior, she immediately opened the door again and walked in her tiptoes…”  Similar to the father, we see this inner-outer conflict of being perceived as a “good/caring” family member despite the fact that Gregor’s appearance is frightening.  Out of all the family member’s, the sister’s reaction is the most humane towards the beginning.  She’s the only one that is brave enough to step into Gregor’s room to feed and clean after him.  Nevertheless, as the story progresses, all of the family members grow to despise Gregor in their hearts and in their actions.

Question 3A – Why did the father react the way he did? What message is kafka trying to send to the reader and how does this story apply to real society? Alejandro Canon-Sandoval

Gregor’s father was a business owner before his son’s metamorphosis. Unfortunately, his business failed, which left Gregor’s father in a state of low morale. After Gregor becomes a bug, his father is forced to return to work. Gregor’s father is very hostile toward him, and he does not help Gregor deal with the problem of his metamorphosis. Like in most of Kafka’s work, the father here is probably a representation of Kafka’s own father. Kafka was verbally abused by his father his entire life, and his father’s presence was always associated with fear and self-loathing. Like in Kafka’s own life, Gregor’s father is unsupportive and actually ended up making Gregor’s situation harder than it already was.

Gregor’s father is overbearing and unsupportive, which could also signify the dynamics of authority in our own society. Authority is a reoccurring theme in Kafka’s work, and The Metamorphosis is no exception. Gregor’s father could also represent how authority always demands more from people, and his hostility could be seen as an illustration of the violent force authority uses to assert itself in our lives.

Category 2:

Questions: Gregor’s inner world

1. What is important about Gregor?
2. Do you think that Gregor is losing his human attributes while living as a beetle?
3. What is the significance of Gregor not wanting to be late despite his appearance?

The second category of questions refers to Gregor’s own mind and inner struggles. In contrast to the first category, these questions are only interested in Gregor’s interactions with himself. All three of these questions focus on Gregor’s personal attributes and his mental state in different situations.

Category 3:

Questions:  Later reactions in the story towards Gregor

1.     What is the significance of Gregor’s father slamming the door on him?
2.     What do the tenants stand for?
3.     What is the significance of Gregor’s family leaving the home Gregor lived in at the end of the store?

While the first question could also fit into the 1st category, we decided to stick this one here.  All of these questions still focus on the actions of specific characters in regards to Gregor.  Questions 2 and 3, however focus more towards the end of the story which is why we grouped them together.  Broken down this way, we can see how the reactions of these characters changed throughout the story

“Before the Law” came across as a very vague and provocative read. On the surface, it could be read as a motivational short story about how the only way to “enter the law” is by overcoming one’s fears and facing monumental challenges head-on. However, the subtext of Kafka’s story becomes darker upon closer inspection. In my opinion, “Before the Law” explores people’s inability to reach their deepest aspirations despite technically having every opportunity to do so. In our physical world, we could theoretically achieve anything we could possibly set out to do. If our willpower and courage were infinite, we would have no problem facing adversity and finding satisfaction in life. It is true that we may encounter physical limitations and obstacles that may be insurmountable, so I guess what I’m trying to say is that human reach far surpasses human willpower. In “Before the Law” the idea of each person having their own personal gateway to the Law could be seen as a representation of our own individual struggles. However, it sounds like the man in the story would have been doomed if he chose to enter the gateway. As the gatekeeper said, there would be more gateways inside with increasingly powerful guardians to be overcome. I am not sure how I feel about this story. I think it is extremely thought provoking and dense. It could either be seen as a parable, or a cautionary tale about the futility of pursuing something like “the Law.” I think I will need to revisit it at some later point to understand more.

“The Futurist Manifesto of Lust” resonated with me because I could not understand it. Specifically, I was awe-struck by the capitalized section toward the end of this text: “IT IS NORMAL FOR THE VICTORS, PROVEN IN WAR, TO TURN TO RAPE THE CONQUERED LAND, SO THAT LIFE MAY BE RE-CREATED.” This manifesto makes the argument that lust is a force that may be used to fuel creation and progress. While this idea is enticing, I was confused by the esoteric rhetoric used by Saint-Point. I do believe that lust can be harnessed to create a desired effect, but I am unclear about several passages referring to masculine and feminine forces. Most notably, I do not know what to make of the justification for rape that I alluded to above. This remark is unnecessary in advancing the argument presented by the author, and it instead makes the reader question her credibility. Coupled with the condemnation of women participating in male roles found in her “Manifesto of Futurist Woman,” this manifesto of lust takes on a highly provocative tone. I am unsure about the context of these writings, and I am probably not catching some sort of irony or meaning. At a glance, both manifestos contained highly questionable arguments. Saint-Point’s use of shock makes her sound less credible, and it distracts the reader from the more important themes in her writing. Perhaps talking about this piece in class can shed some light on my confusion.

“Wild Nights – Wild Nights!” stands out as a poem that conveys its inner meaning through rhythm and texture. In a short series of couplets, Emily Dickson creates an experience almost like biting into a piece of chocolate. This poem evokes a sensation of deep longing and sweet resolution. Because of its song-like structure, this poem takes on the form of a lullaby in the reader’s mind.

The first stanza emphasizes smooth consonant sounds. Dickson uses alliteration to create rhythm, and ends the stanza with “luxury!” This opening section gives the poem a dream-like quality, and establishes longing as a central theme.

The second stanza focuses hard consonant sounds in words like “futile,” and “chart.” This section develops the loneliness expressed in the first stanza into a beautiful image of incompleteness and impatience.

Finally, the third stanza describes an imagined satisfaction of the loneliness expressed throughout the poem. Dickson uses the line “Ah – the Sea!” to project a refreshing sensation into the reader’s mind. Rhythmically, this conclusion also sounds like an ending refrain. The image of “a Heart in port –“ is beautifully completed with the hair-raising request: “Might I but moor – tonight – In thee!”

“Wild Nights!” is a masterful example of a lyric that moves organically and penetratingly. Through the combination of imagery, consonance, and rhythm, Dickson crafted a poem that begs to be read out loud. The cadence and innocence of “Wild Nights!” leaves the reader warm with a sense of wonder.

After reading both of these literary critiques, I get a sense that the role of realism was very controversial in 19th century Britain. More specifically, it sounds like many critics judged novels based on their impact on readers and society as a whole. Elaine Freedgood included a quote from the novelist and critic Vernon Lee’s ‘Dialogue on Novels’ that expressed my own discomfort with the standards that were applied to realism: “[I]t is extraordinary how aesthetical questions invariably end in ethical ones when treated by English people.” Realist novels are limited in their ability to create real, quantifiable social change, and ethical standards are therefore somewhat inappropriate. Although many critics insisted on burdening these works of art with some sort of social responsibility, novels are better judged through aesthetic evaluation. Freedgood also points out that, in the absence of the social sciences, realist novels were partly viewed as sociological investigations. Considering that people expected a certain level of honesty from realist authors, it is easier to understand why these writers were often held responsible for ethical questions surrounding their portrayal of social conditions. It is important to note that both readers and writers were well aware of how subjective accounts can distort reality, and were likely to take any information presented in novels with a grain of salt.

George Elliot’s excerpt was also quite insightful. It was interesting to hear a celebrated author speak on this subject with such convincing rhetoric. Someone wrote to Elliot concerning one of his characters not exhibiting proper behavior, and the author’s response was very profound and compelling. Elliot argued that he was obliged to present the world as he perceived it, and to provide an honest testimony of what life was like from his point of view. According to Elliot, much nuance is lost when characters are flattened into ideal archetypes, and it is his job as an artist to portray real people with flaws: “great men are overestimated and small men are insupportable; that if you love a woman without ever looking back on your love as folly, she must die while you are courting her; and if you maintain the slightest belief in human heroism, you must never make a pilgrimage to see the hero.” Elliot argues that the reality of human nature is often unpleasant, but without realistic representation, his contemporaries may never be exposed to a sincere reflection of what makes people human.

John Keats’ “To Autumn” and Tu Fu’s “Spring Prospect” are very different poems, even at a glance. The theme that unites them is their use of seasons to express different thematic ideas. More specifically, Keats uses autumn as a vehicle for a meditative exploration of the scenes and sensations of fall. Tu Fu’s poem is much darker in tone. It is interesting that Tu Fu uses the stark contrast of spring’s beautiful blossom and wartime scenes to fully depict the suffering of people around him. The scope of these two lyrics is also very different. For example, Keats expresses a focus on serenity and peace:

He uses images of the autumn breeze and references the calmness of his subject to paint an image of subtle happiness. In reference to the introduction to Tu Fu’s poem, Keats’ work falls well within the bounds of Western poetry’s focus on”imaginative fiction.”

On the other hand, Tu Fu attempts to express his own anxieties about sociopolitical conditions and war:

Beacon fires three months running,
a letter from home worth ten thousand in gold–

It sounds like Fu is profoundly worried about his loved ones in this situation. The mention of a precious letter from home, paired with the fires anouncing impending conflict are extremely ominous. In contrast to Keats’ poem, this lyrics takes on a much heavier subject matter. Tu Fu’s poem is very effective in its poignant portrayal of historically true events, and its imagery puts the reader in Tu Fu’s shoes during this situation.

The form and structure used by both poets also serves an important purpose in communicating the ideas contained within each lyric. “To Autumn” employs a somewhat rigid iambic pentameter form. The ten syllables in each line keep a constant rhythm throughout this poem, and the ABAB rhyme scheme emphasizes the song-like quality of Keats’ work here. This use of constant form and rhyming punctuation helps the reader fall into a sort of trance, bringing to life the images contained within the poem and creating a peaceful, lighthearted tone. Contrastingly, “Spring Prospect” delivers hard-hitting image of violence and calamity through its lack of constant rhythm. Tu Fu’s decision to avoid the lightheartedness of rhyme serves his purpose very well: this free verse conveys a general feeling of sadness and solemnity. It is also notable that, at least in the English translation, sharp consonant sounds dominate this composition, communicating a punchy seriousness very effectively. However, I think it is difficult judge Tu Fu’s poem in its translated form. As mentioned in the introduction, Chinese poetry makes heavy use of culturally-exclusive references which would be lost on Western readers. It would be interesting to see just how different this poem would feel when read in its original language.

Both of these poems are very good examples of nature being used to illustrate poetic ideas, and their contrasting styles highlight two very important methods of creating poetic expression through the use of seasonal imagery.

Light peeks through the top of my curtains. In a blur of lazy twilight, dreams see themselves in dim awareness. My mind plays strange games as it slowly returns to being myself. As I gently pull myself out of bed, the thought of a fragrant cup of coffee is very motivating. Although the sky is gloom and the wind cold, I feel a subtle joy. Warm water falling on my head officially marks the beginning of another day.

Gray and dim morning

Crisp brew Colombian roast

Here I am again

The pavement almost blends with the sky. People walk briskly. My steps are also hurried, although I wish they weren’t so. If only I had spent a little less time in the shower. Pacing up Roebling, then turning left on 7^th street, a journey so familiar it is almost instantaneous. My music keeps me company, as it always does. The train platform is crowded at this time, so I know the ride will be cramped. So many faces. Our bodies are so close. How is it most of us are lonely? A common question, and an interesting one at that. The next Manhattan bound L train is approaching the station. Please stand away from the platform edge. A gust of wind tosses the edges of my coat like in the movies.

Subterranean

A monster at ultra-high speed

Hearing loss awaits

Walking out of the 23^rd street station, it is difficult not to feel like I have been transported to another world: a more imposing location, with a different pace. These sights remain fresh after months and years. My senses are fully engaged here. I feel like I am walking through the beating heart of all the world. New York is a good place to discover a more dynamic kind of meditative awareness, and I am happy to let all these sights and sounds nourish my soul. I am nearing my destination now. Gramercy is a stunningly beautiful neighborhood, and I very much enjoy spending so much time here.

Education is something I am passionate about. It is frightening to think of how fortunate I am to be here, sitting in class. My attention is fully engaged here, and I am excited by every new discovery. I am far from being able to forget myself, but being mindful of the present is much easier when I am in this temple of knowledge. Every minute is an investment, and my family is proud. This makes me very happy. Stress is a part of this reality, but it is justified. It is all worth it… I sound so corny right now.

An oversized sail

Of steel curiosity

Hope for the future

Hello everyone!

My name is Alejandro Canon, and I am a student of Entrepreneurship. I was born and raised in Bogota, Colombia, but have lived in a lot of different places. My interests include music, film, philosophy, finance, and comparative religion. I am currently obsessed with Bob Dylan.

I guess I’ll start by saying that I was familiar with Kant’s work before reading this essay, and I am a big fan of his ethics. In “What is Enlightenment,” Kant expresses his ideas about the intellectual progress and free thought. More specifically, Kant defines enlightenment as the ability to think freely, or without the guidance of some higher authority. The author illustrates the mechanisms that have kept most of humanity in darkness since the dawn of time. Kant argues that people can only reach intellectual maturity by exercising freedom of thought and public expression without fear of punishment. It is important to note that Kant does not condone acting irresponsibly in one’s private position within society. In other words, it is wrong for a soldier to disobey orders from his or her commanding officer, or even argue against said orders while on duty. An enlightened soldier would follow orders, but use their position as a learned member of society to critique the commands of their officer in public discourse.

I really enjoyed this reading. I was particularly delighted by the beautiful imagery in the first few paragraphs. The arguments Kant puts forward in this essay are all very persuasive, and they were generally clear and easy to follow. Although I was skeptical regarding Kant’s ideas about having “freedom to make public use of one’s reason in all matters,” his subsequent clarifications were convincing.

I do not think that we live in an enlightened world by any definition. I believe that absolute enlightenment is an abstract goal, although it is undoubtedly one worthy of pursuit. A world were every person is fully intellectually mature is a long ways off at best. Dogmatism is as strong as ever, and there are threats to our freedom of thought on many fronts. If anything, I think that we must be forever vigilant and never take free expression for granted. Enlightenment is not about achieving a resounding victory, it is about fighting a never-ending battle.