It’s a Metamorphosis Thing

In contemporary media, one can find multiple occurrences of overnight biological transmutation or similarily, body swapping. Growing up, when I browsed through the shelves of my local library, I’d often see titles like, “Help! I’m Stuck In a Professional Wrestler’s Body!”. Or more recently, movies like “Freaky Friday” and “It’s a Boy Girl Thing”, toy with the idea of waking up to a different body.

In the early morning hours, as I was watching “It’s a Boy Girl Thing” with several friends, I noticed the multiple parallels and differences between the movie and “Metamorphosis”. “It’s a Boy Girl Thing” is a romantic comedy depicting two teenagers, Woody and Nell, who wake up in each others bodies after a museum trip. Since they were children, they have always fought with each other and consider the other his or her mortal enemy. They despise each other due to societal implications and the lack of understanding for each other. Woody is the stereotypical jock in school; he loves playing football, but his academics are not stellar. Nell, however, is an introvert and prude, with a passion for art and poetry, and she aspires to be accepted into Yale University.

When Gregor Samsa wakes up from his “uneasy dreams”, and finds himself transformed into a giant insect, his reactions are far different than how someone would typically act if they had ever waken up in a colossal insect body. Instead of worrying about how to transform himself back to his original body, Gregor worries about work and supporting his family. When Nell and Woody wake up in each others bodies, they scream in disbelief at their new body parts, rush to the window, see each other, and proceed to scream more.

Although Nell and Woody’s reactions are quite different from Gregor, the bodily changes produce a similar effect: they serve to be a catalyst for understanding, and realization. Throughout “Metamorphosis”, the familial interactions allow Gregor to see how he proves to be a obstacle for his family once he is unable to provide for his family. From his father pelting him with apples, to his sister’s frustrated venting, Gregor realizes that he is a detriment to his family’s well-being, and that it is better for him to break free of his oppressive bonds. The metamorphosis of Gregor also allows his family to understand that they are in fact, able to cope with life’s economic demands without relying solely on Gregor, and that their future prospects aren’t as bleak as it first seemed.

In “It’s a Boy Girl Thing”, Nell and Woody learn more about each other lives, and eventually develop a romantic relationship with each other. Woody teaches Nell to break free of her introversion by changing the clothes she wears to school, and gives Nell a new perspective as to who he really is; Woody acts the way he does because his family is poor, and the only way he can go to college is through football. Nell teaches Woody how to respect women, as well as her love for poetry and art. Woody partakes in the Yale interview for Nell, and succeeds. Nell hilariously learns how to play tackle football with Woody’s body and wins a championship for him. In the end, they realize how great of a person the other person really is, and the body swapping allows them to literally step into each other shoes and change the way their lives were.
So, if I ever happen to wake up one morning in a different body, I’ll be optimistic and pray that it’s a catalyst for change.

Bugs and Dolls: “Metamorphosis” and “Doll’s House”

            I wanted to draw a comparison between the characters and themes in Doll’s House by Henrik Ibsen and Kafka’s Metamorphisis. Both demonstrate the ideals of the Modernistic movement and Marx’s thought of the worker. Nora, the main character in Doll’s House is content being oppressed by her husband and the way he patronizes her. She is his “doll” and abides by his every whim. She is secretly working to pay off a debt she obtained by trying to help her husband’s health. Much like Gregor, she is bound to her duties because of economical and societal pressures. They are both just implements of their families and under appreciated. Gregor is a “doll” in a sense because of the way his family uses him. They set him up to pay for the debt and do not allow him to consider anything else, like a wife, because the income is more important than his well being. However, Nora’s finally realizes her doll like state when Torvald is outraged toward her about the loan, then comes to find out that it has been cleared. Nora breaks free from her matronly bondage and symbolizes this by removing her ring, leaving her house key, and putting on an old coat. She refuses to be an object and no longer identifies herself as apart of the family unit, but as an individual. Gregor’s realization is forced because of his state, but he eventually understands that because he can no longer provide for the family, he is no use to them and is only a hindrance. He realizes that he is not longer apart of the family unit, which uses each other to better themselves.

         The fact that both of these characters work so hard to pay off this ominous debt demonstrates how important reputation is considered in society. Nora’s husband Torvald is very similar to Mr. Samsa in that they have no appreciation for their loved ones, only objects to be used to benefit themselves and their reputation. Both works show how the father figure is expected to guide and control the decisions and actions of the family. Mr. Samsa makes the decision to send Gregor to work and Torvald feels it is his duty to direct and discipline his wife. Torvald’s first priority is how the community thinks of him and not of his wife’s concerns. Similarly, Mr. Samsa focuses on his reputation and gets a job. It is evident that he is prideful of his new occupation because he never takes the uniform off until it is time for bed. Both of these characters desire respect and advancement in society based purely on selfish motives, never giving thought to those whom they are oppressing.
         

          Nora and Torvald are very frugal and eventually their relationship evolves to be based on monetary matters and this is the breaking point for Nora. This work and Metamorphosis demonstrates how family ties are purely selfish and predominately for monetary gain and advancement in society. This is seen in Metamorphosis in that the father and mother want to pay off their debt so they use Gregor and how they desire to find a husband for Grete because this would lead to more financial stability. A major theme in both works is that society, family and duty all center around finances and family is just an instrument used to obtain higher standing. Nora cares so much about her and her family’s reputation, so when she is blackmailed concerning the loan, she goes to all measures to protect herself and Torvald. 

         Nora and Gregor both break free from the confines of their societal and economical oppression, one by realization and the other by isolation. Torvald and Mr. Samsa demonstrate the driving force behind the father figure who desires to be successful at the cost of his family. Both works manifest Marx’s idea of the family as being a financial relationship not personal and that the worker is a part of the machine, or society as a whole. The main characters embody the critiques of the Modernistic movement as they refuse to be dolls with capitalism as their master.

Hell Bent by Kenna

thought everyone would enjoy this video I found by one of my favorite bands. the animation short was featured in Kenna’s Hell Bent music video. check out the band, they’re pretty awesome.