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In dieser Arbeit wird Die Verwandlung von Franz Kafka als akuter Schlaganfall interpretiert. Die Schwester Grete fungiert hier als pflegende Angehörige, die in der Erzählung verschiedenen Belastungen ausgesetzt ist und unterschiedliche Emotionen durchlebt. Ziel dieser Arbeit ist es herauszufinden, ob diese mit den aus der Pflegeforschung herausgearbeiteten Belastungsfaktoren und Emotionen pflegender Angehöriger übereinstimmen. Zusätzlich zu Kafkas Erzählung wird Ursula Frickers reiner Schlaganfall-Roman Außer sich analysiert. Dieser wird ebenfalls auf die Erkenntnisse der Pflegeforschung appliziert samt mit den Ergebnissen der Analyse der Erzählung von Kafka verglichen. Die Belastungsfaktoren und Emotionen von pflegenden Angehörigen, die in der Pflegeforschung hervorgehoben werden, wurden in eigene Kategorien eingeteilt, um eine übersichtliche Analyse beider literarischer Texte zu ermöglichen. Die Analyse der beiden Texte ergab, dass die pflegenden Angehörigen in sowohl Kafkas Erzählung als auch in Frickers Roman in allen analysierten Kategorien der wissenschaftlich belegten Belastungsfaktoren und Emotionen Übereinstimmungen aufwiesen. Die Texte wiesen ebenfalls Gemeinsamkeiten zueinander auf, doch gabes hier individuelle Unterschiede. Das Ergebnis dieser Arbeit zeigt, dass die Interpretation der Erzählung Die Verwandlung von Kafka als Schlaganfall-Geschichte schlüssig ist. Dies wird durch die Ergebnisse der Analyse im Hinblick auf das Erleben der Schwester als pflegende Angehörige deutlich.

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.

The aim of this study is to compare selected episodes of Ovid's Metamorphoses with three works of modern literature containing the theme of metamorphosis, and to follow their intertextual relations, dependency and innovation of Ovidian themes. On the basis of a comparison of the ancient and the modern text it is examined which motives remain constant during centuries and which, on the contrary, are evolving and shifting their meanings. Through the perspective of the Metamorphoses an attempt is made to interpret the works from a less usual angle. The most significant Ovidian characters that are examined in this study are Teiresias, Daphne, Hyacinth, Orpheus, Ceres, Icarus, Callisto and Io.

Informada pelos pressupostos da área interdisciplinar conhecida como estudos animais, esta tese propõe uma leitura a contrapelo das figuras animais na literatura, na qual elas não são entendidas apenas como metáforas de certos aspectos da vida humana, mas como presenças textuais com um estatuto de personagens e, nessa condição, são interrogadas em sua alteridade. A questão central em pauta é: o que a metáfora diz sobre os animais e sobre a relação entre os animais e os seres humanos e o que significa des-figurar a metáfora e explorar a possibilidade de re-significar, a partir da textualidade ficcional, a relação humano-animal. Para tanto, desenho um panorama dos estudos animais, abordando o estado da arte no Brasil, inserindo tais estudos nas possibilidades de inovação no campo da literatura comparada. A seguir, elaboro um aporte teórico a partir da filosofia animal de Jacques Derrida, ao qual incorporo e coloco em discussão posicionamentos teóricos de Calarco (2008), Krell (2013), Lawlor (2007) e Naas (2010) sobre a questão em pauta. Por fim, realizo leituras comparadas entre A metamorfose (1915), de Franz Kafka, e Porcarias (1996), de Marie Darrieussecq, ambos sobre o tornar-se animal, e entre Flush (1933), de Virginia Woolf, e Timbuktu (1999), de Paul Auster, ambos sobre a domesticação de animais. / Following the tenets of the interdisciplinary area of animal studies, this dissertation presents a reading of animal figures in literature against the grain, which means that they are not taken only as metaphors of certain aspects of human life but as textual presences with a status assigned to characters and, in this condition, are interrogated in their alterity. The central question to be explored is: what the animal metaphor says about animals and the relation of animal and human beings and what it means to de-figure the metaphor in order to explore the possibility of re-signifying, in ficcional textualities, the human/animal relation. In order to address these issues, I draw a panorama of animal studies, including the state of the art in Brazil, to contend that this area adds to the possibilities of innovation in the field of comparative literature. Then, I consider a theoretical framework of Jacques Derrida’s animal philosophy, also discussing theoretical positions of Calarco (2008), Krell (2013), Lawlor (2007) and Naas (2010) on this topic. Finally, I propose comparative readings of Franz Kafka’s The metamorphosis (1915) and Marie Darrieussecq’s Pig tales (1996), from the perspective of becoming animal, and of Virginia Woolf’s Flush (1933) and Paul Auster’s Timbuktu (1999), both on domesticating animals.

Informada pelos pressupostos da área interdisciplinar conhecida como estudos animais, esta tese propõe uma leitura a contrapelo das figuras animais na literatura, na qual elas não são entendidas apenas como metáforas de certos aspectos da vida humana, mas como presenças textuais com um estatuto de personagens e, nessa condição, são interrogadas em sua alteridade. A questão central em pauta é: o que a metáfora diz sobre os animais e sobre a relação entre os animais e os seres humanos e o que significa des-figurar a metáfora e explorar a possibilidade de re-significar, a partir da textualidade ficcional, a relação humano-animal. Para tanto, desenho um panorama dos estudos animais, abordando o estado da arte no Brasil, inserindo tais estudos nas possibilidades de inovação no campo da literatura comparada. A seguir, elaboro um aporte teórico a partir da filosofia animal de Jacques Derrida, ao qual incorporo e coloco em discussão posicionamentos teóricos de Calarco (2008), Krell (2013), Lawlor (2007) e Naas (2010) sobre a questão em pauta. Por fim, realizo leituras comparadas entre A metamorfose (1915), de Franz Kafka, e Porcarias (1996), de Marie Darrieussecq, ambos sobre o tornar-se animal, e entre Flush (1933), de Virginia Woolf, e Timbuktu (1999), de Paul Auster, ambos sobre a domesticação de animais. / Following the tenets of the interdisciplinary area of animal studies, this dissertation presents a reading of animal figures in literature against the grain, which means that they are not taken only as metaphors of certain aspects of human life but as textual presences with a status assigned to characters and, in this condition, are interrogated in their alterity. The central question to be explored is: what the animal metaphor says about animals and the relation of animal and human beings and what it means to de-figure the metaphor in order to explore the possibility of re-signifying, in ficcional textualities, the human/animal relation. In order to address these issues, I draw a panorama of animal studies, including the state of the art in Brazil, to contend that this area adds to the possibilities of innovation in the field of comparative literature. Then, I consider a theoretical framework of Jacques Derrida’s animal philosophy, also discussing theoretical positions of Calarco (2008), Krell (2013), Lawlor (2007) and Naas (2010) on this topic. Finally, I propose comparative readings of Franz Kafka’s The metamorphosis (1915) and Marie Darrieussecq’s Pig tales (1996), from the perspective of becoming animal, and of Virginia Woolf’s Flush (1933) and Paul Auster’s Timbuktu (1999), both on domesticating animals.

Informada pelos pressupostos da área interdisciplinar conhecida como estudos animais, esta tese propõe uma leitura a contrapelo das figuras animais na literatura, na qual elas não são entendidas apenas como metáforas de certos aspectos da vida humana, mas como presenças textuais com um estatuto de personagens e, nessa condição, são interrogadas em sua alteridade. A questão central em pauta é: o que a metáfora diz sobre os animais e sobre a relação entre os animais e os seres humanos e o que significa des-figurar a metáfora e explorar a possibilidade de re-significar, a partir da textualidade ficcional, a relação humano-animal. Para tanto, desenho um panorama dos estudos animais, abordando o estado da arte no Brasil, inserindo tais estudos nas possibilidades de inovação no campo da literatura comparada. A seguir, elaboro um aporte teórico a partir da filosofia animal de Jacques Derrida, ao qual incorporo e coloco em discussão posicionamentos teóricos de Calarco (2008), Krell (2013), Lawlor (2007) e Naas (2010) sobre a questão em pauta. Por fim, realizo leituras comparadas entre A metamorfose (1915), de Franz Kafka, e Porcarias (1996), de Marie Darrieussecq, ambos sobre o tornar-se animal, e entre Flush (1933), de Virginia Woolf, e Timbuktu (1999), de Paul Auster, ambos sobre a domesticação de animais. / Following the tenets of the interdisciplinary area of animal studies, this dissertation presents a reading of animal figures in literature against the grain, which means that they are not taken only as metaphors of certain aspects of human life but as textual presences with a status assigned to characters and, in this condition, are interrogated in their alterity. The central question to be explored is: what the animal metaphor says about animals and the relation of animal and human beings and what it means to de-figure the metaphor in order to explore the possibility of re-signifying, in ficcional textualities, the human/animal relation. In order to address these issues, I draw a panorama of animal studies, including the state of the art in Brazil, to contend that this area adds to the possibilities of innovation in the field of comparative literature. Then, I consider a theoretical framework of Jacques Derrida’s animal philosophy, also discussing theoretical positions of Calarco (2008), Krell (2013), Lawlor (2007) and Naas (2010) on this topic. Finally, I propose comparative readings of Franz Kafka’s The metamorphosis (1915) and Marie Darrieussecq’s Pig tales (1996), from the perspective of becoming animal, and of Virginia Woolf’s Flush (1933) and Paul Auster’s Timbuktu (1999), both on domesticating animals.