Critical approches to Franz Kafka's the Metamorphosis (1912), Aldous Huxley's Brave New World (1932) and George Orwell's Nineteen Eighty-Four (1949)

Abstract By analyzing three literary works, respectively Kafka's The Metamorphosis, Huxley's Brave New World and Orwell's Nineteen Eighty-Four, I have attempted to explain in this project with many facts that totalitarianism is equally present with identical methods in capitalist and communist societies alike. Evolution of technology and its painful repercussions alongside subjects such as sexuality, elimination of high culture, nature of labour and deprivation of human freedoms in totalitarian societies make up the core of my work. The Metamorphosis by Kafka displays the hardships of labour derived from the capitalist modes of production as well as reasons in the form of protest against its exploitation nature symbolized into Gregor. Kafka presents us with a reality wherein only profit and continuity of production in a firm are of primary importance in a society dominated by industrial advances. Likewise, Huxley through Brave New World takes us forward into a prospective community, by simply envisioning its outcome based upon artificial and fake methods. His work stands out for the ingrained philosophical power as well as for the farce that coats an advanced human society. Via obliteration of high culture, Shakespeare, religion and creation of unfathomable sexual freedoms, we are introduced to a community that has no crossing points with a human society relying on the Nature of Law. In appearance, this society appears to solve all the problems that a natural society is plagued with, but in reality, it exposes to us that fake reality of artificiality is equally false in an ideal soma society. An xmder-soma control community eventually marks its incompatibility to the natural human societies. Technology in Brave New World not only failed to bring happiness to inhabitants of a future London, but it also put them all under soma effect for the sake of preserving stability. Big Brother, a symbolic figure, in Nineteen Eighty-Four is the pivotal point round which the whole novel revolves. The Party and its propaganda drummed out on telescreens create illusions to the residents of the future totalitarian England. Ideology, alternation of the past in function of the present, disguise of the corruption and degeneration in the ranks of the Party are some of the points that Orwell endeavoured to make. The varnished lustre of the Party, misery, fake wars, doubts by Julia and Winston, are some other themes that abound all throughout the novel.