ACROSS THREE MYTH MARKETS IN Franz Kafka’s The Metamorphosis4humanities.org/wp-content/uploads/2016/03/Basma-Choucri_Smaller... · ACROSS THREE MYTH MARKETS IN Franz Kafka’s The

ACROSS THREE MYTH MARKETS IN

Franz Kafka’s The Metamorphosis The 2015-2016 Reading Across Campus Text at the American University in Dubai

Prepared for

The 2015-2016 Shout out for the Humanities International student contest

Prepared by

Aciel Awada; Basma Choucri; Maryam Habib; Tahmeed Omar

School of Business Administration

Department of Marketing and Marketing Communications The School of Architecture, Art and Design

Department of Visual Communication American University, Dubai, UAE

February 29, 2016

MCOM401 – Creative Executions in IMC Awada, Choucri, Habib, Omar Spring, 2016, Odekhiren Amaize American University in Dubai

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Assignment

Based on some of the axioms and strategic principles of cultural branding1 as

espoused by Douglas B. Holt in “How Brands Become Icons – Principles of Cultural

Branding” (2004), promote an identity brand of your choice, across three periods in

Franz Kafka’s The Metamorphosis (1915) to identified target markets.

- Prepare and submit a Plans Book and a Power Point presentation.

- Will be submitted For Shout for the Humanities Int’l Student Contest:

http://4humanities.org/contest/

This assignment addresses three main objectives in the context of one of our

required undergraduate courses: Creative Execution for Integrated Marketing

Communications in the School of Business at the American University in Dubai.

Firstly, this assignment directly and indirectly addresses some of the learning

objectives as stated in the course syllabus:

a. Discover and appreciate the analysis of myths and metaphors for

understanding consumers and brands in formulating creative strategy

b. Understand and appreciate the role of film, television, art, literature, humour,

politics, the economy, and music in creative strategy development and

implementation

c. Engage in brand genealogy research of a national/regional “iconic brand to

determine the influence of four branding models (cultural, mind- share,

emotional, and viral) in its creative strategy development and implementation

Secondly, the assignment fulfills the call by 4Humanities to "Shout Out for the

Humanities" across disciplines on college campuses and in society at large.

Thirdly, this assignment allowed us to engage with the text of the 2015-2016 AUD

Reading Across Campus Programme: Franz Kafka’s The Metamorphosis.

1 All major terms defined in Glossary as per Holt, 2004


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Table of Contents

I. Executive Summary ................................................................................................. 4 II. Spolu Campaign Equities ...................................................................................... 6 III. Myth Chart ............................................................................................................ 7

IV. First Era ............................................................................................................ 8-15 Introduction ............................................................................................................. 8

Ideology: Economic Well-Being ........................................................................... 9 Contradiction: Frustrated Workers ...................................................................... 10 Myth Treatment: “A Man Who Met Misery” ...................................................... 11

Execution: Folktale Comic Strip ..................................................................... 12 Coauthors ............................................................................................................. 13 Populist World ..................................................................................................... 14 Cultural Disruption: The Metamorphosis ....................................................... 14-15

V. Second Era ........................................................................................................ 16-26 Introduction ........................................................................................................... 16

Ideology: Unity Within “The Golden Age” ........................................................ 17 Contradiction: Disengagement ............................................................................ 18 Myth Treatment: “The Art of Reengagement” .................................................... 19 Coauthors ............................................................................................................. 20

Brief Biography ............................................................................................... 21 Leoš Janáček ........................................................................................ 21 Antonin Dvořák ................................................................................... 21 Franz Kafka ......................................................................................... 22

Coauthoring Strategy ....................................................................................... 22 Overview ............................................................................................. 22 Executions ...................................................................................... 23-26

Populist World ..................................................................................................... 27 Cultural Disruption: Death .................................................................................. 27

VI. Third Era ........................................................................................................ 27-33 Introduction ........................................................................................................... 27

Ideology: Communism ........................................................................................ 28 Contradiction: “The Rebirth” .............................................................................. 29 Myth Treatment: “The Worker Bee” ................................................................... 30

Execution: Worker Bee Comic Strip ............................................................... 31 Coauthors ............................................................................................................. 32 Populist World ..................................................................................................... 33

VII. Conclusion .......................................................................................................... 34 Glossary ...................................................................................................................... 35 References ................................................................................................................... 36


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EXECUTIVE SUMMARY

For this campaign, we have designed an identity brand, namely a quarterly

journal titled Spolu. We will promote this journal to target audiences represented in

Franz Kafka’s The Metamorphosis (1915), across three different eras.

The name of the journal was inspired by two main reasons; the name Samsa,

and the Czechoslovakian meaning of Spolu. The Samsa family constitutes the main

characters within The Metamorphosis. “Doubtless [the name Samsa] is a cryptogram

for Kafka; but beyond this it is probably also a phonetic contraction of the Czech

words sám (‘alone’) and jsem (‘I am’) = ‘I am alone,’ a cry of pain…” (Weinberg,

1963) With this, we are able to understand the extent of Kafka’s identity crisis and

isolation from the world of which Kafka was born into. Thus, we used Gregor Samsa

as a representative of the frustrated, disengaged, and oppressed lower working

members market in Prague – our Gregorians. In order to establish our journals

purpose, we chose the word ‘together’, and in order to target the Czech lower working

class we used the Czech/Slovak translation ‘Spolu’.

These three eras will use several cultural and economic influences that are

highlighted within and beyond the world of The Metamorphosis, as well as historical

events that took place in Prague, Czechoslovakia. The first era will highlight how

members of the lower working class are content with the ideal life of being able to

provide for one’s survival. However, workers will soon react to being overworked,

leading a life of discontent which will result in their frustration – this is metaphorical

for the main character Gregor Samsa’s metamorphosis into a “monstrous vermin”

(Kafka, Crick & Robertson, 2009, p. 29). Ultimately, this frustration leads to a

‘victim’s’ disengagement from their career, family, and their own self – a

contradiction that the second era will handle. Finally, the third era will address the

‘rebirth’ of the worker and the need to be encouraged in order to pursue and live a

content work life.


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Spolu aims to help stressed workers find hope within their disengaged lives

ruled by societal pressures, so that they can carry on with establishing normality

within their own worlds and minds. The idea of Spolu is to deliver that message

through different compartments: interviews, feature stories, comic graphical episodes,

illustrations, discussion forums about art and music, advice panels, and poetry

insertions. All of these aspects will carry the message of hope and freedom to choose

a life readers desire across all three eras. First, this journal will highlight what it feels

to feel frustrated, to disengage and lead a life of a ‘slacker.’ However, it will also

focus on how the reader can turn this ‘tragedy’ of an identity crisis around, through

choosing to kill off this sense of burden and choosing to progress with a life that the

reader views as ideal. Spolu will also mention how to cope with certain struggles one

can face, even after reestablishment.

According to a book called Prague, Capital of the Twentieth Century: A

Surrealist History, written by Derek Sayer, Prague was a modern city in the twentieth

century where surrealism was evident in various aspects, such as paintings,

photographs, and posters to name a few (Bydžovská, 2016). It was evident in

advertising, as well, where advertisements for hotels and Czechoslovak Airlines made

use of bright colours and artistic elements, which was quite progressive for its time

(Made in Czechoslovakia, 2012). Czechoslovakian magazines in the 1940s made use

of comic graphical episodes as well as “DIY [Do It Yourself] tips” (“Prague

Acquisitions,” 2009). As a result of this ‘modernity’ and ‘surrealism,’ our journal,

Spolu, and its inclusions of comic graphical episodes and life tips, is relevant for its

time in Czechoslovakia and Prague.


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II. SPOLU CAMPAIGN EQUITIES

Product/ Brand

Journal

Myths/ Characters

Francis, Ogre, Francis’s Father

Alexander, the worker bee

Coauthors of Myths: i. First Era

ii. Second Era iii. Third Era

i. Gregor Samsa (Ideal Human Self) ii. Leoš Janáček Antonín Dvořák Franz Kafka iii. Grete Samsa

Primary Populist World/ Target Audience

Lower working class of Czechoslovakia, in

particular, Prague

Product Attributes

Feature stories, interviews, artistic illustrations,

comic graphical episodes, work-life tips, and real-life stories

Promise

You Are The Universe.

Logo


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Cultural Authority Spolu highlights the right for freedom of expression and individualism

Political Authority

Defends and promotes the idea of freedom and not conforming to societal demands

First Era Second Era Third Era

III. MYTH CHART

Spolu’s Myth Across Three Myth Markets

Ideology

Economic Well-Being

Contradiction

Working Pressure Results in “Frustrated Workers”

Spolu Myth

“A Man Who Met Misery”

Spolu inspires the pressured lower working class by helping

them feel understood and appreciated. Thus, we

encourage that they should not give up on their hopes, dreams,

and aspirations

Populist World

“The Lower Working Class”

Ideology

Unity

Contradiction

The “Disengagement”

Spolu Myth

“The Art of Reengagement”

Those who are displaced from society as a result of

experiencing a tragedy or identity crisis will use Spolu’s co-authoring strategy to unite

with society and reengage with themselves

Populist World

“The Lower Working Class:” Composers

Writers

Ideology

Communism

Contradiction

The “Rebirth”

Spolu Myth

“The Worker Bee”

The lower working class are not alone in being content with their work life despite the

oppressive effects of communism on others; thus, they should not feel guilty

Populist World

“The Lower Working Class:” Sales Assistants

Seamstresses

DIS

RU

PTIO

N

DIS

RU

PTIO

N


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IV. FIRST ERA

Introduction

The first era of the book is the period when Gregor Samsa lives in a relatively

“stable economy” at its ideal state. In this era, Samsa is still represented as a human; it

was before he gets metamorphosed into a “monstrous vermin”, which is a

metaphorical representation of the cultural disruption that is caused at the end of the

first era myth. Around the time of the first era of the book, World War One (WWI)

took place. During WWI citizens felt repressed by their masters, bosses, rules, and

cultural backgrounds; therefore, they felt no urge to fight for them during WWI.

(Lonely Planet, n.d.) Even though citizens of Prague did live in a relatively stable

economy, they were seen as oppressed workers under stress with a need to fulfil their

economic wellbeing. This is illustrated in Gregor’s role in the story, which was when

he was under stress from his director at work as he spoke about himself saying, “And

even if he managed to catch the train, he couldn’t escape a dressing-down from the

boss.” (Kafka, Crick & Roberson, 2009, p. 30) In addition, the average workers and

their families had overcrowded households and low capital. (Holubec, 2016) This

came to an end with the end of WWI, when Czechoslovakia declared its

independence. The independence of Czechoslovakia played an important role to the

citizens of that time. It was the rise of an industrial boom for Prague for 20 years until

the great depression in the 1930s. (Lonely Planet, n.d.) In addition, there were rapid

increases in economic growth that helped upgrade and develop the economy. The

Prague municipal administration of Prague attempted to help the economy by

providing shelter to families in need. (Holubec, 2016) Thus, Prague’s population grew

to 676,000 inhabitants by the early 1920s and to 900,000 towards the end of 1930.

(Holubec, 2016) This was when the economic well-being ideology took place.

As a result, the working class felt their lives revolved around the commitments

they had to give back to society. This was due to the effect and importance of their

jobs and economical states. In The Metamorphosis, before Gregor is metamorphosed

into a bug, he played the most important role in this family. Gregor was their source

of income, since his father had lost his business and his parents were in owe of money

to others. (Kafka, Crick & Robertson, 2009) He felt frustrated with all the

commitments, duties, and responsibilities, which were created by his surroundings.


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1. Ideology: Economic Well-Being

The first era of the book, The Metamorphosis by Kafka, represents when the

economic well-being ideology first started. Citizens had a relatively stable economy,

where they had a home and enough wages to make a living. Citizens were to work

hard in order to earn enough money to cover their costs. An example is Gregor’s life

as a travelling salesmen being committed to his job as his father speaks about Gregor

saying: “The boy thinks of nothing but business. I almost get angry that he never goes

out of an evening.” (Kafka, Crick & Robertson, 2009, p. 35) Moreover, the economy

was experiencing a migration of large segments of other populations, at the time.

(Holubec, 2016) This resulted in crowding apartments and cut wages due to the

presence of new workforces. (Holubec, 2016) An example is the three lodgers in the

book, The Metamorphosis, who moved in with Gregor’s family. (Kafka, Crick &

Robertson, 2009) That did not last for so long, as after World War I, Czech

established its independence from Austria, in 1917. It lead to a rapid increase in

Prague’s economic growth, which helped upgrade the situation (Holubec, 2016) This

is reflected in the book as the lodgers leave the house and the parents start looking for

a husband for Grete, Gegor’s sister.

2. Contradiction: Frustrated Workers

As a result of the economic well-being ideology, the majority of the citizens in

Prague were hardworking and committed to their jobs. The majority are considered

most of the middle working class at the time; they set standards and boundaries to

society (creating the norm). Prague always maintained its high social status during the

process of industrialization; it was the home of the middle classes. (Holubec, 2016)

According to statistics, after WWI, in the early 1920s there were over 500 workers in

only eleven plants. (Holubec, 2016) Many of these people were having a pleasant life,

while others were losing their jobs and falling in debt. The Metamorphosis illustrated

both sides throughout the story. As Gregor spoke about his father losing his job, “He

had supposed that his father had nothing at all left from the business.” (Kafka, Cricks

& Roberson, 2009, p. 48) In addition, Gregor’s family was graveling in debt as he

mentioned, “He would have been able to pay off more of his father’s debt to the boss,

and the day when he might have been free from this position would have arrived far

sooner.” (Kafka, Cricks & Roberson, 2009, pp. 48-49) Moreover, the story implies

that the three lodgers that share the apartment with Gregor’s family have lost their


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jobs by this phrase said by one of them: “I am giving my notice this instant. Naturally

I shall not pay a penny, and that goes for the days I have been living here too.”

(Kafka, Cricks & Roberson, 2009, p. 68) On the other hand, Gregor mentions: “Other

travellers like the ladies of the harem. For instance, when I go back to the boarding-

house to send off the orders I’ve booked, these gents are only just having their

breakfast” (Kafka, Crick & Roberson, 2009, p. 30), which illustrates the other side of

society that enjoy their jobs and live a good life. This tension created between the

economic well-being ideology and the individual’s experiences caused dreams, hopes,

and wishes, to be crushed due to the expectations that society set for them. They felt

some sort of alienation from society if they were to not fulfil their expectations as

asked. Gregor Samsa in The Metamorphosis is considered one of these contradicted

individuals who were living in a stable economy yet oppressed, due to the work stress

and unfulfilled economic wellbeing. As Gregor said angrily, “To hell with it all!”

which illustrates the anger and hate towards his job and “Oh Lord!’ he thought.

‘What a strenuous calling I’ve chosen! Day in, day out on the move. The stresses of

making deals are far greater that they are in the actual business at home. And on top

of that, I’m burdened with the misery of travelling; there’s the worry about train

connections, the poor, irregular meals, human contact that is always changing, never

lasting, never approaching warmth.” (Kafka, Crick & Roberson, 2009, pp. 29-30) Yet

following that he said, “Well, I haven’t entirely given up that hope,” which reflects

the sacrifice he has to make in order to meet his responsibilities. (Kafka, Crick &

Robertson, 2009, p. 30) They were torn between looking after their responsibilities

and chasing their dreams. This contradiction will be addressed in the Spolu’s myth

treatment.

3. Myth Treatment: “A Man Who Met Misery”

a. Target Audience

Lower working class of Czechoslovakia and its capital, Prague.

b. Compelling Benefit

Spolu gives hope to those of the lower classes, who are stressed from work

and have oppressed dreams, hopes, and wishes.


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c. Symbolism

The first era myth treatment will be relating the three highlights of the novel,

The Metamorphosis, with the three main characters in the Czechoslovak Fairy Tales,

“The Man Who Met Misery” (Oaks, 2016) The first character (Gregor in the novel

and Francis in the tale) symbolizes those of the working class who are living in a

relatively stable economy but frustrated and stressed. The second character (the

director in the novel and Ogre in the tale) symbolizes the bosses, masters, rulers, and

directors of the working place who have no mercy on the workers. The last character

(Gregor’s sister, Grete, in the novel and the father in the tale) symbolizes the

opposing sides, which are frustrated yet evolving and progressing. The first and last

characters are two opposing sides that reveal the diversity in the Czechoslovakian

population.

d. Setting

The stressful, busy workforce in a stable economical environment

e. Characters*

Tale: The Man Who Met Misery Novel: The Metamorphosis

Francis Gregor

Ogre Chief clerk (Business

Representative)

The Father Grete (The sister) *(Oaks, 2016)

f. Plot

Today in our world, there are three different types of people: the pessimistic

ones, the optimistic ones, and the dominant ones. These three people are the ones that

make up our society. In fact, they take up the same roles in both, novels and tales.

Beginning with the first character, Francis believes that the world is filled with

misery, as he spoke about it in the tale and said, “ It is an awful thing and there is no

joking with it.” (Oaks, 2016) That same character Gregor but represented in the novel,

which is frustrated and believes in the misery of his job, as he speaks about it in the

novel, “Makes you quiet dull-witted.” (Kafka, Crick & Robertson, 2009, p. 30) The


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second character, Ogre who is represented as a monster “man-eater” in the tale, that

feeds on humans and sees them as worms rather than a living soul. As Ogre calls out

to Francis in the tale saying, “Wait a bit, you worm! Since you are such a champion

and have managed to tackle me, I’ll give you something to remember me by.” (Oaks,

2016) In fact, Ogre meant no good for Francis, he just wanted to benefit himself and

kill him. The novel representing the same character as Gregor’s boss, chief clerk, who

threaten Gregor for not showing up to work for one morning by telling him, “I

thought I knew you to be a quiet, sensible person, and now all of a sudden you seem

to want to start showing off with these strange whims of yours.” (Kafka, Cricks &

Roberson, 2009, p. 36) In this context, chief clerk also meant no good for Gregor as

he embarrassed him in front of all his family members, screening him as a careless

worker with mood swings, when he was a committed worker that lived by his work.

Moreover, the third character, the father in the tale gives his son hope and

encouragement to go out and experience the world as he told him, “If you stay at

home, you’ll soon turn into a lazy old woman. You will get experienced in the world

and that cannot do you any harm.” (Oaks, 2016) Likewise in the novel, Grete,

Gregor’s sister, plays the character of the sister that supports her brother and looks

after him. This is illustrated in the book, when Gregor starts facing the fears of losing

his job and questions his sister’s tears, “Why was she crying? Because he was in

danger of losing his job?” (Kafka, Cricks & Roberson, 2009, p. 35) These three

characters are the different roles people take in society; it builds up the norms and

beliefs that people of Czech, during the first era, followed.


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g. Execution: Folktale Comic Strip


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4. Coauthors

The primary co-author of the economic well-being myth is “Francis” that is

representing Gregor Samsa from the novel, The Metamorphosis. He takes care of his

family and is their only source of income. Even though his job isn’t of his interest or

of high regards, he is obliged to work in order to look after his responsibilities in life.

He is burdened with the misery that his everyday life routine brings to him, yet he is

faced by a fear of losing his job. Eventually Gregor loses his job as he is seen as

“incapable” for work, which is considered part of life at the end of the day. (Kafka,

Crick & Robertson, 2009, p. 40) Gregor illustrates the struggling emotions of many

others in society, who go through similar life situations even though they live in a

relatively stable economy.

5. Populist World

The populist world that Spolu got inspired from and specifically targets is the

working class of the time, in specific, those who struggle with their cares of everyday

life. (Donada, 2012) They are seen by the public to be motivated by their own belief

systems rather than interests. Gregor works as a travelling salesman, who he believes

to not be held of high regards, yet still has a fear of losing his job. (Kafka, Crick &

Robertson, 2009). He carries the responsibilities of his parents and sisters and he has

great obligations to his director; therefore, he does not consider leaving his

responsibilities unattended to. Regardless of their pain, distress, and anguish, they still

nurture high ideals and hopes. For example in the story, The Metamorphosis, Gregor

still had hopes of sending his sister to the conservatoire. (Kafka, Crick & Robertson,

2009, p. 49) Spolu will target the “many” Gregors out there, who are faced with a

similar fate. It will show them that others face these economical problems as well, yet

they are still of importance to their surroundings. As a result, gives them hope to

carry on.

6. Cultural Disruption: The Metamorphosis

The cultural disruption occurs in response to how people felt in the first era. In

the novel, Gregor passes through a socio-psychological breakdown of the populace,

where he gets morphed into a bug. That metaphorical transformation is a reflection of

the struggles faced by citizens in the first era. These struggles are perceived as

emotional torture as Gregor, in the novel, is facing a life and death struggle in the


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second era. (Donada, 2012) The economic well-being ideology relates to this cultural

disruption that occurs due to the oppression felt by Gregor, which results in his

transformation into a metaphorical bug reflecting the way Czech’s citizens felt in that

time frame. This is shown through the second era myth, which responds to the

cultural disruption that is caused.


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V. SECOND ERA

Introduction

Following Czechoslovakia’s independence in the first era, the second era

revolves around the “Golden Age” of cultural and economic growth, where The

Greater Prague was established and acknowledged for its prosperity (Lonely Planet,

n.d.). This was only possible due to the people’s great efforts of working

harmoniously – which did not last long. In the world of The Metamorphosis, Kafka’s

representation of Gregor Samsa’s birth as a “monstrous vermin” (Kafka, Crick &

Robertson, 2009, p. 29) can be the metaphorical implication resembling the

frustration of the working class, which emerged at the end the first era. This cultural

disruption can be representative of thousands – “surely it was within the bounds of

possibility.” (Kafka, Crick & Robertson, 2009, p.81). The struggles of Gregor as a

vermin soon began to represent the disengagement of Prague’s population from their

personal lives.

Post WWI, Czechoslovakia’s industrial boom reflected onto Prague’s bright

period of growth and economic strengthening (Lonely Planet, n.d.). This was also

experienced socially, where the importance of unification increased. This was vital for

Prague’s success as a nation since unity was required to achieve these levels of

political, social and economic prosperity. This was evident in Gregor’s ability to

provide his family with an apartment, which all four members were content with,

from his one traveling salesman job. Social factors influenced by America’s “Jazz

Age” were also eminent, weaving the importance of music and the arts within

Prague’s cultural practices. This is seen through Grete Samsa’s talent with the violin,

and Gregor’s support for music being her educational path. For a moment, this

essence of a “good life” existed, however soon enough working class members

including Gregor became marginalized. They could no longer fit into unrealistic

ideals revolving around careers they did not desire. These members soon gave up,

carrying the traits of a “slacker”. Consequentially, this separated Gregor and the

others not only from their careers, but from their families too, ultimately creating a

discordant home. The Gregorians – all who felt the controlling pressure of their

employers who emerged in the first era had finally realized their true concerns. Like


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Gregor, many were fed up with industrial practices of being treated like a “roach”,

and had used their hopes, family bonds and own souls to pay off their debts.

Caused by the cultural disruption of the first era, Spolu will not only target the

disengaged working class, but the mass population as a whole, in order to bring these

individuals together. Spolu aims to convince people to be content with what they

choose, and highlight that they are not alone in their anger. To do this, Spolu will use

different features and tips complemented with exercises involving stress-releasing

activities and forums. This will make Spolu the written “safe haven” that it positions

itself to be, where devoting, expressing, and linking emotion with one another is

possible.

1. Ideology: Unity Within The “The Golden Age”

Unity was of heavy importance during the second era. With the prosperity

exhibited through the Golden Age, successful unification was not only of family

members but also of Prague as a nation. For establishing Czechoslovakia’s success

after independence, the people of the nation were dependent on one another for

economic and population growth. The importance of unity is highlighted within The

Metamorphosis, where the survival of the Samsas is ultimately dependent on Gregor’s

success. This is explained further when Grete begins to fear that Gregor’s illness is

serious and would cause the loss of his job. However what the family didn’t

understand is that Gregor was “still [there], and wasn’t thinking at all about leaving

the family.” (Kafka, Crick & Robertson, 2009, p.82). Kafka uses this concern to

illustrate the heavy dependence that members of Prague had on one another, in order

to succeed not only as an employee, but also as a united family.

2. Contradiction: Disengagement

Contradictory to the ideals and importance of a nation’s unification for its

success, the working class of Czechoslovakia soon came to experience a sense of

existential disengagement. All the effort of working together for a family’s survival

was brought to an end, through the frustrated working class who no longer felt

‘human’. Gregor was morphed into a bug, a metaphor for how the nation’s population

felt with their “obligation[s] to the[ir] director[s]” (Kafka, Crick & Robertson, 2009,

p.87). No man was at peace exhibiting this frustration which deemed members

“momentarily unfit for work”, damaging their bond from their families, seen through


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how Gregor’s father “gave him a truly liberating kick, and he was thrown, bleeding

profusely” (Kafka, Crick & Robertson, 2009, p.91). Gregor was seen by both his

father and employer as no longer able to provide for his family. Gregor expressed

concern for his inability to pay off his father’s debts after morphing into this bug,

where he began to disengage not only as the carrier of his family, but as a human soul

from his own body. As Gregor began exhibiting and accepting characteristics of this

“vermin”, he was no longer “comprehensible” of contacting reality which is seen

through how he forgets to speak human language or act humanly (Kafka, Crick &

Robertson, 2009). Within this era, Spolu will target those who feel alienated from

society as a result of the social pressures of serving the nation as one.

3. Myth Treatment: “The Art of Reengagement”

Within this specific era, Spolu will not focus on traditional myth storytelling

treatment. Instead, we will use a coauthoring strategy, which aims to empower its

readers who experience disengagement, through relating with its featured coauthors.

This myth treatment technique in particular will use how people handle their miseries

to teach others dealing with similar tragedies on how they can learn from these

experiences and help themselves become ‘whole’ once again. Thus, the essence that

this very era will release is that of survival.

a. Target Audience

Disintegrated families that have had the sense of unity and “good life”

evaporate before their very eyes, due to some form of identity crisis. It will also focus

on members who carry a conflict of interest, struggling in how to manage certain

‘tragedies’, such as that of handling Gregor’s metamorphosis.


Spolu will aim to address readers’ anxieties and concerns of being unfit for

their jobs, families, and society. Thus, Spolu will unite those who feel alienated from

their family, society, and own selves, which had resulted from giving up on their

careers, hopes, and dreams.


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c. Symbolism

Due to the nature of this era’s myth treatment, symbolism will be weaved

within the stories of the featured coauthors mentioned below, rather than within a

specific piece or form other than the illustration. The lives of these coauthors along

with a specific art illustration will be used to mirror what Gregor feels, and show

readers how they can overcome their times of misery. Alphonse Mucha’s

advertisements inspired the elements of our front cover illustration2.

This sense of identity crisis will be addressed through the symbolic art pieces,

feature stories, interviews, and poems that will be included within this era’s edition.

For example, Kafka’s quote “In the struggle between yourself and the world second

the world” (Kafka Online, 2016) will be featured within the last page with an option

for open interpretation, leaving readers with the knowledge that they are not alone in

this identity crisis.

4. Coauthors

The coauthors of this myth consist of writers, composers, and artists who held

the same ethos of disengagement that of which Gregor Samsa in The Metamorphosis

had. The main coauthors are Czech composers Leoš Janáček, Antonín Dvořák and

writer Franz Kafka himself. Kafka writes how Gregor goes through the cultural and

emotional disruptions incurred through his metamorphosis; where he experiences both

an external and internal battle of reuniting with his family and his own human self,

respectively. As previously mentioned, we will use this metaphor and imply it to the

entirety of Czechoslovakia, however with a focus on those who are struggling with

their own disengagement from their society, homes, and themselves.

Coauthors Janáček, Dvořák and Kafka do not create without purpose. Each of

their pieces is inspired by tragedy and written for the sake of maintaining their own

sanity. Janáček, Dvořák and Kafka have all experienced life changing tragedies,

which have rerouted them off the course of the ‘ideal’ – similar to many others of the

Czech community. Spolu has remained focused on these folklorists with the purpose

of extending resonance using folk which was seen within the first era.

2 Execution 1: Illustration (p. 25)


20

a. Brief Biography*

*Please note that the information below only summarizes biographic details relevant

to Spolu’s purpose with ‘The Metamorphosis’ in consideration.

i. Leoš Janáček

Janáček was a Czech born to an impoverished family. His father was a music

schoolteacher (Schunk & Thomas, 2015) who though wanted his son to follow his

footsteps in pursuing a career of education, acknowledged Janáček’s musical talents

and allowed them to flourish (Leoš Janáček, 2016)– unlike Gregor’s father who

expected Gregor to become a traveling salesman just as he had chosen for him. Even

within in his later years, Janáček struggled with finance, a scenario similar to that of

Gregor’s, and Janáček initially couldn’t afford to marry his fiancé (The Famous

People, 2016). However with certifying his music teaching degree, Janáček began to

earn and was able to get married which was a marriage blissful at first. Janáček

showed interest in “studying the relationship between language and music, and also

sought to collect various Moravian folk songs.” (The Famous People, 2016). Janáček

soon became a prominent figure in the Czech folklorist genre. At a point in Janáček’s

life, his daughter Olga was the only one keeping the family together, however with

her worsening health and eventual death, Janáček ‘disengaged’ from his marriage and

human self. Spolu will use how he overcame this obstacle to guide its readers through

theirs.

ii. Antonín Dvořák

Dvořák was another prominent figure in the folk world of Czechoslovakia. He

was also born into a family on the verge of bankruptcy, so his father moved the family

to a nearby town where he wanted Dvořák to excel in learning the German language.

This would have been essential for the success of Dvořák’s career as a tradesman -

however, Dvořák decided to focus on his passion for music. Thus, his father moved

him away to live with a German-speaking family where Dvořák was able to excel in

both the language and his music. This chapter of his life was the beginning to his

successful career as a composer. His music mostly revolved around the trends of the

Slavic period which “was characterized by a strong leaning towards the roots of Slav


21

folk music…sought after [both] in the Czech environment.” (“Antonin Dvorak”,

2016) Before his success, Dvořák would host private piano lessons to earn a living.

Through this, he met a woman who did not feel for him the way he felt for her. Soon

enough, Dvořák married her younger sister, another one of his piano pupils. Together

they created a family with nine children, three of whom died in infancy. All of his

three first-borns died soon after each other – a tragedy of its own. One-year old

Ruzena died from phosphorus poisoning, and three-and-a-half year old Otakar a

month after because of smallpox. Both of these deaths were not sudden and had the

children in an ‘unusual’ bodily state, which can be compared to Gregor’s experience

as a vermin.

iii. Franz Kafka

Kafka was a German-Jew writer born into a middle class family in Prague. His

father, a “self-made proprietor of wholesale haberdashery business” (Kafka &

Corngold, 2004, p.xi) was a “selfish, huge, an overbearing business man who was

hard to win over” (Kafka & Corngold, 2004). Kafka’s true passion was for literature,

however to avoid displeasing his father and to fit into society’s ideals, Kafka chose to

pursue a career in law. This didn’t seem too bad, since the bureaucratic nature of the

job meant it would end by 2.00 PM, giving Kafka time for literature throughout the

rest of the day (Kafka & Corngold, 2004, p.xi).

Even after pursuing a career that his father admired, Kafka used this time to

express his feelings of inadequacy & guilt for not winning over his father in the

“Letter to His Father” (Kafka & Corngold, 2004, p.xi). Kafka never felt like he fit in –

he consistently struggled with identifying with his family, society, and true self, and

used his literature to express just that. The core of his writing carried feelings of

“isolation, indebtedness, and shortcoming” (Kafka & Corngold, 2004, p.xi). The

feeling of estrangement was no stranger to Franz Kafka – and neither is it to our

Gregorians.

b. Coauthoring Strategy

i. Overview

All coauthors write for the sake of maintaining their own sanity. This process

can be seen as vital with Gregor’s internal conflict within his family, and how he is

unable to tend to these fears due to his lack of expression. The tendency for this


22

contradiction of disengagement creates fears and anxieties amongst the populist

world. Some of the many ways that have proven successful in helping people accept

their circumstances and cope with these tragedies in a healthy way is composing,

writing, singing, painting, etc. Spolu will feature these stories of creators who have

faced similar existential life moments like Gregors, Janáček’s, Dvořák’s, and Kafka’s.

All have faced a time where they suffered a form of identity crisis, between choosing

what they wanted to pursue and what was expected of them. They have also

experienced extremely challenging times of intense moments of misery. They use

their pieces to cope with their tragedies by addressing their fears and anxieties. Spolu

aims to highlight this process by encouraging readers to also listen to these

compositions or read these writings so that they can relate to these emotions and

understand that they are not alone within their time of darkness.

ii. Executions

The pain that Janáček felt for Olga’s ill-being and the way he coped with the

loss of her death is shown within his composition; “Elegie na smrt dcery Olgy: 'Elegy

on the death of my daughter Olga'” (Hyperion Records, 2016) This will be featured

with a front cover illustration of a lady (Olga) peacefully asleep with sunlight shining

in, in a room filled with white flowers. This painting aims to give viewers a sense of

serenity, ensuring that in darkness there is light – that their times of calamity can be

handled, with flowers resembling the groups of readers who are not alone within these

times. From a biological perspective, flowers serve a purpose to others, yet are

usually representative of the simple yet beautiful element of living where they were

naturally meant to be. This represents the readers who want to be writers and artists,

and the bouquets represent unity. This image emphasizes on dark times coming to an

end if addressed correctly, and of how readers should pursue what they truly want;

just like Janáček did. This image will link to the featured interview that we will have

with Janáček, which will discuss how he was able to cope with his financial and

emotional struggles, and how he was able to overcome the stage of disengagement.

The sense of Olga being the only family bond is similar to how the Samsas experience

a form of disintegration after Gregor’s metamorphosis. Spolu aims to teach readers

how a permanent negative outcome can be avoided – by encouraging them to use

these pieces as a form of addressing their anxieties, like how Janáček composed a

cantata in dedication of Olga to address his.


23

Other executions will include a Dvořák feature story, highlighting his life, his

tragedies, and how he used those moments to shape his achievements. Taking Gregor

as a representation of our target audience, Dvořák’s story will be used to help readers

understand how to cope with an emotional tragedy or an identity crisis. Dvořák will

also teach our readers to pave a path for themselves, and follow a lifestyle that they

are passionate about. Dvořák was able to defy odds by risking expectations and

paving his own path to success – this is a message we aim to get across to our readers.

We will also include Kafka’s writing pieces addressing feelings of

estrangement as full-page inserts within Spolu. This offers a platform for our readers

to relate to since, like Gregor, our readers feel alienated from several aspects of their

life, just as Kafka had felt and expressed within his writing. Kafka’s pieces will be

featured to reemphasize that the disengaged are not alone, and that together they can

overcome any life obstacle that they face.

Spolu will use these members and their life choices to highlight their ability to

overcome this phase. This is seen through Gregor’s metaphorical death as a bug,

representing the stage where our readers become content with themselves and their

decisions. Readers like Gregor who feel disengaged from society’s ideals and are

dealing with a form of identity crisis can then address the source of their disruption,

which is caused by being unable to achieve or maintain the ‘ideal’. This is where

Spolu will help using our myth coauthoring strategy. By doing so, Janáček, Dvořák’,

and Kafka would have helped readers have hope to deal with their own miseries by

learning from the coauthor’s experiences. Spolu will incorporate elements of

psychological advertising within the illustrations and feature stories as a method of

speaking to people’s fears. This aims to help our readers solve problems of

disengagement like losing their job or their bond with their family. Spolu intends to

help our readers balance their ideal state through reading our journal.

All of these artists along with figures with the same essence have each tended

to this contradictory issue, and this is what we will use to help explain this myth. The

feature members have all struggled, but defied the odds by going for what they

believed in and turning their situation around – composing their own positive ending.


24

Execution 1: Illustration


25

Execution 2: Interview


26

5. Populist World

The populist world that Spolu will draw inspiration from within this era will

be the artists, writers, and composers of the working class. These are the members

who were expected to be burdened with careers they did not initially wish to aspire

within, but turned their own life around through creating their own ideals. Like

Gregor, several members of the Czech nation are going through this “metamorphosis”

resulting from their frustration. This caused several to go astray, and be separated

from their jobs, families, and human selves – but ironically freed them form their

burdens. Though they unable to pay off debts, near the end Gregor expresses his

content with his current state, and being “free” from his employer (Kafka, Crick &

Robertson, 2009). Nonetheless, this does separate Gregor from his family – Gregor

“thought how simple everything would be if he had some help.” (Kafka, Crick &

Robertson, 2009, p.80), and this is the concern Spolu will address.

6. Cultural Disruption: Death

This concept of “disengagement” comes to an abrupt end where Gregor

Samsa, the “monstrous vermin” (Kafka, Crick & Robertson, 2009, p.29) reaches his

end in the world of The Metamorphosis symbolizing the end of an era of

disengagement. However, with his death is the birth of a new ideology – communism

– which is an extension of the book. This era deals with encouraging the lower

working class members to accept their contentment, despite the upper working class

suffering from communist oppression. This idea of being “reborn” post political

instability is treated by the third era Spolu myth.


27

VI. THIRD ERA

Introduction

In Kafka’s The Metamorphosis, the death of Gregor Samsa as a “monstrous

vermin” (Kafka, Crick & Robertson, 2009, p. 29) can be seen as a metaphor to

represent the cultural disruption that leads to the end of the second era myth. This is

because the second era myth revolves around Gregor’s transformation into a bug, and

thus when he dies; it gives rise to a new era outside the world of the book. The third

era begins with the start of World War II and the Nazi German invasion in

Czechoslovakia. This resulted in the oppression of several citizens in Prague, the

capital. The Jewish population living in the area became almost non-existent, as they

were either starved or killed (Lonely Planet, n.d.). Some five years later, a Czech

Resistance Movement drove the Nazi Germans out of the country and the people of

Prague were able to liberate the city. Not long after Czechoslovakia gained

independence did communism begin to rise in the country. “Communist economic

policies” brought the country to the brink of bankruptcy. People suffered substantially

and several were imprisoned or executed for having even the slightest inclination

toward democracy (Lonely Planet, n.d.).

Despite those oppressed, the lower working class flourished, as they were used

as tools to promote the communist regime (Burns, n.d.). After the Nazi German

invasion, the lives of these workers improved and they became content with their

occupations, due to the effect and importance their work was having on the economy.

In The Metamorphosis, after Gregor dies, Gregor’s sister, Grete, his father and mother

are ‘reborn.’ Their source of misery, which was Gregor, was no longer a part of their

lives and they could move on with their jobs, which they realised was “particularly

promising.” They became content with their current situation and optimistic about

their future (Kafka, Crick & Robertson, 2009, p. 74). Our journal, Spolu, will target

these content working individuals as a way in which to demonstrate to them that they

are not alone. Despite the oppression and death that several people are facing as a

result of communism, Spolu will be a tool in which to show those who are benefitting

from this regime, and living in denial, that it is alright to be happy, no matter how dire

the economic and political state of the country.


28

1. Ideology: Communism

During this era, communism is the ideology that reigned. After the Nazi

German invasion of World War II, the Communist Party of Czechoslovakia became

the “republic’s dominant party,” which meant that any idea of democracy was to be

shunned (Lonely Planet, n.d.). Emphasis was placed on equal distribution of wealth,

which was accomplished through extreme and total government control

(Investopedia, n.d.). Individuals’ rights were dismissed and workers had no say when

extra work effort was not recognised or compensated (Investopedia, n.d.). People

were forced into a uniform society, where every step they made was scrutinised and

surveyed for signs of disobedience to communist standards.

2. Contradiction: “The Rebirth”

Despite the oppression of individuals under the communist regime, there were

large groups of people who were positively impacted by communist policies. The

lower working class of Czechoslovakia was one such group of people. They were

used as forms of “propaganda” to idealise communism, and were portrayed as

“heroes” of the time due to their support for communism (Burns, n.d.). As a result,

they were compensated, and lived contented lives. The lower working class were

‘reborn’ from the destruction of World War II and the Nazi German Invasion, as a

result of communism. Gregor’s family in The Metamorphosis are also a part of this

contradictory group who have been reborn, as they become content with the lives and

jobs that they have, as well as “their prospects for the future” after Gregor, the source

of all their miseries, dies (Kafka, Crick & Robertson, 2009, p. 74). Initially, this

contentment is somewhat hesitant, as if the Samsa family questions whether they have

the right to move on beyond the life of Gregor. This is evident when Gregor’s father

tries to reassure himself that Gregor is no longer comprehensible of his former life: “if

he understood us…” (Kafka, Crick & Robertson, 2009, p. 69). Gregor’s father would

not have had to assure himself that Gregor is no longer their son and has any human

comprehension of the severity of the situation if he did not have some form of

hesitance of moving on and pursuing a content life without his son a part of it. Thus,

this contradiction will be addressed in Spolu’s “The Worker Bee” myth.


29

3. Myth Treatment: “The Worker Bee”

a. Target Audience

Lower working class of Czechoslovakia and its capital, Prague.


Spolu provides comfort and encouragement for the lower working class who

are living in denial and are hesitant about the contentment they find in their work and

in work life while other upper working classes are oppressed.

c. Symbolism

In keeping with Gregor as a bug or an insect, a bee, in particular a worker bee,

will be used to symbolise the lower class worker. This is especially because worker

bees are known for their strong sense of community and togetherness, and for their

jobs of creating honey from flower pollen. The main character is named ‘Alexander,’

which means “defender of man” in Czech or Slovak (Campbell, n.d.). This

contributes to the idea of the worker bee defending the rights of the lower class

worker in being content with their work life while others are not. The character of

Queen Bee is symbolic of the communist regime. She believes everyone should

receive an equal share of flowers every month, and if the flowers happen to wilt or die

in that month before the worker bees have a chance to make honey from its pollen,

then that is their issue. This corresponds to the communist policies of everyone

receiving equal distribution of wealth.

d. Setting

Beehive; place of bees’ work & garden

e. Characters

- Alexander, the worker bee

- Queen Bee

- Other worker bees in the beehive


30

f. Plot

Winter is coming soon and flowers are dying out and becoming scarce.

Alexander, a worker bee in the beehive community, is the only bee whose monthly

supply of flowers from Queen Bee did not wilt. Alexander, therefore, has enough

flower pollen to produce honey for his food store. The other worker bees’ flowers

have all dried up and died, so they cannot make any honey. Alexander feels he wants

to share his pollen with the others in his beehive community; however, Queen Bee

does not like any of her bees to share their pollen with others. She feels everyone

should make their own honey with their equal amount of flowers given every month.

As a result, Alexander feels terribly guilty, as he can make his own honey for his food

store while the others cannot. He questions whether he has the right to be happy that

he can supply himself with food while the other bees could starve during the coming

winter. Alexander decides to fly out of the beehive to get some fresh air and clear his

mind. While flying, Alexander comes across another worker bee and they start

talking. According to this worker bee, his beehive has a substantial supply of fresh

flower pollen, and everyone in his beehive community is able to make honey.

Alexander tells the worker bee about his predicament, to which the worker responds

by saying that Alexander should not feel guilty with what he has. There are others,

like the worker bee himself, who have enough flower pollen to make honey, so he is

not alone. The worker bee tells Alexander that he has worked hard to make a living

for himself with his honey-making job; therefore, he has the right to be content with

his situation even though others may not be. After speaking to the worker bee,

Alexander thanks him and flies away, feeling much better that there are other worker

bees out there that are contented with their lives and their jobs, just like him.


31

g. Execution: “The Worker Bee” Comic Strip


32

4. Coauthors

The primary coauthor to extend Spolu’s “The Worker Bee” myth is Grete

Samsa, in The Metamorphosis. Her personality and character traits are what

represents her as a coauthor for this myth. Grete initially takes on the responsibility to

take care of Gregor as a “monstrous vermin” (Kafka, Crick & Robertson, 2009, p.

29). Eventually Grete treats her responsibility like an overbearing chore as opposed to

the loving and caring duties of a sibling. In the end, Grete is the one who decides that

Gregor is the source of all their issues and that he is no longer a part of their family,

and thus they need to “get rid of it” (Kafka, Crick & Robertson, 2009, p. 69). Grete

uses the concept of the possibility of a content life as a way in which to justify the

need for her brother’s death. Grete indicates that her parents should not feel guilty, for

if Gregor were truly a member of their family, he would not be causing them so much

misery. This is evident when Grete says: “it has to go…if it were Gregor, he would

have understood long ago that it’s not possible for human beings to live with a beast

like that…” (Kafka, Crick & Robertson, 2009, p. 69). Thus, Grete strongly believes

that her family should pursue the lives they are capable of living despite the dire

situation, because they have the opportunity to better their futures. Grete’s

determination and straightforwardness toward the situation is what drives this concept

of accepting to have a content life because Grete feels it is Gregor’s duty to provide

them with at least this because of what the Samsa family had to endure when Gregor

transformed into a bug.

5. Populist World

The populist world that Spolu draws its inspiration from and ultimately targets

is that of the lower working class; in particular, sales assistants and seamstresses.

Grete, in the end, works as a sales assistant and Gregor’s mother sews lingerie for a

“fashion shop” (Kafka, Crick & Robertson, 2009, p. 60). These can be considered as

mediocre jobs; however, despite their situation at the end of the book, with the death

of Gregor, their work seems to take on more meaning. Their jobs have potential to

turn their lives into something much more promising. The Samsa family begins to

think of purchasing a new home in a new location; which thus relates to the family’s

new beginnings (Kafka, Crick & Robertson, 2009, p. 74). Spolu will use this populist


33

world as a way in which to demonstrate to the target audience how contentedness in

an otherwise dismal environment is something that is shared by others. One should

not feel guilty for obtaining these benefits, because it is long deserved, especially after

the destruction and oppression of the people during World War II and the Nazi

German invasion in Czechoslovakia.

VII. CONCLUSION

Spolu, our identity brand of a quarterly release journal, is based in Prague,

Czechoslovakia. Our journal uses the world before, of, and after The

Metamorphosis’s release, taking into consideration several historical events that had

impacted the people of Prague. Through establishing independence and experiencing

an industrial boom, Prague seemed to be at an ideal state of economic wellbeing. This

is mirrored in the world where Gregor has a job as a traveling salesman and is able to

support his family, as well as be on the road to paying off his fathers’ debts. However

though this situation seems to be the epitome of stability and success, these working

and social pressures eventually drove the frustrated lower working class to the verge

of insanity – represented by Gregor’s metamorphosis into a ‘vermin’ of some sort.

This representation, which emphasizes the depth of how burdened Gregor feels to fit

into social expectations, represents an entire community – the Gregorians – of those

suffering from disengagement and identity crisis. This feeling of oppression is

reintroduced once the communist regime takes over the ruling of Prague, and is yet

another situation that Spolu deals with.

Our readers are those who feel alone in their frustration and repression; and so

use Spolu for support and advice. Spolu targets the same audience throughout the

three different periods. Though there is a consistent target market profile, Spolu tends

to three specific myth markets using diverse storytelling techniques reflective of each

era’s social contradiction. It does so by reinventing itself through its different aspects

in order to address the economical, social, and political conflicts of that specific time

period, with the aim of unifying its readers. This is illustrated through the examples of

the executions included within this report of Spolu’s diversity through the three

different periods, reflecting each time period’s trends.

We try to aid our readers in coping with their miseries along with the help of

our coauthors, and encourage them to take control of their own matters in order to

recompose their own outcome into a positive one. With the rebirth of an ideal state


34

that they desire, Spolu’s readers – the lower working class of Prague – are able to

come together and be content with a result that they have written.

GLOSSARY

Below is the list of major terms used in this campaign as defined by Holt:

• Brand Genealogy: a historical method for understanding how brands create

identity value

• Cultural Branding: the set of axioms and strategic principles that guide the

building of brands into cultural icons

• Cultural Icon: a person or thing regarded as a symbol, especially of a culture

or movement; a person, institution, and so forth, considered worthy of

admiration or respect

• Iconic Brand: an identity brand that approaches the identity value of a cultural

icon

• Identity Myth: a simple story that resolves cultural contradictions; a

prerequisite for an icon

• Identity Value: the aspect of a brand’s value that derives from the brand’s

contributions to self-expression

• Identity Brand: a brand whose value to consumers (and, thus, its brand equity)

derives primarily from identity value

• Populist worlds: autonomous places where people’s actions are perceived to

be guided by intrinsic values, not by money or power; populist worlds serve as

the cultural raw materials from which identity myths are constructed

(Holt, 2004, p. 11)


35

REFERENCES

Antonin Dvorak (2005). Biography | antonin-dvorak.cz. Retrieved 20 February 2016,

from http://www.antonin-dvorak.cz/en/life

Burns, T. Life During the Communist Era in Czechoslovakia. Private Prague Guide.

Retrieved 13 February 2016, from https://www.private-prague-

guide.com/article/life-during-the-communist-era-in-czechoslovakia/

Bydžovská, L. (2016). Prague, Capital of the Twentieth Century: A Surrealist History. CEE New Perspectives. Retrieved 24 February 2016, from http://ceenewperspectives.iir.cz/2016/01/11/prague-capital-of-the-twentieth-century-a-surrealist-history/

Campbell, M. Meaning, Origin and History of the Name Alexander. Behind the Name. Retrieved 20 February 2016, from http://www.behindthename.com/name/alexander

Donada, R. (2012). The Meta-Kafkasis. The Meta-Kafkasis. Retrieved 20 February 2016, from https://metakafkasis.wordpress.com

Holt, D. (2004). How Brands Become Icons (pp. 1-221). Boston, Mass.: Harvard Business School Press.

Hyperion Records. (1997). Elegie na smrt dcery Olgy 'Elegy on the death of my daughter Olga' (Janáček) - from CDH55398 Retrieved 20 February 2016, from http://www.hyperion-records.co.uk/dw.asp?dc=W8933_GBAJY9689323

Investopedia,. What is the Difference Between Communism and Socialism? Retrieved

22 February 2016, from http://www.investopedia.com/ask/answers/100214/what-difference-between-communism-and-socialism.asp

Kafka, F. & Corngold, S. (2004). The Metamorphosis. New York, NY: Bantam Books.

Kafka, F., Crick, J., & Robertson, R. (2009). The Metamorphosis and Other Stories

(pp. 29-74). Oxford, UK: Oxford University Press.

Kafka Online. (2016). Selection of quotes by Franz Kafka. Retrieved 18 February 2016, from http://www.kafka-online.info/franz-kafka-quotes.htm

Leoš Janáček. (2016).Biography - Leoš Janáček. Retrieved 27 February 2016, from

http://www.leosjanacek.co.uk/biography/


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Leos Janacek. (2016). The Famous People website. Retrieved 07:13, Feb 27, 2016,

from //www.thefamouspeople.com/profiles/leos-janacek-514.php.

Lonely Planet,. History of Prague. Retrieved 6 February 2016, from http://www.lonelyplanet.com/czech-republic/prague/history

Made in Czechoslovakia,. (2012). Advertising. Retrieved 24 February 2016, from http://madeinczechoslovakia.org/tag/advertising-2/

Oaks. (2016). Czechoslovak Tales - The Gold Scales. Retrieved 27 February 2016, from http://oaks.nvg.org/czech27.html#the-man-who-met-misery

Prague Acquisitions. (2009). Hovey Design. Retrieved from http://blog.hollisterhovey.com/2009/11/prague-acquisitions-1940s-boys.html

Prague Spot,. (2004). A Brief History of Prague. Retrieved 20 February 2016, from http://www.prague-spot.com/prague-history

Schunk, Thomas C. (2015). Leoš Janáček. Great Lives From History: The Twentieth

Century. http://dx.doi.org/88801915/

Weinberg, K. (1963). Kafkas Dichtungen: die Travestien des Mythos. Bern: Francke.


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