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هي مكتبة رقمية تحتوي علي آلاف الفيديوهات العربية في جميع المجالات
It is a digital library containing thousands of Arabic videos in all fields.
قوائم تشغيل فسيلة
https://www.dailymotion.com/fasela/playlists
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LearningTranscript
00:00Please reassure me, doctor.
00:05Unfortunately, my father has actually turned into a cockroach.
00:08It means he's turning into a doctor's scorpion
00:09This is very common, Tamer.
00:11When the pressures of life, work, and home increase on a person
00:15It immediately turns into a cockroach
00:17So what's the solution?
00:18Is there a treatment for this?
00:19Unfortunately, there is no cure.
00:20The only solution is that we love Dad.
00:23And that he was aware of all his desires, even when he was a cockroach
00:26Please help us, doctor.
00:27Tamsha is telling me to look after my father.
00:29Of course, since he's a cockroach, he's a pressure cooker.
00:31He will need 30 kilos of sugar
00:3320 kg of meat
00:34The equivalent of 7-8 pounds per day
00:367-8 what?
00:37We'll send the relatives to the lesson on the heads of the two men and throw them there.
00:40You're doing this to your father, Tamer?
00:42I'm working on you personally, Doctor.
00:44Shame
00:45What kind of time is this?
00:46This is the age of money
00:47God has given me time.
00:49Time to devour the inheritance and discard the lesson
00:51That's it
00:52The son was cruel to his father.
00:54You were confused in your judgment of her, Doctor.
00:56Maybe I'm sick
00:57Maybe I'm losing a kilo every day
00:59What needs treatment
01:01I'm sorry
01:02I didn't know you were sick
01:03Honestly, I'm not sick.
01:05I'm not saying this, maybe.
01:07Life is difficult
01:08It's difficult, oh doctor.
01:09I'm carrying my worries and the worries of my children.
01:11I'm worried about my sisters who lost their children
01:13I don't know if all these pressures will come during these days
01:17I'll transform and become a cockroach, just like my dad.
01:20Okay, Tamer
01:21Oh my, this is the bill for the contract
01:26wow
01:29This is the fourth customer who sees the bill and changes
01:32It's clear he needs to give me a discount.
01:42Dear viewers, peace, mercy and blessings of God be upon you.
01:43Welcome to a gloomy episode of Al-Daheeh
01:46Listen up, viewers, let me take you by the hand and go back to 1924.
01:48We will stand by the writer, Nax Brod
01:50In one of the difficult moments of his life
01:52Max is standing in front of a collection of his manuscripts.
01:54I feel hesitant because his manuscripts haven't been published yet.
01:56Book drafts that no one in the world has read yet
01:58He puts his hand in his pocket to take out a matchstick.
02:00His hand was trembling as he picked up the oud and lit it.
02:02The spark catches in the sulfur
02:03The match ignites
02:05The match ignites
02:06The fire player is dancing in front of his eyes
02:07The fire is reflected on his face
02:09By his skirt, he revealed himself to be the same active one
02:11Life, my dear son Max, was not a devil at all.
02:14At that moment when Max was about to
02:16He is burning a collection of the greatest human achievements of all time.
02:19Max was a loyal friend
02:21He executes and hunts his friend
02:23His close friend who had just died a few days ago
02:25He lived a long and difficult life
02:27I'm sure he's a failed writer
02:29With his death, the influence of literature must disappear.
02:31All these attempts and mistakes in writing
02:33It must be wiped off the map
02:35Delete all the movies, Max
02:37And Max, my dear, is here to tell his friend that he must carry out this will.
02:39Now he's holding the sulfur hood
02:41And just a few steps away
02:43From the moment he deleted everything his friend had written
02:45Max here, my dear, decides to betray the memory of his friend and mediator.
02:49And saves the manuscripts
02:51It doesn't have to be real.
02:53In cinematic terms, we can say that it is inspired by real events.
02:55This is when you want to add dramatic spices to history.
02:57Inspired countries
02:59What is certain, my dear, in all the accounts, is that Max's decision actually happened.
03:01Max the book burner
03:03Some people find solace in this moment, employing a very eloquent literary description.
03:05It is the greatest and most beautiful betrayal in the history of literature.
03:07Instead of Max getting rid of the old story
03:09Max saw a brilliant spark in it.
03:11The world needs to see it
03:21He edits and publishes his friend's works and during
03:23Ten years of stagnation explode into the sky of world literature
03:25The name of a writer who completely changes the scene
03:27Of course, my dear, you are surely wondering now
03:29And you're looking at yourself and want to know
03:31Who is the writer I'm talking about?
03:33Khalas Ya Buhamad, you're definitely talking about Mohamed Elneny's career.
03:35Written under the Kafka foundation
03:37You're mistaken, my dear, we're talking about the writer Franz Kafka.
03:39The writer whose writings were described and praised
03:41The true and terrifying spirit
03:43For the most complex centuries
03:45The bloodiest century in human history
03:47Let's understand Kafka through the lens of the 20th century, my friend.
03:49Through Kafka we understand the twentieth century
03:51Through me we understand both of them
03:53Come, my dear, let's look at many stories by Kafka
03:55Her name is Truth
03:57A story about a conflict between a father and his son
03:59He says it is not the expected, natural generational conflict
04:01The story, my dear, ends with the father
04:03He condemns his son to die by drowning.
04:05We will see in the story that the son exercises this right in order to surrender
04:07And he actually throws himself into the river
04:09You might find this story strange.
04:11But let me tell you, my dear, it's not just a fantasy.
04:13This is a literary analysis of the most important relationship.
04:15Kafka's character and literature were portrayed
04:17If we consider everything to be a story, there is a hero.
04:19Everyone is a hero in the village of Filn
04:21The first and most important villain in Kafka's life
04:23The same person who was supposed to be his source of safety and protection was the same person who was supposed to be his source of security and protection.
04:25Father Hermann Kafka
04:27Let me tell you, my dear, as you know from this program
04:29Creativity usually comes from suffering.
04:31Specifically, from the depths of suffering, if you were to ask football commentators
04:33Someone like Kafka is incredibly creative.
04:35If you simply agree with the condition, you'll find creativity tangled with a bit of intense suffering.
04:39Falak, imagine what Kafka saw in her childhood
04:41Hermann the father was not just a harsh father
04:43Rather, it was a reflection of Zima
04:45Let's imagine a man who lived in the end times before 19
04:47and the beginnings of the twentieth century
04:57He escapes the nature of work and builds a business partnership.
04:59And he's also going to marry into an educated family.
05:01The man secured for himself a respectable position.
05:03In the community of Bragel
05:05Praise be to God, Ritalia was removed from the land.
05:07He said to me, "Oh Abu Hamad, what's the problem?"
05:09Thank God, the man is now comfortable and wealthy.
05:11He's supposed to make his children happy. We're facing a case of a forgiving slave with his flock.
05:13Exactly, my dear, just like you said.
05:15If you focus on the case, you will find that Abdul Ghafour Al-Barai
05:17He was the first to see Abdul Wahab
05:19Not just a pile of dirt on education and events
05:21No, even the priest Nour El-Sherif was with us.
05:23We didn't know how to sympathize with him.
05:25And so, my dear, Terman was a joke
05:27A perfect example of a 20th-century man
05:29The man who, after suffering and hardship
05:31He knew how to control his world and dictate his destiny with an iron fist.
05:33The father was waiting for his son, Francis.
05:35His like emerges and becomes an extension of his strength.
05:37And the inheritance, and peace, mercy and blessings of God be upon you.
05:39The irony, my dear
05:41The dirty one offers to the father
05:43The complete opposite of everything that was dreaming of.
05:45He took the opposite look at his son; he turned out to be a child.
05:47His body is weak and his personality is even weaker; he is overly sensitive.
05:49And all the time, even if we consider
05:51Here, from the sun's periphery, France will be the planet
05:53The small nest that revolves around the sun
05:55He's in a hurry, but he's afraid to get close to her because
05:57The large gap between expectations doesn't burn out
05:59The reality of the son's situation was
06:01The tragedy is that France did nothing.
06:03However, he himself had turned into a disappointment.
06:05Great hope for his father and dear father
06:07He didn't hold back with him; he made him feel loved in every word.
06:09And in every single action, my dear, from the points
06:11He described Kafka as
06:13A punching bag, a psychological punching bag for behaviors
06:15The father, and therefore the French observer
06:17With such extreme sensitivity, he found no other option but the door.
06:19And what would one carob from this hell do?
06:21He will write the only space that Kafka
06:23He can see himself in it and resolve his feelings
06:25The self-centered individual is trying to understand fear.
06:27The one who removes and disrupts all his steps
06:29It was writing, not Pelesch himself.
06:31He changed his writing from another perspective; the father was
06:33I see something like writing and literature as merely
06:35It's a waste of time, and Herman needs it here.
06:37If he enters and grows up, France, if he
06:39He is studying his rights at work so that he can find a job.
06:41Respectable and befitting the family's status
06:43My dear French, his father was very controlling and domineering.
06:45He outlined every step for him
06:47Like the Danish experiment
06:49He doesn't rely on himself
06:51My dear, it's best to keep things this way until the right moment comes.
06:53In it, Franz Kafka decides that he will defend himself.
06:55We see it in 1919, more than thirty years later.
06:57From meaning and pain in silence
06:59Kafka, my dear, is gathering his courage
07:01He's writing a letter to his father; he's writing a psychological analysis.
07:03Extremely detailed, over 100 pages
07:05In this analysis, he is trying to talk about his pain.
07:07Kafka will do something ingenious in this letter.
07:09He will be the judge, the lawyer, and the accused.
07:11He will present evidence and proofs
07:13The witness in this trial
07:15Franz Kafka the child
07:17The child who will tell his story and how he just
07:19His father was in the room, watching over him.
07:21And how can any attempt to express his opinion be thwarted?
07:23On the other hand, it is met with mockery, indifference, and anger.
07:25Kafka says he has lost confidence in himself
07:27In contrast, Gora endlessly confessed to guilt.
07:31The sin wasn't linked to a specific mistake.
07:33It is an existential sin.
07:35The sin is that I am Franz Kafka, son of Hermann Kafka
07:37My sin is that I wasn't the version Herman wanted.
07:39Kafka, my dear, didn't write his letter to be published.
07:41But rather to reach the most important defendant in his court
07:43But the irony is that the message consumed all his courage.
07:45And her age was greater when she reached the desired destination.
07:47Francis gave this message to his mother so that she could deliver it to his father.
07:49But the mother never delivered the message.
07:51And I returned it to France again
07:53She might be afraid of the consequences of her actions when she sees this talk.
07:55It could be because she feels compassion for her son.
07:57She's afraid for her son because he looks like his father.
07:59I'm afraid he'll face a confrontation that will end in his defeat.
08:01Kafka's message and his confrontation that never happened
08:03There is no doubt that we see its effects in his literature.
08:05And in the characters he writes in his famous novel
08:07The trial of employee Joseph, who goes to work a normal day
08:09But suddenly two people come to him from the direction of Ghamda
08:11They inform him that he is the accused.
08:13But no one is telling him what he's accused of.
08:15And the surprising thing is that no one even arrests him.
08:17He's just telling him that he's now under the authority of the court.
08:19He is supposed to wait for her instructions.
08:21Aziz's story turned into a very strange journey
08:23For the first time, Aziz, we see an accused person who isn't looking for evidence of his brilliance.
08:25No, this is an accused person looking for his charge.
08:27What we see here is of course precious
08:29We can interpret it as a reflection
08:31To put Kafka on trial for his father and his age
08:33He was able to ask his father, "What is my crime?"
08:35What is my crime as a son? First step
08:37To scatter my brilliance, if I knew my charge
08:39This is a common feature in Kafka's writings.
08:41Each of his novels has its own problem; they try to solve it.
08:43They face the authority of a wink
08:45Kafka is trying to confront patriarchal authority.
08:47He doesn't understand it; he's being harmed.
08:49I don't understand the reason for these harsh and incomprehensible rulings.
08:51And expectations that are impossible to satisfy her
08:53Rahma, regarding a psychological question: Is this a Kafkaesque crisis?
08:55She was older than his father, and that was just da de issues.
08:57Honestly, my dear, I wanted to tell you, "This is something."
08:59We'll go, but if we come
09:01If we look closely, we'll find that Kafka's crisis
09:03His conflict with his father was deeper than that
09:05Kafka, my dear, lived in a constant struggle between identities.
09:08Why? Because, my dear, in the twentieth century
09:10Europe had a strong anti-Semitism.
09:13And Kafka was Jewish, Diana
09:15Therefore, he had a profound sense of isolation.
09:17I am Sami and you are hostile to Sami, so I consider it isolation.
09:19Of course you'll say to me, "Well, Abu Ahmad, why doesn't he go to the Jewish worshippers abroad?"
09:22It means something like Abdel Masir in New York.
09:24The Jews remained, and we followed them and did things like that.
09:26I don't know the job.
09:27Is this what happens in the rest of the world, my dear?
09:28Minorities gathering together
09:29So it will be over, bloc, and they will still have a voice.
09:31But let me surprise you and tell you that Kafka was not a typical Jew
09:34Because he was secular
09:35Therefore, he also couldn't integrate into Jewish society.
09:38Flack, imagine you're in the middle of an isolated community.
09:40And you're isolated inside it.
09:42You are isolated and dependent
09:43Unfortunately, my dear, the problem doesn't end here.
09:45This was also the language booking; he had a wife in front of him.
09:47Kafka, my dear Czech
09:49But he writes about it in German.
09:51Because, as I told you, he came from a wealthy family.
09:53And the wealthy circles in Prague spoke German.
09:55This is the divide between Germany and Germany.
09:57Kafka's identity was at the center of conflicts in a rapidly changing world.
09:59My personality is isolated, and so is my identity.
10:01That's why his literature will come to express this confusion and this rigidity.
10:05There were millions of people who felt the same way about Kafka.
10:07Kafka's work isn't just about expressing these feelings.
10:09This will indeed be a broader reflection of the twentieth century.
10:12The twentieth century with its upheavals and victims
10:15The twentieth century, my dear century
10:17They didn't enter my house, nor did they all live on the same floor.
10:19The industrial image has been trying for two centuries
10:21And suddenly it started working so he could see ahead of us
10:23Giant factories employing thousands of Omanis
10:25In a scene covered with fat, coal, and meat
10:27From every direction
10:29Cities with very large populations
10:31We need institutions to serve millions of people.
10:33Offices that issue certificates for them
10:35And interests that facilitate their transactions
10:37Congratulations, my dear, you are in the age of bureaucracy.
10:39All the madams, asadzas, and atkhima
10:41The one that's stuck behind you, all the stamps
10:43And the blossoming expectations and the treasury that will empty before
10:45The clock starts at 12 o'clock from this moment
10:47But my dear, bureaucracy appears in Kafka's literature.
10:49Not as a purely service-oriented thing
10:51It makes our lives easier and organizes the chaos around us.
10:53It's Hexchel, my dear, it blossomed like something terrifying.
10:55That's why you find all the attempts of Kafka's heroes
10:57What's done is done, stories that fail
10:59Why do you fail? You fail because of mistakes.
11:01A simple, opaque bureaucracy
11:03Some of Kafka's heroes fail because
11:05He doesn't know how to finish a single piece of paper.
11:07Kafka's hatred of bureaucracy can be traced back to the fact that
11:09The most important and honest attempt in which he confronts his father
11:11Because of the supreme authority in his life
11:13This attempt was unsuccessful due to family bureaucracy.
11:15The moment the mother decides to act
11:17As if she were an overbearing employee
11:19I won't accept this paper, come back tomorrow.
11:21The mother consciously decides not to deliver the message.
11:23Therefore, France's cry will remain hungry.
11:25His message will remain locked away in drawers.
11:27Whenever it spreads, it will spread after his death
11:29Ironically, the opposite of Karata
11:31In the first prison that Kafka lived in
11:33In his eyes, the outside world was a much larger and more spacious prison cell.
11:35It's true, there are no pictures in it.
11:37But bureaucracy is more deeply entrenched in it.
11:39And its laws are becoming more and more terrifying.
11:41After France graduates from law school
11:43Ironically, my dear, he settles into a government job while holding a college degree.
11:45Where does he work? Even Amin works there.
11:47Worker accidents
11:49My name, Aziz, if you squeezed it like that, it'd release bureaucracy and a blue thread.
11:51Just like you imagine, a boring job full of paperwork and stamps
11:54an interest
11:55But the truth, my dear, is that this boredom contained a very important treasure for Kafka.
11:59This job, as you might say, was more like a research lab for kites.
12:01A place where Nasali Kafka could study and witness oppression
12:04The hidden deficiency within is a century that keeps pretending to be modern and imminent.
12:08He compares himself to the other centuries
12:10And he tells him that the coffee is beautiful and sweet.
12:12Despite its development and technology, it had a hidden monster inside it called the Burqatia.
12:16A system that deals with many things besides serving people
12:18Kafka was responsible for investigating accidents that occurred to workers inside factories.
12:22He is the one who determines the value of the compensation that workers are supposed to receive.
12:25Together for the workers themselves if they are harmed, or their families
12:27Frenzi, for example, was reading detailed reports about a worker whose entire arm was inside a machine.
12:31My dear, he used to sit and do extremely complex calculations.
12:34How much does this man's arm cost?
12:36And we sold steamers, my dear, ironically
12:38François Kafka found himself in the job of pricing human suffering.
12:41This allowed him to witness the Industrial Revolution
12:43How can someone who looks bright and beautiful from the outside make promises?
12:46But deep down, it remains intensely harsh.
12:48Low safety standards
12:50Franz Kafka found himself in a place that documents death for paperwork.
12:53He puts Amy in a position where she has a very limited budget for things that are very difficult for Amy to handle.
12:56And from here Kafka's features emerge
12:58Or what we call Kafkaesque
13:00My dear, the idea is for Franz Kafka's novel, The Trial, which I told you about.
13:03Or the character of Zosef is the greatest example of Kafkaesque
13:06You are working in a seemingly rational system with understandable rules.
13:09Suddenly you find that this rational system is making illogical decisions.
13:13Inhumane decisions as well
13:14It's like suddenly finding yourself in court for no reason.
13:17The same logic applies here: a position that cuts off a worker's milk supply, and suddenly you find yourself facing an employee like Kafka.
13:21He sharpens your pen, counts it, and documents it in a file with him.
13:24So you feel like our hands are in a certain place
13:25efficient working position
13:27But this efficiency might come at your expense.
13:29This efficiency might overwhelm you
13:30Kafkaesque is the moment when humanity's hope for justice is shattered.
13:33With a system that serves no one but efficiency
13:36It doesn't matter if you are innocent or wronged
13:38The important thing is that the procedures are followed and the paperwork is correct.
13:40That's why the court in the novel, the trial, isn't a real court.
13:42This is a giant bureaucratic organization.
13:44Its offices are a source of information about housing.
13:46Her lawyers are corrupt and her lawyers are incompetent.
13:48Its rules are secret; no one can know them.
13:50It was like a distorted image of the office where Kafka worked and served.
13:54It was like a distorted image of the legal and administrative system.
13:56What Kafka was studying and working on as well
13:58The problem, dear, is that I haven't told you about it before.
14:00This system is difficult to understand or investigate.
14:02It's difficult to condemn someone so much, and it's inhumane.
14:04As long as the paperwork is moving and being transferred from office to office
14:06So everything is fine
14:08This is what Kafka shows in the novel The Castle
14:10We see in it a mysterious error that prompted the land surveyor
14:12So that he could go and work in the village
14:14But he is informed that a mistake has occurred.
14:16So, my dear, I hate the whole novel.
14:18He's trying to reach a real official.
14:20He tells him what's happening, my dear, that
14:22He is drowning in an endless web
14:24From the employees' in-laws
14:26Betoh is among third-grade employees
14:28My dear, we've finished with the story.
14:30The hero in it doesn't cower, he fights
14:32To find love or to find fulfillment
14:34Or the treasure at the end of the journey
14:36No, this hero is diversifying his lines.
14:38I've done it before, by the way. Me and Russ Kafka
14:40The novel is an allegory for the life of an employee.
14:42The one who tries to understand the giant machine he is working in
14:44And also a metaphor for the life of the citizen who is trying
14:46It leads to the center of this authority.
14:48Hidden bureaucracy
14:50You'll tell the manager, "I want to get there."
14:52For those who rule the little ones, there are many of them.
14:54Keep away from me those people who take two hours instead of one
14:56They have no authority and they enjoy themselves in
14:58Sending some of them bored employees
15:00From those who are working on it, to the point that
15:02Their only entertainment is that they are watching
15:04For some, the biggest problem is that the 20th century, which developed
15:06There was bureaucracy there, as I told you, it wasn't
15:08The century is absolutely stable. In the name of God, the Most Gracious, the Most Merciful.
15:10The century began with a great war, World War I.
15:12For all the stories, Kafka saw the values of justice
15:14And the market, oh my beloved, is in front of them
15:16Right before his eyes, even the tablets and laws
15:18They were transformed into war servants in the story
15:20The Kafkaesque Colony costume presents
15:22A terrifying image of this century, my dear.
15:24The torture site is marked with the conviction verdict.
15:26A fine needle on the prisoner's body
15:28You pierce his skin to write on it
15:30He prefers to go towards the point of death
15:32We see the person in charge of the machine talking about it passionately.
15:34Not because it achieves justice, no
15:36He admired her work and the complexity of her design.
15:38Secondly, my dear, love isn't about justice, love is about justice.
15:40In terms of complexity and efficiency, it's as simple as a needle's eye.
15:42How does it get downloaded? Didn't he see the font? Did he see the writing?
15:44Engineers' thorns
15:46Dear, as is typical of literature
15:48Kafka symbolizes order
15:50The bureaucrat was the bane of the nation's system.
15:52Whose sole aim is efficiency
15:54It works well, but where does it take us?
15:56We have nothing to do with human values.
15:58The principles of all this are now combined with the yellow color next to it.
16:00Kafkaesque characters, my dear, don't fight gods of wrath.
16:02Nor does she face curses from a mighty power.
16:04Such as the immersive mysticism
16:06But my dear friend, this is what truly makes him brilliant in his lack of Kafkaesqueness.
16:08You're fighting junior staff over offices.
16:10And also the recurring theme is that every character wants to know the accusation.
16:14It's not my problem that I'm looking for a pot of innocence
16:16It's not my problem that I'm looking for treatment.
16:18The solution to the problem is that my problem is that I don't know what the problem is.
16:20And in a large percentage, my dear, of the visions
16:22Kafka's heroes ultimately achieve nothing.
16:24Even if the solution is simple, nothing gets solved.
16:26From where, my dear, do you understand why the Kafkaesque
16:28And in you, my dear, there is a terrifying horror in Kafka's world.
16:30The sparks don't want to remain sparks; the horror is in Kafka's world.
16:32Indifference
16:34The system that Kafka lived within was not evil.
16:36His problem is that he doesn't stay put.
16:38He doesn't care about you; he doesn't even see you.
16:40What's even more terrifying is that you can't actually achieve justice.
16:42Because no one in particular is making the decision.
16:44It's as if the Joker was divided into 200 smaller Jokers
16:46There's no one in particular we should appoint and side with.
16:48This is the evil of procrastination
16:50The evil of the evil
16:52Hey Abu Hamat, is the first sentence of the three sentences good?
16:54They should ask a question.
16:56If humans actually lived in this terrifying system
16:58So what will that system become?
17:00Iron of the City
17:02Dear, they offered you something, don't take advantage of it.
17:04Professor Mufid, with your permission
17:06The human being living in this system
17:08What will he ultimately achieve? That's your question, my dear.
17:10You will answer it with Kafka's most famous novel.
17:12Metamorphosis novel
17:14The novel that I will publish in 1915
17:16When it comes down, my dear
17:18Kafka's novel wasn't very successful.
17:20But it is currently considered one of the greatest works of literature.
17:22Talata, my dear, and your creditors
17:24Because this story is really good
17:26The story of Aziz begins with one of the most famous opening sentences.
17:28In the history of literature, there is a sentence that is shocking in its simplicity.
17:30When Gregor Samsa awoke one morning from disturbing dreams
17:34He found himself in his bed, transformed into a giant insect.
17:37You've been sitting with Kafka, my dear.
17:38I don't have any explanation for this transformation.
17:40There's no scientific reason, no magical curse.
17:42There's nothing
17:43No, insects aren't our school, poultry and feed.
17:45A strange thing happened, but it did.
17:47The reality is that it has become a fait accompli.
17:49The difference is that they are forced to deal with it and accept it.
17:51They also deal with the consequences of this event.
17:53The deliberate disregard for cause is the essence of Kafkaesque art.
17:56Nobody here explains the reason to you and gives you the solution.
17:58It doesn't matter why strange things happen.
18:00The important thing is how we work with her.
18:02Gregor's first reaction to this event
18:04There was no theft or collapse
18:05No, this is based on very practical concerns.
18:06This catastrophic transformation
18:07They didn't let him do anything
18:08Read it by looking at the clock.
18:09Hassan discovers that the equation of its extremes
18:11The first idea that comes to his mind
18:13Do you know what it is?
18:14How will I get to work?
18:15What should I tell the manager?
18:16The detail, my dear, that highlights the severity of the situation might seem comical.
18:19But in reality, this is a very ingenious touch from Kafka.
18:22A touch that reveals the extent of humanity in the modern age
18:24A person who feels a great deal of alienation
18:27Stay free, my dear, if you're going to sleep.
18:29You find yourself turned into clay
18:30The first idea that comes to your mind
18:32It's not that you... what is this? What transformation has occurred in her?
18:34Ask about my family, ask about my friends
18:36How should I deal with this huge problem I'm in?
18:38No, not the first idea that comes to my mind
18:40The first fear and panic that came to my mind
18:42What am I going to tell the manager? That I'm late for work?
18:44Work is what I'm thinking about.
18:46This, my dear, is the crux of the matter.
18:48Before the oxidation of the ruin
18:50When a person feels like a monster
18:52A distorted image, detached from its true nature and essence.
18:54Night and day in the job of Akshli, now
18:56He hated her, but because of this job
18:58He was supporting his family and paying off his father's debts.
19:00He understood the logic of this system.
19:02To the extent that his identity and existence
19:04It all boils down to his job
19:06The first thing he thinks about after he transforms
19:08To distortion and work, as if the definition
19:10Gregor, not because of his humanity, but
19:12In his role, Gregor is not a human being.
19:14An internal source, and that's why Gregor, after he turned into an insect
19:16Haqlo Al-Batin was still working in the hall
19:18This system's foundation is a dear man, instead of thinking
19:20In his new life, Casusa and Jashuf swallowed a powerful gulp
19:22And what was the point of not wearing a mustache and being the opposite sex?
19:24No, this is still a TV series, he himself is an employee
19:26And the snake is that in any case, the manager will trample him.
19:28As the story unfolds, we see how it transforms
19:30This body is a physical reflection of collapse
19:32His human value in the eyes of his oppressor and in the eyes of
19:34Those around him initially reacted in a mixed way.
19:36Between shock and pity, his sister was the closest one.
19:38She sympathized with him and took responsibility for Al-Annabi.
19:40Bring him food and clean him up, it's a cat
19:42But this phase didn't last long.
19:44Time passed and Jurjur remained unable to work.
19:46Here, a source within his palace transformed into a boundless love for them.
19:48Feelings began to change
19:50And pity was turning into aversion
19:52And aversion remained disgust, and disgust
19:54Silent hatred remained.
19:56Until hatred speaks and declares
19:58Desiring to get rid of it
20:00Look, my dear, this peak is in a harsh, uneven spot.
20:02She is his sister, and it is supposed to symbolize the one who protected him in his life.
20:04But now it is announcing with cold decisiveness
20:06She says we need to get rid of this thing.
20:08We did everything we could to take care of him.
20:10But this isn't brotherhood
20:12In that moment of confusion, Gergor is stripped of the last vestiges of his humanity.
20:14He is no longer a Jerger, no longer a Jerger, the human being
20:16This thing is a joke.
20:18He doesn't just tell a story, he poses a question.
20:20It's terrifying how much a human being is worth.
20:22Does a human being have value simply because he is a human being?
20:24Nor is its value linked to its function.
20:26And the benefit that society provides
20:28In the world of the novel The Metamorphosis
20:30The one who brought it will be very afraid when Jerjour loses his ability to produce.
20:32He loses his humanity even in the eyes of those closest to him.
20:34This physical transformation was nothing more than a physical oxidation.
20:36Oxidation of his inner sense of worthlessness
20:38The utilitarian view that society uses to see its members
20:40They are just tools for work
20:42The deepest tragedy in the novel
20:44Unfortunately, Kreor's mind remains...
20:46Healthy and conscious is preferable
20:48He understands everything that's happening around him
20:50Sameh ignored his family's words and felt their neglect and disgust towards him.
20:52Remembering his past life
20:54But it's trapped inside its insect-like body.
20:56He doesn't know how to communicate or express himself.
20:58This is what consoles him; it becomes the ultimate form of isolation and respect.
21:00If you remain conscious as a human being
21:02But he's not seen as a human being.
21:04This story touched me, except for you.
21:06You do not see me as a human being, but rather as a performance.
21:14Just an insect, just a cockroach
21:16Honestly, my dear, you were before, at least the squirrel had a body.
21:18You don't exist; you're a product of a sick imagination.
21:20So you'll start with what's available until I get better.
21:22The question you should be asking me is how Kafka came up with this difficult imagination.
21:24The novel, my dear, is a very powerful allegory for Kafka's life.
21:28All the while he was a stranger and an outcast, hungry
21:30His father saw him as merely a front and center.
21:32USB will extend his own ambition and aspirations
21:34A younger version of him would be able to continue this business for him.
21:37I see it the way Gregor's story saw Gregor
21:39This thing
21:41In the end, my dear Gregor, he dies
21:43And his death is the logical conclusion to this tragedy.
21:46A quiet end for one who dies alone in a cat
21:48It works from hunger, pain, and sadness
21:50His death doesn't come as a tragedy to his story at all.
21:52But rather as a kind of salvation
21:54The problem, my dear, is that after Gregor dies, there's a problem in the family.
21:56The next day she goes out and has fun
21:58They feel comfortable and free, and they carefully plan for their future.
22:00A future without this thing, a world without it.
22:02It was as if the problem Gregor wanted to know about
22:04It turned out to be true, it was there in the end.
22:06A cruel but terrifyingly friendly ending
22:08Because in a society that sees its members only as tools of production
22:10The very bond of humanity is unraveling.
22:12Life pressures and financial pressures
22:14You trample on it and leave us with no trace of humanity.
22:16The feeling is different, just one
22:18The desire to succeed
22:20We asked a question: Is the world this cruel?
22:22Is there a place for a sublime feeling like love?
22:24Meaning, in all the stories that you need
22:26We are focusing on a hero in the face of the system.
22:28There's no love, no tenderness, no one to turn to as a hero.
22:30The question here is, is there a realm of love in Kafka's world?
22:32The truth is, if the conflict was with the domineering father
22:34And also with the cold bureaucracy
22:36It represents an arena for Kafka's external battles with the world.
22:38So love became an arena for a more difficult battle.
22:40But its essence is
22:42A man living well, how much anxiety and feeling of weakness
22:44For him, love was not a safe thing.
22:48There was no refuge, no maze
22:50A new maze enters Kafka
22:52For example, relationships with women, like the ones we know about.
22:54With all its minute details, thanks to his answers
22:56The draf is brought down and we say, "Okay."
22:58What time does Sable Eh release conversations?
23:00Far from Lazar, my dear, for Kafka's answers
23:02The one who talks about love reveals a much sadder side to us
23:04It reveals to us the psychological traits that governed Kafka throughout his life.
23:08An overwhelming desire to connect with others
23:10Accompanied by a morbid fear of commitment to another person
23:13Fair of Commitment
23:14For someone else, my dear, it's always the same: he feels doomed to fail all the time.
23:17Kafka's longest relationship was with someone named Felice Power.
23:20He met her in Berlin at the home of his friend Max Brod.
23:22From that chance encounter, a relationship blossomed that remained dormant for five years.
23:25Kafka proposed to him twice
23:27On both occasions he was hesitant and then broke off the engagement.
23:30His prayers, my dear, provide us with the answer to this question.
23:32Kafka saw that his marriage contained a clear and explicit plurality of roles, given his status as a writer.
23:37He saw the demands of married life and family obligations
23:40It occupies the space that the writing is supposed to need.
23:43Writing, for Kafka, is the most important thing in life itself.
23:45Her book says he saw himself as a nocturnal, nocturnal being dedicated to Adam.
23:49And any attempt to reintegrate him into a normal life
23:51It is necessarily a death sentence that is issued and then buried.
23:53God
23:54Wow, I see you're a top publisher and you're getting paid.
23:56I'm the one who's holding you back, son of Herman
23:57Classic men's stone, my dear
23:59You and the rose couldn't stay in my life together.
24:01My life is 200 kilos, you're still here, my rose
24:02My dear friend, you were joking about the topic, but the issue was much deeper than that.
24:05And also deeper than just an artist struggling with the demands of life
24:08France's relationship to Kafka in Felice is discussed in a self-trial.
24:11He was putting himself in the dock and using his letters to exonerate himself in front of her.
24:15He reveals all his flaws and fears to her in a very strange way
24:18I feel like he's just venting.
24:19My dear, that's how it is, just like you said, not like that.
24:21But he's trying to make a bad impression as a hardness test.
24:25He sees what the end result will be
24:26This is something that will definitely upset you
24:27But Kafka's relationship with his family was a way of dealing with it.
24:30So, in one way or another, he sent a stranger to test her love for him.
24:34He paints a picture of himself as an unbearably selfish and sick man.
24:37He'll see if she'll still love him despite all this, until when?
24:40It was as if he wanted to make sure that she really loved him.
24:42Because deep down he feels he doesn't deserve love
24:45So he decided to disregard expectations, conditions, and all the responsibilities surrounding her.
24:48To see if this is the love he deserves
24:50Nor is this the kind of love he could have received from his father if he had been a different person.
24:53And so the experience of love and engagement turned into a second arena.
24:56A space for guilt in Franz Kafka
24:58He began to rebuild his damaged relationship with his father.
25:01If it's just a little bit, my dear, it represents a fear of normal life.
25:03Milena Jezenska expresses a different and more complex kind of love.
25:06Milena, whose fame is linked to Kafka's name, was a translator.
25:09When I read the story of the times in 1919, she was very impressed.
25:12I sent a message to Kafka asking if he could translate it from German to Czech.
25:16At that time, my dear, she was married, educated, and also liberal; she had a very strong personality.
25:21All these things Kafka wasn't used to.
25:23Kafka found in Milena someone who understood more than anyone else.
25:25She didn't just understand his writings
25:27No, she saw his soul behind her, she understood his tired, tormented soul.
25:30But power and understanding, besides their allure, were one of Kafka's greatest sources of terror.
25:34Kafka wrote to Afif and said to Afif once
25:36Love is the knife I plunge into myself.
25:39Kafka sensed that her love was Layl and that she had the ability to see his essence and see him from within.
25:43It's like a knife piercing him, or simply an intrusion into his inner beauty that he hides in.
25:48Their relationship, my dear, is what started as a series of posts and comics.
25:52And we begin by saying Kafka and Milena, Kafka and Milena, the surprise is that their relationship was very brief.
25:56I only met him twice, and the relationship ended just as it began.
25:59Milena's answers are consistent with Kafka's more conscious approach.
26:02A second version that feels incapable of living a normal life
26:04But they preferred to love each other and also preferred to send each other messages
26:07At the end of his life, Kafka gave her his memoirs.
26:09The fear of love and relationships leads us to one of the darkest areas of Kafka's psyche.
26:15His body's relationship with sex, my dear
26:18Oh my love, it's just work, just work, oh my love, it's just work
26:22Kafka grew older feeling that his body was weak and sickly.
26:25His body was a constant source of shame, of course, because of his father.
26:28He was blessed with strength and health, God willing.
26:31This feeling intensified even more with Kafka after he suffered a stroke.
26:34Kafka, my dear, admits in his diaries that he is tormented by sexual desire.
26:39But look, at the same time, what's so frightening about the idea of intimacy?
26:42He needs the highest degree of closeness, which is sex.
26:45But at the same time, he is very scared.
26:47I'm afraid he'll feel it, afraid he'll get attached.
26:49I'm afraid he'll be let down.
26:51Kafka also viewed sex as a process
26:53Another area where he might also fail
26:56A field where his inadequacy might become clearly apparent
26:58Because it is one of the arenas that society associates with competence.
27:01Kafka, my dear, saw it as his only solution to this dilemma
27:04He separates this from his
27:06Remove this from that so that he can rest easy.
27:08What are you going to do, you crazy person?
27:09He will decide that he will completely separate sex from love.
27:12What will you do, Abu Ahmed?
27:13Kafka, my dear, used to frequent brothels.
27:16To satisfy his desires
27:17He saw this as a way to replace any emotional attachment.
27:20As a male classic
27:21I want to get the perks without any trials from my partner.
27:25My dear, for Kafka, that was the Kafkaesque solution: it was moody.
27:28What is he doing, my dear?
27:29He creates his own bureaucratic system to manage his desires.
27:32My dear, he starts treating love, intimacy, and sex like a homemade dish of pastrami.
27:36Here, the sex is pastrami, we look at it sideways with the captain's bite.
27:39And then came the love and intimacy, and the talk that was in the pan.
27:42For Kafka, the body is a place, a source of pleasure or power.
27:46Rather, it is a physical proof that I imprint on the person inside me.
27:48That's why the bodies of his characters are often a source of horror, shame, and pain.
27:52The body of Gergor transforms into that of an insect, and the body is located in the eagle colony.
27:56The body that was the page on which the ruling on permanence was written
27:59Reading Kafka reveals labyrinths within his heart and body.
28:02The labyrinths were no different from the courtroom labyrinths and games he had.
28:05All of them are mysterious and overwhelming symbols.
28:07From the very first moment, man is condemned to one judgment only: ruin.
28:12This place was the court, this place was the job, this place was the body
28:17Rami, my dear, think that because of all this gloom, Kafka wants us to give up.
28:21No, by God, Abu Ahmed, all this is to prevent us from surrendering.
28:23This guy's finishing off Kurt Angle, he's going to die, and he slammed into the ring.
28:25The irony, my dear, is that she sees Kafka as a whole, and will be next to every protector.
28:29Rami, my dear, from the nightmarish worlds of Kafka
28:32However, its heroes do not give up easily.
28:34The essence of Kafka's literature, my dear, is not in the existence of absurd circumstances.
28:37Rather, it is a dramatic confrontation that occurs in a person that is perfectly logical in the face of extremely absurd circumstances.
28:43Between the person who tries to act logically and the one who acts irritably.
28:47Kafka's heroes, my dear, use weapons that are supposed to burn well.
28:51Things like perseverance and logic
28:53My dear friend, they are facing circumstances far beyond their comprehension regarding these weapons.
28:56And it's usually not influential
28:58This impossible struggle that Kafka presents is Kafka's definition of the human condition.
29:01So, my dear, in the existential circle, when I spoke to you about Sisyphus
29:04Albert Camus said that this man could be happy even if he were to forever be rolling a rock
29:09Kafka's heroes are close to Sisyphus, and they realize during the events that they are facing an oppressive authority.
29:13The power of a blink is a power without logic, and therefore resisting it is a form of absurdity.
29:17But my dear friend, the strange thing here is that Kafka's heroes never cease their war.
29:20Unlike Camus, who imagined Sisyphus as happy, accepting, and content with his fate.
29:24Kafka's character often remains trapped in this state of struggle without ever reaching a meaning or a complete consciousness that would liberate him.
29:29The persistence of Kafka's characters is that they search for meaning in a meaningless world.
29:33This is what gives them a part of their dignity.
29:35This is what makes us see them as a reflection in our daily struggle.
29:38That's why, in the transformation, everyone in the story saw Gregor as an insect.
29:42Including his sister, but the others didn't see it that way.
29:44He saw a person in front of him trying to say that he existed even though he was invisible.
29:48Bahma Basnam, a moment of need
29:49I have a feeling this episode is Erlevent or Dati
29:52Because we are talking about a world with factories
29:55A world with world wars
29:57Our world has become more peaceful over time.
29:59They did not destroy factories there in the same way on the heart
30:02We have moved from the industrial image to the information image.
30:04We are now citizens of the 21st century
30:06farmers of the world
30:07small village farmers
30:08We are in the age of globalization
30:09He was telling you that Kafka's words
30:12He doesn't just speak like a 20th-century genius
30:15But he really speaks about the 21st century
30:17And you, as a person of the twenty-first century
30:19More than someone who lived at that time and maybe
30:20We are now done with this, we go to Bariklatia and systems
30:23We are no longer surrendering ourselves to Procrastination.
30:25We have now surrendered ourselves to algorithms.
30:27They completed
30:28Automation
30:29We are facing extremely complex algorithms.
30:31Black Box Algorithm
30:32She's the one who decides everything.
30:34She's the one who decides who gets a loan and who doesn't.
30:36She's the one who decides
30:36What content can be viewed?
30:38And what is the content that cannot be viewed?
30:49It's what makes us go back on our previous interpretations and understand.
30:51Kafka said we started with a feeling much better than the feeling of power.
30:53It is the feeling of recognition
30:55Recognition
30:56It confirms your feeling that something is wrong
30:58You don't control the world.
30:59And you feel that you are weak
31:01This is a real and natural feeling
31:02No matter how much modern culture assures you that you are in control
31:05And you can do everything
31:06We are young archers
31:08On June 4, 1924
31:11Kafka died in a place near Vienna
31:13Because of tuberculosis
31:14My dear friend died at the age of 40.
31:15He died with the firm conviction that he was a failure.
31:18He didn't achieve anything in his life
31:20He did not achieve any notable literary success.
31:21His works were published the night before his lifetime.
31:23Don't sleep well
31:24And no judge noticed him
31:26This brings us to the opening scene of the episode.
31:28What Kafka wanted to erase the trace of his existence from
31:30He wants to eliminate the literary presence from the world.
31:32Maybe because he saw in his literature
31:34Just a reflection of his suffering and pain
31:36He felt that these were things that did not deserve immortality.
31:38But Max Bird's decision was that he would publish Kafka's literature.
31:41About the man who lived and died in darkness
31:42He thought his voice was completely new to his hearing.
31:44This sound is the most accurate diagnosis.
31:47For disorders and diseases of the twentieth century
31:49Kafka is the epitome of brilliance in that era
31:51History, with its bloody course, has proven Kafka's vision correct.
31:54Kafka's nightmare becomes reality
31:56We see the world after World War II
31:57Look at the Soviet concentration camps
31:59Looking towards the hopes of mass murder
32:01Looking at something like the Holocaust
32:03You see a bureaucratic employee
32:05People found no connection to evil
32:07People carrying out orders
32:08But these kind people
32:10These employees, when their small actions are combined
32:13It creates a crushing system
32:15kill
32:16You get hungry
32:17By extermination
32:18Here, the world has found no more accurate and eloquent description than Kafka's writings.
32:21No one else could express this state of organized madness.
32:25philosopher Hannah Arne
32:27She described one of the most prominent Holocaust survivors
32:29He is Adolf Echmann
32:30Adolf was saying, on his own authority
32:32It's me, folks, a bureaucrat.
32:34Heeding the laws
32:36I'm not a monster or a ghoul, and I don't have a score to settle with anyone.
32:38I'm just following instructions and applying the instructions.
32:40I serve the system
32:41Hannah Arne then expressed herself using a well-known term.
32:44His name is the banality of evil
32:46Rakele performs a very simple action
32:48And that is, he closes the books
32:49But in the end it led to genocide
32:51This is how Kafka presented evil.
32:53He is insignificant; he doesn't care.
32:55Kafka wasn't writing fiction
32:57No, he was predicting a terrifying reality.
32:59A reality where millions could be accused
33:01And their trial and killing without cause
33:03And what's terrifying, my dear, is the frightening administrative efficiency.
33:07The trial was not just a novel
33:08The trial was a guide.
33:10What might happen when morals collapse?
33:12When the only system in power is a harsh, materialistic one
33:15The problem is highly efficient
33:17It's perfectly natural that we see Kafka's influence.
33:19On the great existing philosophers
33:21Camo costume and sartif
33:22We also see its influence on literature in a book like The Center
33:25The one who considered the introduction to the novel The Metamorphosis
33:27It is one of the greatest lines
33:29Which influenced his view of literature
33:31If we go to the world of art
33:32We will find that there are painters who were influenced by Kafka's words.
33:35Painters who expressed the feelings of Kafka's characters
33:37They expressed feelings of alienation and anxiety
33:39Artists like Francis Bacon
33:40Louis Burzoa
33:41Gerard Carso
33:42Those who are dear to me, if you saw their paintings
33:44You will find it distorted, garbled, and screaming written
33:46Franzese Kafkaesque characters
33:47Even in cinema
33:48There are great directors who were influenced by Kafka's art.
33:51People like David Lynch
33:52Warsaw Wells
33:53If we go to a great exit
33:54Director Martin Scorsese's outfit
33:55We'll find he submitted in 1985
33:57One of his darkest films
33:59After Owens movie
34:00A film about a man named Paul
34:02He goes out on an ordinary night
34:03But the streets of New York that he knew so well
34:05Suddenly it turns into a maze
34:07And every time he tries to return home
34:08Strange situations happen to him
34:09Fitoch Akter
34:10And in one of the scenes
34:11Paul meets a bouncer at the nightclub
34:13Guard prevents him from entering
34:14We find Scorsese quoting in this scene
34:16Kafka's Before the Law
34:18The story where a man wants to meet
34:20Law Representative
34:21But he'll always stand in front of his door his whole life.
34:23Waiting for permission to enter
34:24Waiting for permission to enter
34:25Waiting for permission to enter
34:27And finally, my dear
34:28He is waiting for permission to enter.
34:29He dies
34:30Say it here, my dear
34:30Like many of Kafka's characters
34:32He's expressing something he doesn't know.
34:34Everyone around him whispered about the change
34:35And every door closes in his face
34:37It was as if the city itself had decided to take revenge on him.
34:39Kafka, my dear, we will spread into even traditional fields.
34:42Fields such as comic books and video games
34:44As if Kafka were a soft material
34:45Each artist knew how to shape it in his own way.
34:47Because they saw space in their world
34:49A space where they knew how to express themselves
34:50About their feelings and the feelings of humans in general
34:52But the real influence that made Kafka live all these years
34:55Not just an artistic impact, but also a human one.
34:58Because before he was a symbol, he was an ordinary human being.
35:00People didn't like him because of his big adventures.
35:02or his great achievements
35:03Lord Byron was not
35:04Those in Europe
35:05He remained a folk hero with his various stories
35:06Dostoevsky is no longer
35:07The one whose life experience was in prison and exile
35:09He turned him into a saint
35:11Kafka, my dear, what distinguishes him is that he was ordinary.
35:14ordinary employee
35:15He died young of ordinary tuberculosis
35:17Like millions of others at this time
35:19Kafka, my dear, his strengths were his weaknesses.
35:21He was taking the pains of everyday life
35:23Human fragility is transformed by art.
35:25He mocks our pain
35:26And the logic behind it
35:27But at the same time, it helps us
35:29It reminds us that we must feel dignity.
35:31Especially in our weakest moments
35:33Not many people, my dear, will be
35:34Tragic heroes
35:36Owners of epic stories
35:37But everyone, including you and me
35:39We feel anxious, we feel lonely, and we feel bored.
35:42That's why any person from any culture
35:44It is possible to relate it to the stories of Franz Kafka
35:46Because, unlike Abdul Qadir in his life
35:48He was writing in German, but
35:49And the language was the people of Baba's exile
35:51But in the end
35:52Kafka wrote stories that everyone loved
35:54And this, my dear, could be the greatest thing
35:56Franz Kafka's work
35:56His solitude and alienation are proof of his state.
35:58His solitude is a path, and his silence a cry.
36:00All the lost souls like him hear it
36:01That's it, my dear, finally, but not least
36:03We forget to look back at the past life.
36:04Seeing the future
36:05We attribute to the sources
36:05If we're on YouTube, we should subscribe to the channel.
36:07Hamad, don't take a nishes, Abu Hamad.
36:08I have a simple point
36:09Franz Kafka's The Metamorphosis
36:11I feel that using a fly would have been more restrictive
36:13He would leave the children
36:15I want to get rid of it faster
36:16At that time, the story could be summed up in two sentences.
36:17When Gergol Samsa awoke one morning from disturbing dreams
36:20His sister gave the Prophet a drink
36:22Send it to the gallery now!
36:23They spoke, teacher
36:24Come on, come on, get down
36:25Follow
36:25Yalla Kafka on the beach