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Hedayat and Kafka Man is the only being who thinks about his being. This principle is the basis of a kind of philosophical worldview known as existentialism or existentialism. In this view, man has limited existential possibilities to get rid of internal contradictions and contradictions and escape from meaningful existence. Therefore, in the face of existence, man experiences the feeling of non-suspension, suspension, and suffering, and existential apprehensions. In explaining this feeling, some existential thinkers such as Kafka, by choosing the language of narration and the symbolic structure of fiction to the dry and specialized issues of existentialism, gave an artistic character, and some contemporary Iranian writers chose this method and attitude. Since the views in this field emphasize the influence of Hedayat from Kafka, the purpose of this article is to compare and contrast one of the manifestations of this philosophical worldview in the most prominent literary works of these two authors. To this end, the components of existential "apprehension" in the four stories of Kafka and Hedayat were examined and it was determined that semantics, identity loss, loneliness, suspense, doubt, fear, and eternal condemnation, mental and objective actions of the characters of each story. They have formed two writers. In addition to the influence of guidance and the commonality of the two authors in the principle of "apprehension", the stories of guidance are mostly related to the apprehensions of epistemology and psychology. But Kafkachr's novels show deep religious apprehension.

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In this article, what is the definition of comparative literature from the perspective of Pierre Brunel et al in the book Comparative Literature? Another method of research has been proposed for this type of study, which is a confrontation between the image of the text and the image of the work from the researcher's point of view. In this way, one of the potential images of the work is revealed to a number of researchers from different cultures. The process of this research is as follows: by studying the literary text, the formal changes of the work are shown and in the process of description and analysis, it is decoded. This decoding leads to the revelation of the meanings of the work, which are not necessarily the meanings of the author. And because the meanings do not have the same form. This form of meaning is the image, and thus, the image of the work as its meaning, expands to the number of researchers and advanced and experienced readers of literature.
Examples of short stories and Kafka's designs have been used to develop such a method in the study of comparative literature, which focuses on only one work.
This method of research provides a new capacity for the unipolar study of comparative literature, based on a view of the classical definition of Pierre Brunel et al. An attitude considering the theoretical origin of comparative literature.

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While the study of the concept of transcendental signified is at the core of philosophical studies; its strengths are often applied in linguistics and literature. The present paper examines Walter Benjamin's linguistic approach to the subject of transcendental signified in Kafka's The Castle. Because of its high capacity for learning and discovering a sequence of transcendental signified in its key elements, this novel was selected. Martin Heidegger, and especially his successor Jacques Derrida, tried to use the concept of transcendental signified to criticize the tradition of metaphysical thinking. However, the aim of this research is to use content analysis to explore how such a method is present in Walter Benjamin's thoughts and his popular principle of three layers of language, without specifically using the word transcendental signified. The same level of meaning development that is both feasible and unlikely is found at the third level of language, which Benjamin refers to as the "arena of nonsense." In Kafka's The Castle, Benjamin's argument, which is associated with Derrida's rejection of the existence of transcendental signified, has been put to practical use. Finally, the paper concludes that the relationship between explicitness and ambiguity in the three key elements of a story, namely the character "K," " Castle," and also the job of “Surveyor," reveal the impossibility of transcendental signified, and represent the third level of Benjamin’s language.

 

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Kafka's novels are one of the Western novels that contemporary Arabic literature through it became familiar with the philosophy of existentialism and its principles. George Salem, a Syrian writer who was influenced by existentialism, read Kafka’s novels and was influenced in the novel “In exile” from his thoughts. This article follows and reveals the thoughts in the novel “In exile”.
Using an adaptive method, the present research studies Salem’s novel “in exile” and compares it with Kafka’s Palace and Trial and aims to reveal Salem’s impressibility from Kafka’s works and existential thoughts.
 Based on result, George Salem believes that human without any optional thrown into existence So that he finds himself in a certain situation. Influenced by Kafka’s works which instill existentialist concepts, the Syrian writer focuses in the first part of his novel on Kafka's novel “Palace” by relying on falling to the ground theme and in the second part relating to one’s dominance on an individual he focuses on Kafka's novel “Trial”. George survives Kafka reflects the existential topics in the novel ‘In exile’, Concepts such as original Sin, Guilt and human alienation.