Literary Studies

Download E-books «Obscene Fantasies»: Elfriede Jelinek's Generic Perversions (Austrian Culture) PDF

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By Brenda Bethman

This e-book examines Elfriede Jelinek’s research of Austria’s and Western Europe’s «obscene fantasies» via her «perversion» of customary kinds in 3 of her best-known texts (Die Liebhaberinnen, Lust, and Die Klavierspielerin). each one bankruptcy investigates a valuable psychoanalytic notion (alienation, jouissance, perversion, and sublimation) and reads a Jelinek textual content in terms of the style that it's perverting, exposing the «obscene fantasies» that lie at its center. This booklet argues that the disruption of genres is considered one of Jelinek’s most important literary contributions, along with her works functioning to create a «negative aesthetics» instead of a favorable transforming of primary kinds.

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Different examples of femininity as alienation contain: being “viewed relentlessly as sexual objects,” being subjected “continually to sexual attacks and harassment,” the truth that “economic survival calls for most girls to offer themselves in a manner that's sexually entertaining to males: male superiors penalize girls who appear to be ‘punishing’ or defying males via their visual appeal” and the truth that “much of women’s paid paintings is sexualized” (Jaggar, 308). Bartky additionally provides “the cultural domination of girls” to her checklist of the way during which girls are alienated as ladies, explaining that “women as girls are essentially alienated in cultural construction. such a lot avenues of cultural expression—high tradition, pop culture, even to some degree language—are tools of male supremacy. girls have little keep watch over over the cultural equipment itself and are usually completely absent from its items; to the level that we're not excluded from it completely, the pictures of ourselves we see mirrored within the dominant tradition are usually truncated or demeaning” (34-35). For different examples of femininity as alienation see: Jaggar 19 32 In the next passages describing the connection among Brigitte and Heinz, the sexual objectification of Brigitte is made transparent: brigitte haßt heinz unter vielem andren auch deshalb, weil er immer dann ein körperliches gefühl für brigitte in sich hochkommen läßt, wenn gitti gerade von ihren seelischen problemen, die ein kleines häuschen mit garten nach sich ziehen, plaudern möchte. immer dann, wenn brigitte ihr innerstes nach außen stülpen möchte und dabei den ganzen käse von glück, zukunft, säuglingspflege und waschmaschinen herausspeit, dann verhält sich heinz so, als ob er kein hirn hätte, sondern nur einen schwanz. heinz wird doch in brigitte nicht nur einen körper sehen und nicht die ganze vielfalt, die dahintersteckt? . . . heinz ist froh, endlich einen menschen zum rammeln gefunden zu haben. kaum wird heinz des menschen brigitte ansichtig, schon knöpft er sich auf und geht in startposition. während ihm brigitte noch erklärt, daß sie ihn liebt und gleichzeitig etwas wie hochachtung vor seinem beruflichen erfolg empfindet, während brigitte noch ihre gedanken von liebe und achtung bis zu hochzeit und hausrenovierung schweifen läßt, ehe sie sich noch vorsehen kann, schon hat sie den rammler heinz an ihrem leibe hängen wie einen blutegel (LH, 54). 20 (308), Bartky (34-35), and Foreman, who titled her booklet Femininity as Alienation, therefore implying that it's easily femininity itself that's alienating. For purposes of size and readability, I shall concentration merely at the varieties of alienation pointed out above. “brigitte additionally hates heinz between different issues, simply because he continually we could a actual feeling for brigitte upward thrust, simply whilst gitti want to discuss her emotional difficulties, which contain a bit condo with a backyard. at any time when brigitte desires to flip her innermost to the surface and spew out the entire crap approximately happiness, destiny, child care and washing machines, then heinz acts as though he didn’t have a mind, yet just a cock.

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