By Brenda L. Bethman
This dissertation examines Elfriede Jelinek’s research of Austria’s and
Western Europe’s “obscene fantasies” via her “perversion” of general kinds
in 3 of her best-known texts (Die Liebhaberinnen, Lust, and Die Klavierspielerin).
It additionally investigates how those texts, initially look much less openly political than
Jelinek’s later paintings, could be noticeable as laying the basis for her later, extra
political, research of Austrian fascism and racism. The dissertation consists
of 3 chapters; every one investigates a crucial psychoanalytic proposal (alienation,
jouissance, perversion and sublimation) and reads a Jelinek textual content on the subject of the
genre that it's perverting, exposing the “obscene fantasies” that lie at its center.
Chapter One examines how Jelinek depicts alienation (in the Marxist,
socialist feminist, and Lacanian senses) in her 1975 novel Die Liebhaberinnen, and
explores how Jelinek’s depiction of alienation capabilities to make Die Liebhaberinnen an anti-romance. bankruptcy addresses no matter if Jelinek’s novel
Lust(1989) is a pornographic or anti-pornographic textual content. I examine the complicated
relationship among aesthetics and pornography, arguing that many different
Jelinek students cave in the contrast among mass-cultural varieties of
pornography and the high-cultural pornography of Bataille and Sade, and therefore
fail to appreciate how her textual content is at the same time pornographic and anti-pornographic. bankruptcy 3 specializes in Jelinek’s novel Die Klavierspielerin (1983),
examining the improvement of its protagonist as a (perverse) sexual topic, and
her final failure to accomplish a reliable sexual place and the way Jelinek’s textual content
perverts the style of the Künstlerroman. It additionally discusses Erika’s education as a
pianist as a potential causal issue of her perversions and shortage of sexual id,
concluding that her lack of ability to sublimate demonstrates the similarities (and
differences) among the artist and the pervert, illustrating how Jelinek’s novel
deviates from the normal Künstlerroman.
The dissertation argues that the disruption of genres is considered one of Jelinek’s
most major literary contributions, her works functioning to create a
“negative aesthetics” instead of a favorable remodeling of favourite forms.
Jelinek rejects an identificatory mode of writing and refuses to create “positive”
subjects, who prefer as a substitute to supply paintings that may be a “critique of praxis because the rule
of brutal self-preservation on the middle of the prestige quo” (Adorno, Aesthetic
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Additional resources for "Obscene Fantasies": Elfriede Jelinek's Generic Perversions
Der körper zählt für brigitte als mittel zum besseren zweck” (LH, 56). 16 From this, one can see that the fact that love involves labor and capital is clear to Brigitte. e. a mere element of exchange. The commodity is transformed into exchange value. In order to equate it with itself as an exchange value, it is exchanged for a symbol which represents it as exchange value as such. As such a symbolized exchange value, it can then in turn be exchanged in definite relations for every other commodity .
39 A comparison of the other main figure in Die Liebhaberinnen, Paula, to Brigitte, may also help to clarify the role of love in Jelinek’s text. Like Brigitte, Paula succeeds in “catching” her man, although she is not as lucky as Brigitte in finding one able to support her. Paula, in an attempt to escape the “Hausfrau/Verkäuferin” choice offered to women, undertakes training as a seamstress. Once she falls in love with Erich, a forester, she gives up her apprenticeship and marries him, after giving birth to his child.
48 some socialist feminist perspectives, though they give us important insights about the reproduction and persistence of male dominance . . fail to explain unconscious, irrational and libidinal forces that keep both the oppressed and oppressors from re-negotiating gendered, racial and class interaction (33). Jaggar herself is aware of this problem: “In spite of its promise as a critical tool, ‘alienation’ is a somewhat problematic concept for Marxists because it may be taken to presuppose a human essence from which people under capitalism are alienated, and the concept of a human essence seems quite at odds with the conception of human nature as a product of history” (57, emphasis added).
"Obscene Fantasies": Elfriede Jelinek's Generic Perversions by Brenda L. Bethman