Download "Obscene Fantasies": Elfriede Jelinek's Generic Perversions by Brenda L. Bethman PDF

By Brenda L. Bethman

This dissertation examines Elfriede Jelinek’s research of Austria’s and
Western Europe’s “obscene fantasies” via her “perversion” of conventional types
in 3 of her best-known texts (Die Liebhaberinnen, Lust, and Die Klavierspielerin).
It additionally investigates how those texts, firstly look much less brazenly political than
Jelinek’s later paintings, will be visible as laying the foundation for her later, extra
political, research of Austrian fascism and racism. The dissertation consists
of 3 chapters; every one investigates a principal psychoanalytic proposal (alienation,
jouissance, perversion and sublimation) and reads a Jelinek textual content on the subject of the
genre that it really is 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 features 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 concurrently pornographic and anti-pornographic. bankruptcy 3 makes a speciality of Jelinek’s novel Die Klavierspielerin (1983),
examining the advance of its protagonist as a (perverse) sexual topic, and
her final failure to accomplish a sturdy 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 conventional 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” in preference to a good transforming of conventional forms.
Jelinek rejects an identificatory mode of writing and refuses to create “positive”
subjects, who prefer in its place to provide paintings that may be a “critique of praxis because the rule
of brutal self-preservation on the middle of the prestige quo” (Adorno, Aesthetic
Theory, 12).

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Extra info for "Obscene Fantasies": Elfriede Jelinek's Generic Perversions

Sample text

But that’s exactly why i love you, because you are a man, says brigitte. you are a man, who is learning a trade, i a woman, who has not learned a trade. your trade must do for both of us. and it will do that easily, because it is such a beautiful trade. you must never leave me, otherwise i would die, says brigitte . . but that’s exactly why i love you, because you earn more than someone, who earns less” (women, 22 & 26). 23 36 show that the girl never set out to get him and his goods. This is of course a simple reflection of the double bind imposed upon women in real life: their most important achievement is supposed to be finding a husband; their greatest fault is attempting to do so.

47 with feminist standpoint theory (especially in terms of the subsuming of difference), Jaggar nonetheless declares that: “In spite of this unavoidable looseness, I think that the concept of women’s standpoint is sufficiently specific to provide a way of evaluating the real strengths and weaknesses of the feminist theories presently available. In particular, I think that it provides a way of justifying the socialist feminist approach to theory and of indicating further directions for theoretical development .

But that’s exactly why i love you, because you are a man, says brigitte. you are a man, who is learning a trade, i a woman, who has not learned a trade. your trade must do for both of us. and it will do that easily, because it is such a beautiful trade. you must never leave me, otherwise i would die, says brigitte . . but that’s exactly why i love you, because you earn more than someone, who earns less” (women, 22 & 26). 23 36 show that the girl never set out to get him and his goods. This is of course a simple reflection of the double bind imposed upon women in real life: their most important achievement is supposed to be finding a husband; their greatest fault is attempting to do so.

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