By Brenda L. Bethman
This dissertation examines Elfriede Jelinek’s research of Austria’s and
Western Europe’s “obscene fantasies” via her “perversion” of familiar kinds
in 3 of her best-known texts (Die Liebhaberinnen, Lust, and Die Klavierspielerin).
It additionally investigates how those texts, at the start look much less openly political than
Jelinek’s later paintings, might be visible as laying the basis for her later, extra
political, research of Austrian fascism and racism. The dissertation consists
of 3 chapters; each one investigates a valuable psychoanalytic proposal (alienation,
jouissance, perversion and sublimation) and reads a Jelinek textual content relating to the
genre that it truly 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 services to make Die Liebhaberinnen an anti-romance. bankruptcy addresses even 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 different types of
pornography and the high-cultural pornography of Bataille and Sade, and hence
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 improvement 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 normal Künstlerroman.
The dissertation argues that the disruption of genres is one among Jelinek’s
most major literary contributions, her works functioning to create a
“negative aesthetics” in place of a good transforming of commonplace forms.
Jelinek rejects an identificatory mode of writing and refuses to create “positive”
subjects, who prefer as a substitute to provide paintings that could be a “critique of praxis because the rule
of brutal self-preservation on the middle of the prestige quo” (Adorno, Aesthetic