Elfriede Jelinek Books

Körper verformen sich und verschmelzen, während männliche und weibliche Geschlechtsformen miteinander interagieren. Die Werke von Louise Bourgeois und Hans Bellmer zeigen bemerkenswerte Parallelen, obwohl sich die beiden Künstler nie begegneten. Bourgeois, die bis 1938 in Paris lebte, entlarvt in ihren Arbeiten das konventionelle Verständnis von sexueller Identität und reflektiert den surrealistischen Blick auf die Frau. Sie adaptiert Methoden wie Fragmentierung und Metamorphose für ihre eigenen Strategien. Bellmer, der 1938 aus Berlin nach Paris kam, schuf mit seiner Puppe das Idealbild der Frau, in dem sich Wünsche, Phantasien und verdrängte Ängste spiegeln. Er zerlegt und setzt die Glieder neu zusammen, wodurch die Puppe sowohl weiblich als auch männlich sein kann. Diese Doppeldeutigkeit zieht sich durch seine Zeichnungen. Die Publikation bringt die Arbeiten von Bourgeois und Bellmer erstmals in einen Dialog, geprägt von den Perspektiven beider Künstler und ihren persönlichen Obsessionen. Zudem setzen eine Kunsthistorikerin und ein Kunsthistoriker die beiden Positionen kunstwissenschaftlich in Beziehung. Darüber hinaus treten Elfriede Jelinek mit einem unveröffentlichten Text und Henry Miller mit Auszügen aus "Sexus" literarisch gegeneinander an, was ein spannendes Lesevergnügen verspricht.

'That's brutal violence on a defenceless person, and quite unnecessary, declares Sophie, and she pulls with an audible tearing sound at the hair of the man lying in an untidy heap on the ground. What's unnecessary is best of all, says Rainer, who wants to go on fighting. We agreed on that.' It is the late 1950s. A man is out walking in a park in Vienna. He will be beaten up by four teenagers, not for his money, he has an average amount ? nor for anything he might have done to them, but because the youths are arrogant and very pleased with themselves. Their arrogance is their way of reacting to the maggot?ridden corpse that is Austria where everyone has a closet to hide their Nazi histories, their sexual perversions and their hatred of the foreigner. Elfriede Jelinek, who writes like an angel of all that is tawdry, shows in Wonderful, Wonderful Times how actions of the present are determined by thoughts of the past

In recent years, the refugee problem has become impossible to ignore, as multiple crises in the Middle East and Africa have driven thousands of desperate people to attempt Mediterranean crossings in hopes of reaching Europe, and safety. Many have died en route, and those who make it face a far from certain future, as European governments have proved reluctant to fully acknowledge, let alone commit to ameliorating, their plight. In Charges (The Supplicants), Nobel Prize-winning writer Elfriede Jelinek offers a powerful analysis of the plight of refugees, from ancient times to the present. She responds to the immeasurable suffering among those fleeing death, destruction, and political suppression in their home countries and, drawing on sources as widely separated in time and intent as up-to-the-minute blog postings and Aeschylus's "The Supplicants," Jelinek asks what refugees want, how we as a society view them, and what political, moral, and personal obligations they impose on us. Looking at the global refugee crisis of our current moment, she analyzes challenges to the political, social, and psychological realities in safe, comfortable Western countries, exploring what everyday language and media coverage reveal about Western perceptions of refugees. In a world where insecurity seems to spread by the day, Charges (The Supplicants)is a timely, unflinching account of how we treat those who come to us in need.

The magnum opus of 2004 Nobel laureate Elfriede Jelinek—a spectral journey through the catastrophic history embedded in the landscape of Austria

Erika Kohut, a piano teacher who has lived with her mother all of her life, develops an obsession for Walter Klemmer, her young student.

Originally written as a libretto for the Berlin State Opera, Elfriede Jelinek's rein GOLD reconstructs the events of Wagner's epic Ring cycle and extends them into the present day.

In a quaint Austrian ski resort, things are not quite what they seem. Hermann, the manager of a paper mill, has decided that sexual gratification begins at home. Which means Gerti - his wife and property. Gerti is not asked how she feels about the use Hermann puts her to. She is a receptacle into which Hermann pours his juices, nastily, briefly, brutally. The long-suffering and battered Gerti thinks she has found her saviour and love in Michael, a student who rescues her after a day of vigorous use by her husband. But Michael is on his way up the Austrian political ladder, and he is, after all, a man.

Kurt Janisch is an ambitious, but frustrated country policeman. Things are not going right in his life. But a country policeman gets talking to a lot of people in the line of duty - particularly lonely, middle-aged women. Matters go from bad to worse. Someone sees too much, knows too much. Soon there's a body in a lake and a murderer to be caught.

With translation assistance and a foreword by Karen Juers-Munby First produced in 1998 at the famous Vienna Burgtheater, the remarkable and provocative Sports Play by Austrian playwright Elfriede Jelinek is a postdramatic theatrical exploration of the making, marketing and sale of the human body and of emotions in sport. It explores contemporary society’s obsession with fitness and body culture bringing into sharp focus our need to belong to a group, a team or a nation. Sport is seen as a form of war in peacetime.