Elfriede Jelinek Boeken

Wenen, een negentiende-eeuwse woonwijk in verval. 'Een geliede buurt wat moorden betreft', maar verder keurig. Na een mislukte solistencarrière pianolerares geworden woont Erika Kohut hier in een verstikte symbiose met haar moeder. Op weg naar huis bezoekt ze peepshows, 's nachts bespiedt ze hoeren bij hun werk. Ze blijft er schijnbaar gevoelloos onder. Dan verschijnt alter Klemmer ten tonele en is het afgelopen met Erika's rust. Na de eerste onhandige seksuele verkenningen in een bezemkast neemt Erika de regie in handen. Ze schrijft Klemmer een brief waarin ze hem precies vertelt hoe hij haar moet vernederen. Hij beantwoordt haar gevoelens met banaal geweld en laat haar op de vloer van haar kamer achter. In haar scherpe beelden beschrijft Elfriede Jelinek een beschadigd leven, waarvan het meest schrikwekkende misschien de herkenbaarheid is.

In een corsettenfabriek op het Oostenrijkse platteland werkt een aantal jonge vrouwen die allen op hun manier streven naar hun ideaal de liefde te beleven zoals die wordt voorgesteld in romannetjes en reclame.

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

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

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.

The book features 99 individual images from 99 Austrian filmmakers since 1945, presenting a unique interplay of history and storytelling. Each image is accompanied by descriptions from 100 international writers and critics, offering insights from various fields such as film theory and science. This Lese- und Bildbuch invites readers to explore the concept of capturing cinematic time, blending visual art with literary interpretation.

Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek's new play, On the Royal Road, brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Nobel Prize winner Elfriede Jelinek is known as a writer who works in response to contemporary crises and cultural phenomena. Perhaps none of her works display that quality as clearly as On the Royal Road. Three weeks after Donald Trump's election, Jelinek mailed her German editor the first draft of this play, which turns out to be a stunningly prescient response to Trump and what he represents. In this drama we discover that a "king," blinded by himself, who has made a fortune with real estate, golf courses and casinos, suddenly rules the United States, and the rest of the people of the world rub their eyes in disbelief until no one sees anything anymore. As topical as the evening news, yet with insight built on a lifetime of closely observing politics and culture, On the Royal Road brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek in this work questions her own position and forms of resistance.