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Journal articles on the topic 'Jelinek, Elfriede'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Meyer, Imke, and Marlies Janz. "Elfriede Jelinek." German Quarterly 73, no. 1 (2000): 120. http://dx.doi.org/10.2307/408192.

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2

Berka, Sigrid, Kurt Bartsch, and Gunther Hofler. "Elfriede Jelinek: Dossier 2." German Quarterly 67, no. 1 (1994): 117. http://dx.doi.org/10.2307/408123.

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3

Giménez Calpe, Ana. "Weibliche Ohnmacht und Gewalt in Elfriede Jelineks Der Tod und das Mädchen III Rosamunde. Performative Lektüren." Germanica Wratislaviensia 141 (February 15, 2017): 75–90. http://dx.doi.org/10.19195/0435-5865.141.5.

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In dem Dramolett Rosamunde, dem dritten der fünf Prinzessinendramen, die den Zyklus Der Tod und das Mädchen I-V bilden, zitiert und verfremdet Elfriede Jelinek ein romantisches Stück von Helmina von Chézy, einer Autorin des 19. Jahrhunderts, die nicht sehr erfolgreich mit ihren Texten war. Dieser Artikel geht der Frage nach, wie die im Text verwendete diskursive Gewalt eine strukturelle, soziale und implizite Gewalt gegen Frauen sichtbar macht. Ausgehend von der performativen Theorie von Judith Butler, sollen die Strategien erforscht werden, mit denen der Text den etablierten Diskurs, der Weiblichkeit und Ohnmacht verbindet, destabilisiert und eine Reartikulation von hate speech möglich macht.Female powerlessness and violence in Elfriede Jelinek’s Der Tod und das Mädchen III Rosamunde. Performative readingsIn the mini-drama Rosamunde, the third of the five Prinzessinnendramen, which form the cycle Der Tod und das Mädchen I–V, Elfriede Jelinek quotes and paraphrases a romantic play written by Helmina von Chézy, a female author of the 19th century who earned little fame with her writings. This article explores the use of discursive violence to demonstrate that its use in the text uncovers social, structural and implicit violence against women. Based on Judith Butler’s idea of performativity, the paper examines the way Jelinek’s text destabilizes the standardized role models, which connect femininity with powerlessness, and further questions and disturbs the use of hate speech.
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4

Meyer, Imke, Jorun B. Johns, and Katherine Arens. "Elfriede Jelinek: Framed by Language." German Quarterly 69, no. 1 (1996): 107. http://dx.doi.org/10.2307/408622.

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5

Marshall, Catherine C., Jorun B. Johns, and Katherine Arens. "Elfriede Jelinek: Framed by Language." German Studies Review 19, no. 1 (February 1996): 213. http://dx.doi.org/10.2307/1431768.

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6

Busch, Nicolai. "Ethische Ambivalenz bei Elfriede Jelinek." Sprachkunst. Beiträge zur Literaturwissenschaft 1 (2018): 53–68. http://dx.doi.org/10.1553/10.1553/spk47_1s53.

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7

Busch, Nicolai. "Ethische Ambivalenz bei Elfriede Jelinek." Sprachkunst. Beiträge zur Literaturwissenschaft 1 (2018): 53–68. http://dx.doi.org/10.1553/spk47_1s53.

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8

Gonçalves Bachmann, Cristiane, and Ruth Bohunovsky. "Elfriede Jelinek ”“ “Sombra (Eurídice diz)”." Belas Infiéis 9, no. 2 (March 31, 2020): 261–80. http://dx.doi.org/10.26512/belasinfieis.v9.n2.2020.27435.

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Propomos uma tradução literária para o português brasileiro, a partir do texto em alemão, de uma passagem da peça Sombra (Eurídice diz), da escritora austríaca Elfriede Jelinek. A peça, publicada em 2013, é uma reescrita moderna e feminista do mito grego de Orfeu e Eurídice. A tradução, seguida do respectivo texto de partida, é precedida de uma sucinta apresentação da obra e de sua autora, em que abordamos os aspectos mais relevantes desse texto teatral em termos de intertextualidade e características formais.
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9

Kasperski, Edward. "Postdramatic and (anti?)Feminist Dramaturgy. On Elfriede Jelinek’s Princess Plays." Tekstualia 3, no. 42 (July 1, 2019): 15–40. http://dx.doi.org/10.5604/01.3001.0013.4409.

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The article considers the plays of Elfriede Jelinek in a broad context of postmodern critical discourses, the postdramatic turn and the Austrian drama tradition in the 20th and 21th centuries. The controversy over Jelinek’s work in Austrian culture is a key element in her artistic strategy targeted at the political correctness of modern societies, ideological opressions and the dead end of avant-garde metadrama. A historical nad theoretical discussion is followed by an interpretation of Jelinek’s dramatic cycle Princess Plays.
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10

Fernández Martínez, Sergio. "Sublime dolor: el castigo corporal en "La pianista", de Elfriede Jelinek." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 1 (September 19, 2017): 99–106. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201712103.

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11

Allyson Fiddler and Karen Jürs-Munby. "Introduction: Elfriede Jelinek in Multiple Arenas." Austrian Studies 22 (2014): 1. http://dx.doi.org/10.5699/austrianstudies.22.2014.0001.

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12

Degner, Uta. "Hölderlin vanguardista. Desejo de Elfriede Jelinek (1989)." Pandaemonium Germanicum 24, no. 44 (June 25, 2021): 203–18. http://dx.doi.org/10.11606/1982-88372444203.

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Ao longo do romance de Elfriede Jelinek, Desejo, há um amplo uso de citações da poesia de Hölderlin, às vezes pouco perceptível, às vezes grotescamente alterada. Tem havido pouco consenso acadêmico sobre a função dessas citações: alguns encontraram vestígios de uma noção utópica de uma sociedade justa e justa para contrastar com a dura sátira do romance; outros leram Hölderlin como representando o patriarcado au-thorship. Minha contribuição sugere que Jelinek toma dois dispositivos estilísticos de Hölderlin – a forma gnômica e a ‘harte Fügung’ (harmonia austera) – para integrá-los como princípios principais de seu próprio texto. Ao fazer isso, ela enfatiza Hölderlin como um autor de vanguarda no sentido de Bourdieu: como um autor cujo objetivo é levar a linguagem poética a novos limites. Assim, Jelinek assume a figuração contemporânea de Hölderlin (representada pela edição de D.E. Sattler em Frankfurt); e ao utilizar Hölderlin de forma tão inovadora, ela se posiciona dentro desta tradição vanguardista.
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13

Hapitta, Okky Dwi, Yati Aksa, and Safrina Noorman. "MUSIK DAN SEKSUALITAS DALAM NOVEL DIE KLAVIERSPIELERIN KARYA ELFRIEDE JELINEK (Music and Sexuality in Elfriede Jelinek’s Novel “Die Klavierspielerin”)." METASASTRA: Jurnal Penelitian Sastra 8, no. 1 (March 10, 2016): 91. http://dx.doi.org/10.26610/metasastra.2015.v8i1.91-104.

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Musik banyak diangkat menjadi tema dalam karya-karya yang ditulis Jelinek. Dalam novel Die Klavierspielerin yang terbit tahun 1983, Jelinek mengangkat tema musik. Tulisan ini bertujuan untuk mengungkapkan fungsi musik dan keterkaitannya dengan seksualitas tokoh utama. Kajian ini dilandasi oleh teori fungsi musik yang dikemukakan Alan P. Merriam, teori seksualitas yang dikemukakan oleh Padgug, serta teori seksualitas yang berkaitan dengan relasi kuasa yang dikemukakan oleh M. Foucault. Hasil analisis menunjukkan bahwa di dalam novel tersebut terdapat fungsi musik sebagai representasi simbolis yang dijadikan sarana antar tokoh untuk saling menekan antara ibu terhadap Erika sebagai anak, Erika sebagai guru terhadap Klemmer sebagai murid. Musik juga memunculkan relasi kuasa yang mempengaruhi seksualitas Erika.Abstract: Music was mostly taken as a theme in many works written by Jelinek. In the Die Klavierspielerin novel published in 1983, Jelinek took theme of music. The study is aimed at revealing music function and its links with the main character’s sexuality. This study is based on music function theory introduced by Alan P. Merriam, sexuality theory introduced by Padgug, and sexuality theory concerning power relation introduced by M. Foucault. The results of analysis indicate that in the novel there are musical functions as symbolic representation used as a reference between characters to repress each other, such as, mother to Erika as a child, Erika as a teacher to Klemmer as a student.
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14

Ávila Rodríguez, Adela. "De la germinación de lo siniestro: La belleza en espejo roto." LA PALABRA, no. 24 (January 23, 2014): 99. http://dx.doi.org/10.19053/01218530.2505.

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El presente artículo busca trazar una senda por el trasegar de la escritura de lo abyecto y lo cruel en la obra La pianista de Elfriede Jelinek y a la vez pretende buscar las raíces que esta lectura deja en el proceso creativo propio. La escritura desde lo abyecto y la crueldad se convierte en ese palpitar constante, esa pulsión de vida camuflada muchas veces con muerte. La lectura de textos marcados por lo siniestro se trenzan dentro del ser, formando una danza de discursos agónicos que llevan en la entraña, una denuncia, una crítica, un sentir, un respirar y dejan deseo de crear en la mitad de unas cenizas hechas de carne, letras y tinta.Palabras clave: abyección, crueldad, Elfriede Jelinek, escritura, lectura, deseo, creación, mujer.
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15

Treude, Sabine. "Evelyn Annuß: Elfriede Jelinek: Theater des Nachlebens." Die Philosophin 16, no. 31 (2005): 96–99. http://dx.doi.org/10.5840/philosophin2005163111.

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16

Meyer, Imke, and Allyson Fiddler. "Rewriting Reality: An Introduction to Elfriede Jelinek." German Quarterly 69, no. 2 (1996): 228. http://dx.doi.org/10.2307/408364.

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17

Keith-Smith, Brian, and Allyson Fiddler. "Rewriting Reality: An Introduction to Elfriede Jelinek." Modern Language Review 91, no. 1 (January 1996): 264. http://dx.doi.org/10.2307/3734077.

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18

Ripoll León, Verónica. "Elfriede Jelinek y la belleza de las princesas a través del espejo = Elfriede Jelinek and the beauty of princesses through the mirror." FEMERIS: Revista Multidisciplinar de Estudios de Género 2, no. 2 (July 31, 2017): 167. http://dx.doi.org/10.20318/femeris.2017.3764.

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Resumen. La autora Elfriede Jelinek –ganadora del Premio Nobel de Literatura en 2004– es una incansable creadora de personajes estereotipados. Mediante el empleo de la ironía, Jelinek utiliza a los protagonistas de sus obras para reflexionar de manera crítica sobre el conjunto de acciones y comportamientos sociales que forman parte de las expectativas de lo que el género femenino y masculino deben representar dentro de una sociedad. Un año antes de la mención del Nobel, Jelinek publicaba un conjunto de textos dramáticos reunidos bajo el título La muerte y la doncella I-V. Dramas de princesas (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). En esta obra, la escritora austríaca reescribía dos de los cuentos de princesas –Blancanieves y La Bella Durmiente– y una leyenda –Rosamunda–, que forman parte de la tradición literaria occidental, para reinventar después la historia de otras mujeres reales del panorama histórico y cultural como son Jacqueline Kennedy Onassis y las escritoras Sylvia Plath e Ingeborg Bachmann. El objetivo del presente estudio es atender al problema que supone en estos Dramas de princesas la existencia de unos cánones de belleza cuando se pretende construir la imagen y la identidad de unas mujeres que han quedado sometidas a la supremacía de poder que la sociedad otorga al varón. Para ello, y siguiendo la senda del psicoanálisis, se prestará especial atención al elemento del espejo, entendido como un instrumento que brinda o niega el reconocimiento a estas princesasPalabras clave: Elfriede Jelinek, teatro posdramático, cuentos de hadas, psicoanálisis, espejo.Abstract. Elfriede Jelinek, winner of the Literature Nobel Prize in 2004, is a tireless creator of stereotyped characters. Through the application of irony, the protagonists of her works are used with the intention of exciting critical thought about the social roles and actions expected to be played by women and men within a society. A year before being awarded the Nobel Prize, Jelinek released a body of plays under the title of Death and the Maiden I-V. Princess Plays (Der Tod und das Mädchen I-V. Prinzessinendramen, 2003). In this work, the Austrian writer rewrote two of the most famous fairytales featuring princesses, such as Snow White and Sleeping Beauty, as well as a legend played by Rosamunde. These tales are part of the core of Western literary tradition. In using them, she reinvents the story of other real characters and women from our historic and cultural panorama: Jacqueline Kennedy Onassis or writers like Sylvia Plath and Ingeborg Bachmann. The main goal of the present paper is to analyse the problem posed by the existence of a beauty canon in these Princess Plays insofar as the construction and depiction of female identity is subdued by the control and supremacy of a patriarchal society. To do so, and following a psychoanalytical approach, the theme of the mirror will be the main focus as an instrument which brings or hinders the acknowledgement of these princesses.Keywords: Elfriede Jelinek, postdramatic theatre, fairytales, psychoanalysis, mirror.
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19

Bohunovsky, Ruth. "“Em caso de dúvida, sempre cômico!” : o teatro de Elfriede Jelinek." Pandaemonium Germanicum 23, no. 39 (February 2, 2020): 128–57. http://dx.doi.org/10.11606/1982-88372339128.

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A dimensão cômica é um aspecto negligenciado na recepção brasileira da obra de Elfriede Jelinek, embora venha ganhando cada vez mais destaque em trabalhos acadêmicos internacionais. O propósito deste trabalho é argumentar que o potencial cômico não é um fator secundário na obra da escritora austríaca, mas essencial no âmbito de seu projeto políticoesclarecedor. Nesse sentido, este artigo apresenta possíveis aproximações a diversas categorias do cômico que podem ser identificadas em textos teatrais de Jelinek. A argumentação baseia-se em quatro peças teatrais, todas tematizando o papel da mulher numa sociedade patriarcal e capitalista.
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20

Kubaszczyk, Joanna Maria. "Językowy obraz świata zdehumanizowanego: na przykładzie obrazu chorych umysłowo w powieści Elfriede Jelinek Die Klavierspielerin i jej przekładzie na język polski autorstwa Ryszarda Turczyna." Etnolingwistyka. Problemy Języka i Kultury 31 (October 11, 2019): 191. http://dx.doi.org/10.17951/et.2019.31.191.

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<p class="CitaviBibliographyEntry">Przedmiotem analizy jest fragment powieści Elfriede Jelinek Die Klavierspielerin oraz jej przekład na język polski dokonany przez Ryszarda Turczyna. Powieść Jelinek można uznać za powieść społeczną, w której autorka przeprowadza nie tyle analizę jednostkowego losu, ile analizę społeczeństwa, przedstawioną na przykładzie jednostki będącej „produktem” społecznym. Analiza kondycji człowieka i społeczeństwa odbywa się u Jelinek poprzez język, który bezlitośnie dezawuuje sposób myślenia bohaterów i mechanizmy społeczne. W artykule pokazane jest, w jaki sposób poprzez język Jelinek odsłania współczesną dehumanizację w odniesieniu do osób starszych i chorych psychicznie. Autorka w oparciu o teorię metafory kognitywnej analizuje tekstowy obraz świata, zakładając za Lakoffem i Johnsonem i pośrednio również za Jelinek, że metafory językowe można traktować jako manifestacje metafor myślowych. Jednocześnie stara się odpowiedzieć na pytanie, czy i na ile ten językowy obraz świata został odtworzony w przekładzie na język polski.</p>
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21

Kallin, Britta. "Intertextualities in Elfriede Jelinek’s Rein Gold: Ein Bühnenessay." Seminar: A Journal of Germanic Studies 57, no. 2 (May 1, 2021): 114–33. http://dx.doi.org/10.3138/seminar.57.2.2.

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Elfriede Jelinek’s postdramatic stage essay Rein Gold (2012) interweaves countless texts including Richard Wagner’s operas from the Ring cycle, Karl Marx’s The Capital, and Marx and Friedrich Engels’s The Communist Manifesto as well as contemporary writings and news articles. Scholarship has so far examined the play in comparison to Wagner’s Rheingold opera, which serves as the base for the dialogue between the father Wotan and daughter Brünnhilde. This article examines intertextualities with the story of the National Socialist Underground, an extremist right-wing group that committed hate-crime murders and bank robberies, and with the exploitative history of workers, particularly women, in capitalist systems. Jelinek compares the National Socialist Underground’s attempt to violently rid Germany of non-ethnic Germans with Siegfried’s mythical fight as dragon slayer in the Nibelungenlied that created a hero who has been cast as a German identity figure for an ethnonational narrative and fascist ideas in twenty-first-century Germany.
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22

Finney, Gail. "Performing Vienna: Theatricality in Jelinek's 'Burgtheater' and Bernhard's 'Heldenplatz'." German Politics and Society 23, no. 1 (March 1, 2005): 24–38. http://dx.doi.org/10.3167/104503005780889110.

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Where better to begin talking about Viennese identity in the late twentieth century than in the work of Elfriede Jelinek and Thomas Bernhard—specifically, in two plays whose titles immediately evoke the city as well as pregnant moments in its history: Jelinek's Burgtheater (published 1982; premiered 1985 in Bonn) and Bernhard's Heldenplatz (premiered 1988 in Vienna's Burgtheater). Insofar as the two plays dramatize the extent to which National Socialism took hold and persisted in Austria, they epitomize both authors' perennial roles as keen observers and harsh critics of Austrian society. Burgtheater and the scandal it generated established Jelinek's function as "Nestbeschmutzerin," whereas Heldenplatz, appearing the year before Bernhard's death, can be regarded as the capstone of his career as a critic of Austrian mores and politics.
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23

Gonzal�s-Vangell, B�atrice. "L��uvre d�Elfriede Jelinek est-elle scandaleuse ?" Revue d�Histoire de la Shoah N�201, no. 2 (2014): 319. http://dx.doi.org/10.3917/rhsho.201.0319.

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24

Levin, Tobe. "Introducing Elfriede Jelinek: Double agent of feminist aesthetics." Women's Studies International Forum 9, no. 4 (January 1986): 435–42. http://dx.doi.org/10.1016/0277-5395(86)90016-6.

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25

Gromek, Karol. "Znaczące ciało Gerti - szkic o Pożądaniu Elfriede Jelinek." Teksty Drugie 4 (2017): 203–19. http://dx.doi.org/10.18318/td.2017.4.13.

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26

Honegger, G. "This German Language....: An Interview with Elfriede Jelinek." Theater 25, no. 1 (March 1, 1994): 14–22. http://dx.doi.org/10.1215/01610775-25-1-14.

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27

Reger, Maria. "JELINEK[JAHR]BUCH: Elfriede Jelinek-Forschungszentrum 2016–2017 by Pia Janke, Konstanze Fladischer." Journal of Austrian Studies 51, no. 3 (2018): 98–101. http://dx.doi.org/10.1353/oas.2018.0048.

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28

Jezierska, Agnieszka. "Elfriede Jelinek: Why and How Polish Female Writers Read her Work." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Studia Neofilologiczne 11 (2015): 29–47. http://dx.doi.org/10.16926/sn.2015.11.02.

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Majkiewicz, Anna. "Dzieci umarłych Elfriede Jelinek w pułapce marketingu. Poznawcze i pragmatyczne aspekty przekładu / Elfriede Jelinek’s Die Kinder der Toten (The Children of the Dead) entrapped by book marketing Cognitive and pragmatic facets of translation." Przekłady Literatur Słowiańskich 9, no. 2 (May 30, 2019): 13–27. http://dx.doi.org/10.31261/pls.2019.09.02.02.

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This article attempts to answer the question: why the Polish translation of a novel by Elfriede Jelinek The Children of the Dead (Die Kinder der Toten) did not stir any debate in the circles of literary criticism in Poland. While analysing the actions carried out as a part of the W.A.B.’s (a Warsaw-based publishing house) strategy to advance the publication process and to popularize Jelinek’s oeuvre, we may notice that they actually confirm the publisher’s endeavour to balance economic and symbolic capital (Bourdieu). It allows us to reconstruct the “marketing” aims of the translation in question. Yet both the cognitive and pragmatic facet of the Austrian Nobel Laureate’s Polish translation remain to be reconstructed by the readers.
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Szczepaniak, Monika. "LUDO-ŻERCY DOBRO-CZYŃCY. KARL KRAUS I ELFRIEDE JELINEK." Porównania 22, no. 1 (March 12, 2019): 219–36. http://dx.doi.org/10.14746/p.2018.22.18188.

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Artykuł stanowi próbę porównania poetologii reprezentowanych przez austriackich pisarzy satyrycznych Karla Krausa i Elfriede Jelinek z uwzględnieniem kontekstów kulturowych, w których osadzona jest ich twórczość. Punktem wyjścia dla przeprowadzonej analizy tekstów „satyryków apokaliptycznych” jest esej Waltera Benjamina Karl Kraus, który wskazuje na kanibaliczne źródła satyry (satyryk jako „figura, w której cywilizacja recypowała ludożercę”). Figura ludożercy w znaczeniu metafory opisującej strategie produkcji tekstu, metody krytyki języka oraz koncepcje autorstwa staje się kategorią analityczną i narzędziem interpretacji.
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Hoefle, Arnhilt Johanna. "Jelinek in Chinese: a Controversial Austrian Nobel Laureate in the Chinese Book Market." Vienna Journal of East Asian Studies 2, no. 1 (December 1, 2011): 1–25. http://dx.doi.org/10.2478/vjeas-2011-0007.

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Abstract The awarding of the world’s best known literature prize to the controversial Austrian writer Elfriede Jelinek in 2004 triggered off worldwide hype in its reception. So far, Jelinek’s works have been translated into more than 40 languages. Chinese is one of them. Although the author’s first works had already been translated back in the 1990s, on the Chinese mainland all translations of her works were actually published only after the key event of the Nobel Prize. They immediately received immense attention from the Chinese public and unleashed what could even be termed a ‘Jelinek fever’. This paper is devoted to shedding light on the first introduction and the unexpected success of this controversial Austrian Nobel laureate in the Chinese book market. It will give an overview of the Chinese translations of Jelinek’s works and will try to reveal some of the dynamics that led to their actual selection, translation, publication, marketing and status as bestsellers. The challenges of the rapidly transforming Chinese publishing industry and the impact of these challenges on the reception of foreign literature will be discussed. Furthermore, the paper will outline the crucial role of the intermediaries, especially of the powerful literary agency involved, in this process of cultural transfer.
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Szymańska, Katarzyna. "Przeciwko Austrii jako pocztówce. Wokół książki Moniki Muskały Między „Placem Bohaterów” a „Rechnitz”. Austriackie rozliczenia." Narracje o Zagładzie, no. 5 (December 22, 2019): 293–309. http://dx.doi.org/10.31261/noz.2019.05.16.

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Artykuł jest omówieniem książki Moniki Muskały Między „Placem Bohaterów” a „Rechnitz”. Austriackie rozliczenia, z uwzględnieniem zamieszczonego w niej utworu Elfriede Jelinek Rechnitz (Anioł Zagłady). W tekście wyszczególnione zostają wystawione w Polsce spektakle teatralne na podstawie dramatu Jelinek, a także inne książki odwołujące się do masakry, do której doszło w Rechnitz w marcu 1945 roku (A co ja mam z tym wspólnego? Sachy Batthyany’ego i Topografia pamięci Martina Pollacka). Autorka przywołuje materiały dotyczące żydowskich pracowników przymusowych z terenów Burgenlandu i sygnalizuje przy tym potrzebę patrzenia na Rechnitz jako na jedną z wielu zbrodni okresu końcowego, Endphaseverbrechen, a nie przypadek odosobniony (na podstawie badań Waltera Manoscheka).
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Szymańska, Katarzyna. "Przeciwko Austrii jako pocztówce. Wokół książki Moniki Muskały Między „Placem Bohaterów” a „Rechnitz”. Austriackie rozliczenia." Narracje o Zagładzie, no. 5 (December 22, 2019): 293–309. http://dx.doi.org/10.31261/noz.7993.

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Artykuł jest omówieniem książki Moniki Muskały Między „Placem Bohaterów” a „Rechnitz”. Austriackie rozliczenia, z uwzględnieniem zamieszczonego w niej utworu Elfriede Jelinek Rechnitz (Anioł Zagłady). W tekście wyszczególnione zostają wystawione w Polsce spektakle teatralne na podstawie dramatu Jelinek, a także inne książki odwołujące się do masakry, do której doszło w Rechnitz w marcu 1945 roku (A co ja mam z tym wspólnego? Sachy Batthyany’ego i Topografia pamięci Martina Pollacka). Autorka przywołuje materiały dotyczące żydowskich pracowników przymusowych z terenów Burgenlandu i sygnalizuje przy tym potrzebę patrzenia na Rechnitz jako na jedną z wielu zbrodni okresu końcowego, Endphaseverbrechen, a nie przypadek odosobniony (na podstawie badań Waltera Manoscheka).
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Wolf, Michaela. "“The Translation Cuddles up to the Original Like the Sheep to the Wolf” Nobel Prize Winner Elfriede Jelinek as a Translator1." TTR 25, no. 2 (October 8, 2013): 119–41. http://dx.doi.org/10.7202/1018805ar.

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Elfriede Jelinek’s stance towards translation is full of respect: her own experiences as a translator showed her that what she primarily did was “learning by doing.” Jelinek has produced about a dozen translations from English and French into German, mostly drama texts. As an author, she became famous for the innovative and provocative language with which she denounces patriarchal structures, the enduring oppression of women, and the insidious continuation of fascist ideology in Austria and other parts of Europe. Yet her model of literature bluntly opposes her model of translation. She has repeatedly said that as a translator she supports “basically the method of relatively literal translation”—a claim which can be easily proved by looking at her translations. In my paper I will first give an overview of Jelinek’s translations (some of which are co-productions with other translators) and present her own views on translation, which will show that she is very much aware of the pitfalls of the translation activity. I will then analyze Jelinek’s notion of translation, followed by a short analysis of her translation of Christopher Marlowe’s The Jew of Malta. This will be the basis for my discussion of whether her ideas on translation, as expressed in several interviews and speeches, have been put into practice in her translation. It is, however, my assumption that Jelinek does not follow a strict set of translation strategies; rather, she engages intuitively with every new translation project.
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Swales, Erika, and Monika Szczepaniak. "Dekonstruktion des Mythos in ausgewahlten Prosawerken von Elfriede Jelinek." Modern Language Review 95, no. 4 (October 2000): 1143. http://dx.doi.org/10.2307/3736698.

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Weber, Herwig. "Elfriede Jelinek: un Premio Nobel para la literatura austriaca." Anuario de Letras Modernas 13 (April 30, 2008): 151–58. http://dx.doi.org/10.22201/ffyl.01860526p.2006.13.708.

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Kargl, Elisabeth, and Marc Lacheny. "« Wahrheitssucher in sprachlichen Angelegenheiten » : Elfriede Jelinek et Karl Kraus1." Germanica, no. 46 (June 30, 2010): 125–46. http://dx.doi.org/10.4000/germanica.1055.

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Mathias, Dionei. "ÓDIO E PODER." Literatura e Sociedade, no. 23 (July 18, 2017): 73. http://dx.doi.org/10.11606/issn.2237-1184.v0i23p73-89.

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Este artigo pretende analisar a conexão entre ódio e poder no romance Die Klavierspielerin (A pianista), escrita por Elfriede Jelinek. Após uma introdução que discute a questão do poder, como entendido para os fins deste artigo, o texto reflete sobre (1) as práticas maternas de poder, (2) a reprodução dos modelos de socialização e (3) o corpo e o aluno Klemmer como duas fontes do ódio e do poder.
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Pridorogina, Elena Aleksandrovna. "Demystification of “Woman Myth” in Early Plays by Elfriede Jelinek." Filologičeskie nauki. Voprosy teorii i praktiki, no. 3 (March 2020): 77–80. http://dx.doi.org/10.30853/filnauki.2020.3.17.

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Arteel, Inge. "Wie is bang voor Elfriede Jelinek? Bij wijze van inleiding." Documenta 17, no. 3 (May 29, 2019): 255–57. http://dx.doi.org/10.21825/doc.v17i3.11256.

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Levin, Tobe. "Book Reviews : Elfriede Jelinek: the First Two Full-Length Studies." European Journal of Women's Studies 4, no. 1 (February 1997): 108–13. http://dx.doi.org/10.1177/135050689700400111.

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Larsson, Kristian. "Eine revolutionäre Solitärin?" arcadia 52, no. 1 (May 24, 2017): 141–60. http://dx.doi.org/10.1515/arcadia-2017-0008.

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AbstractNo systematic investigations of Elfriede Jelinek’s authorial positioning within the hierarchies of the literary field exist. Previous research has nevertheless noted that the authorship is distinguished by a high degree of reflexivity in relation to the power structures it confronts. Studies on the very earliest phase of establishing herself in the Austrian literary field in the years 1966–1969 have, however, emphasized two characteristics: social isolation and literary imitation. Both aspects suggest authorial immaturity if not inferiority, which seems oddly anachronistic and normative given the astonishingly rapid literary success of Jelinek in this period. This article relates the early success to a shift of values in the literary field at the end of the 1960 s, which allowed for new forms of provocative and experimental expressions to generate literary capital. Jelinek’s transgressive authorial dispositions accumulate symbolic capital using a combination of eclectic texts and strategies of self-fashioning within quite diverse contexts, drawing on social networks, media outlets, and literary publications. The theoretical framework primarily draws on concepts developed by Pierre Bourdieu, most notably habitus and symbolic capital.
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Honegger, G. "Elfriede Jelinek: How to Get the Nobel Prize without Really Trying." Theater 36, no. 2 (January 1, 2006): 4–19. http://dx.doi.org/10.1215/01610775-36-2-4.

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Pokrywka, Rafał. "Der ironische Modus im aktuellen Liebesroman." Transfer. Reception Studies 5 (December 31, 2020): 181–99. http://dx.doi.org/10.16926/trs.2020.05.01.

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Der ironische Modus ist ein Komplex von literarischen, vor allem strukturellen, me-tafiktionalen, intertextuellen, verfremdenden und illusionsbrechenden Verfahren, die im ak-tuellen Liebesroman eingesetzt werden. Dem liegt ein relativistisches Verständnis der Liebe als kulturelles Konstrukt zugrunde. In diesem Beitrag wird der ironische Modus dem utopi-schen entgegengesetzt sowie nach seiner Wirksamkeit in der neuesten deutschsprachigen Li-teratur gefragt. Angesprochen werden Liebesromane von Wolf Haas, Monique Schwitter, Christoph Höhtker, Peter Handke, Martin Walser, Friedrich Christian Delius, Navid Kermani, Brigitte Kronauer, Olga Flor, Elfriede Jelinek, Sibylle Berg, Marlene Streeruwitz und Corinna T. Sievers.
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Thibault, Sara. "Rhapsodisation et transpersonnalisation de la parole dans les Drames de princesses d’Elfriede Jelinek." Pratiques et travaux, no. 58 (December 13, 2016): 171–92. http://dx.doi.org/10.7202/1038326ar.

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Le présent article, tiré du mémoire de maîtrise de l’auteure, se consacre à l’étude de la parole dans les Drames de princesses, un recueil de pièces de théâtre écrites par Elfriede Jelinek qui constituent autant de variations autour du thème de la jeune fille et la mort. L’analyse s’articule autour de la notion de transpersonnalisation élaborée par Jean-Pierre Sarrazac afin de mettre en relief l’hétérogénéité des discours qui composent la parole de chacune des princesses. L’idée de montage de répliques, empruntée à Joseph Danan, aide à expliquer la conflagration qui s’opère entre le discours médiatique et les autres discours qui traversent le recueil. Finalement, la récupération de ce que Meyerhold appelait un « dialogue intérieur dissimulé » sert à faire ressortir le fait que, sous un apparent dialogisme, la parole des héroïnes de Jelinek est davantage tournée vers l’introspection et prend la forme de soliloques individuels plutôt que d’un véritable échange entre les protagonistes.
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Ricker-Abderhalden, Judith, and Oliver Claes. "Fremde. Vampire. Sexualitat, Tod und Kunst bei Elfriede Jelinek und Adolf Muschg." German Quarterly 71, no. 2 (1998): 206. http://dx.doi.org/10.2307/407895.

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Berka, Sigrid, and Annette Doll. "Mythos, Natur und Geschichte bei Elfriede Jelinek. Eine Untersuchung ihrer literarischen Intentionen." German Quarterly 69, no. 1 (1996): 108. http://dx.doi.org/10.2307/408623.

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Barnett, David, and Dagmar Jaeger. "Theater im Medienzeitalter: Das postdramatische Theater von Elfriede Jelinek und Heiner Müller." Modern Language Review 104, no. 1 (January 1, 2009): 279. http://dx.doi.org/10.2307/20468233.

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EIGLER, FRIEDERIKE. "Gewissenlose Erkenntnis": Frauen-Bilder und Kulturkritik bei Elfriede Jelinek und Friedrich Nietzsche." Seminar: A Journal of Germanic Studies 30, no. 1 (February 1994): 44–58. http://dx.doi.org/10.3138/sem.v30.1.44.

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Kargl, Elisabeth, and Hervé Quintin. "« Permis de traduire ». Elfriede Jelinek, dramaturge du langage dans Über Tiere / Animaux." Germanica, no. 57 (June 30, 2014): 53–67. http://dx.doi.org/10.4000/germanica.2546.

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