University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Power, Sexuality, and the Masochistic Aesthetic From Sacher- Masoch to Kharms Maya Vinokour University of Pennsylvania,
[email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Eastern European Studies Commons, European Languages and Societies Commons, German Literature Commons, and the Slavic Languages and Societies Commons Recommended Citation Vinokour, Maya, "Power, Sexuality, and the Masochistic Aesthetic From Sacher-Masoch to Kharms" (2016). Publicly Accessible Penn Dissertations. 2078. https://repository.upenn.edu/edissertations/2078 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2078 For more information, please contact
[email protected]. Power, Sexuality, and the Masochistic Aesthetic From Sacher-Masoch to Kharms Abstract This project centers on what I call the “masochistic aesthetic,” which emerged as literature dovetailed with medicine and law in German-speaking Europe and Russia around 1900. I argue that incipient totalitarian societies instrumentalized art and literature to produce citizens who enthusiastically consented to painful social discipline — that is, political masochists. Masochistic narratives like Leopold von Sacher-Masoch’s Venus in Furs (1870), Anton Chekhov’s The Duel (1891), or Andrei Platonov’s Happy Moscow (1933-6) reflect the ethnographic attention to borderlands, regulation of the body, and indefinite delay of pleasure inherent in the imperial or totalitarian settings that engendered them. After tracing the origins of the masochistic aesthetic to the synthesis of sexology and literature in Austria-Hungary, I track its passage into degeneration discourse in late-imperial Russia (Lev Tolstoy, Anton Chekhov) and the labor rationalization movements of interwar German-speaking Europe (Franz Kafka, Robert Walser).