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- Grass, some ob Volume 16 (2014-16), (2014-16), Günter The Common The Common The Piano Teacher The Piano Volume 16. Autumn 2017 • on the web 2017 • Autumn 16. Volume (1995). In these texts, the reader must (1995). In these texts, the reader Too Far Too Afield Intermediality, performativity, metaphor, presence ef presence metaphor, performativity, Intermediality, Keywords fects, Elfriede Jelinek, Günter Grass Introduction In the fiction of both Elfriede Jelinek and as more perceived jects appear to be let loose, and some actions are with readers the Both authors confront than meaningful. disturbing In this article, I want to discuss the way metaphors take form as the way metaphors take form In this article, I want to discuss diegetic actions in Elfriede Jelinek’s Günter Grass’s usually only conceptu what metaphorical language literally picture with disturbing their readers to. Both authors confront ally refers straight resist they way; some in significant be to felt are that actions forward interpretation and rather provoke affectivereactions. This deliberate disturbance of metaphorical language can be understood mate and mediality the foreground They effects. presence medial as The literature. and waylanguage of riality literature performs and perceptible. and functions as a medium is made visible Abstract is a member of Linnaeus University Centre of Intermedial at Centre is a member of Linnaeus University Linnaeus University, Sweden and Multimodal Studies and and Sweden and Multimodal Studies Linnaeus University, focus projects research Current in Literature. Senior Lecturer witnessing and authen on medial performance as well as on ticity in mediation. Postdoctoral Research in Literature of Music and Violence Ground (Musik in der Prosa Ph.D. in 2012 at Stockholm University von Günter Grass). quarter
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Performance and Medial Presence in the Fiction of in the and Medial Presence Performance and Günter Grass Elfriede Jelinek Disturbing the Metaphor Disturbing Beate Schirrmacher
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how are child de are What, however, however, What, 1 Beate Schirrmacher Beate Volume 16 actually Disturbing the Metaphor the Disturbing , 1983) and Grass’s (Just 1972, 118). 1972, (Just
Processes of materialisation appear to Processes 2 , 1995) the immediate short cut to a level of , 1995) the immediate Die Klavierspielerin ( they signify. they signify. how Ein weites Feld Ein ( appear as vampires” and that “mothers and that appear as vampires” and In this article, I want to explore this peculiar stressing of ‘actual’ stressing this peculiar In this article, I want to explore how this ‘actual’-ness fore In the following, I intend to explore In Jelinek’s plays and novels, the structural violence in social violence in social structural In Jelinek’s plays and novels, the sician and composer, Grass was educated in visual arts and always sician and composer, continued to switch between writing and drawing. Performing mu In painting material qual sic depends on material bodily presence. material precon In language, however, ities have to be considered. Jelinek’s In the following examples from easily ignored. ditions are The Piano Teacher Afield ideas is disturbed. Metaphors, which usually describe (Tabah 2008, 219, my italics). (Tabah or disturb signification. replace to be more perceived some objects objects. Why are events and ‘real’ by still only represented although they are than others are, ‘real’ as some events or actions on stage perceived language? Why are make-believe? ‘actual’, although they still clearly are more As both authors are as a medium. of literature the presence grounds aware they thus also are familiar with other media than literature, Jelinek is a trained mu of the mediality of language and literature. it is more difficult to come to any conclusions regarding exactly what of di forms in out carried ‘actually’ use is and language structures explicitly researchers here, physical violence (Janz 1995). Even rect, Tabah of materialisation. Thus, Mireille point out an unusual degree traditionaldefy protagonists female Jelinek’s how explores only not “ how female protagonists she also stresses female gender roles, tually vouring monsters”; language becomes visible on stage as “signifi ers . . . flown on the stage as gruesome objects, things or bodies” actions and objects that are felt to be significant in al someway, apart form ‘actual to say exactly what they mean though it is hard ly’ taking in place fiction.on Grass’sstage, present or being ‘really’ detail sensual with occupied and concrete, visual, as appears fiction felt to be are 35–66). Even abstract (see Standfuss 2008, processes objects” “real be to plot, the of part is meant by this idea; that some objects – a tin drum, potatoes, a in the diege than other objects ‘real’ more teeth – are protagonist’s Although their significance may becomereader, obvious tosis? the quarter
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Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing Intermedial relations highlight the connection between perform Intermedial relations The “wandering concept” (see Bal 2002, 174–212) of performativ The “wandering concept” (see Bal and could be considered as “medial presence effects”. as “medial presence and could be considered ativity and mediality (Krämer 2004). Nevertheless, even interme easily focuses on how material medial presence dial interpretation In the texts discussed contributes to meaning and interpretation. of liter and the convergence intermedial relations below however, immediate interpre ary performativity and performance prevents disturbance. tation and creates word and action in Austin’s performatives; repetition and change in change and repetition performatives; Austin’s in action and word and iteration linguistic performativity; iterative of concept Derrida’s to establish in Judith Butler’sthe social identity that they help per formative acts; actor and work in performative Fischer-Lichte’s communica on perspective medial In to performance. approach of the medium and conveyed mean tion the material presence ingis in communication mediality on focus A separated. be cannot thus always performative (Krämer 2004, 20), and implies an oscilla tion between meaning and a certain kind of “presence effects” (Gumbrecht, 2004). Instead of unmediated presence, these effects medium of the rather draw attention to the presence discussed here performativity, theatrical staging and medial performance interact performativity, in detail. more in a way that has to be explained ity is applied to a confusing range of different phenomena. How and performance often appear as only even if performativity ever, common characteristics (Bal some loosely connected, they still share per understand we how matter, No 2004). Krämer 2002; Wirth 2002; of meaning can it always involves that the production formativity, performative A presence. bodily or material not be separated from col binaries convenient implies that otherwise always perspective lapse or start to oscillate (Krämer 2004, 21; Fischer-Lichte 2008, 17); ine a diegetic object or event, ‘actually’ appear within the diegeticthe within appear ‘actually’ event, or object diegetic a ine diegetic actions that are with is thus confronted world. The reader not are sense, as they not make immediate do felt to signify but as primar I want to explain these actions as meaningful. perceived per literature The way in which language and ily performative. set into action within the plot. form as media is metaphors mediality, Performativity, involves that linguistic Disturbing metaphorical understanding quarter
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primary and sub Beate Schirrmacher Beate The Piano Teacher Volume 16 Disturbing the Metaphor the Disturbing both : Performing Metaphors Metaphors connect two apparently unrelated objects through im objects through unrelated Metaphors connect two apparently In literary language, the performative convergence of action and the performative convergence In literary language, Elfriede Jelinek’s texts foreground the ambiguity of language with the ambiguity of language Elfriede Jelinek’s texts foreground ismeaning semantic All 2007). (Kecht resonances polyphonic its all self-con language and discourse; literary in destabilized iteratively (Janz reality social shaping in participates it way the reflects sciously 2007). In Jelinek’s early novel 1995, Piccolruaz plot and psychologically mo still is the notion of a coherent there perceived is that plot a here, already However, characters. tivated coherent is challenged by the novel’s self-reflexive narrative dis it metaphorical expressions creatively establish new connections ofconnections new establish creatively expressions metaphorical it Max Black similarity. describes the metaphor as a “filter” (Black traits of 1954/55, 291) that highlights certain understandto order In others. downplaying while subject sidiary to literal from shift metaphorical we apply a explicit metaphors absurd, as appears meaning literal whenever – meaning transferred or false (cf. Cohen 1997, 224). Both metaphorical self-contradictory, filter and metaphorical shift are performatively challenged in the examples below. The Piano Teacher Larsen points out, how narrated performance that is not clearly performance that is not clearly Larsen points out, how narrated eve between the border blurs by the narrator, or stage a by framed aAs 79). 2010, (Larsen acts meaningful performatively and day ry and means, or represents, between what the texts the border result (ibid., 68). This can be seen is destabilised what it does, or presents language.in the performative use of metaphorical characteristics of subsidiary sub buing a primary subject with the relies thought language-based All 2008). Cohen 2014; (Donogue ject the abstract with the more on conceptual metaphors that describe explic whereas 2010), Kövecses 1980; Johnson and (Lakoff concrete words mostly appears to take place in the act of writing, narrating to take place in the act of writing, mostly appears words per the on focused mostly have studies Literary story. a reading or formativity of narrative discourse – its self-reflexive ability to both a 2002, 25). To (Wirth upon what it described and comment create appear to be of narrated acts and words performative perspective, lesser as interest they do not affectreal, the social world. However, a heightened self-reflexive performativity of narrative discourse also influences the way we understandnarrated acts. Svend Erik quarter
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Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing , music is not primarily the source of auditory of , music is not primarily the source Performing music, when described through the filter through when described Performing music, 3 Piano Teacher
The In It has been noted before, that Erika’s profession as a pianist con as a pianist that Erika’s profession before, It has been noted of female household chores, is gendered female (Solibakke 2007, is gendered chores, of female household an tool, a to the performer compare metaphors Mechanical 259). how conceptions of music object. These metaphors foreground, have been used to define the female gender (Powell and Bethman 2008, 173), and they point out the rigours of discipline in the tradi which the performer has to subject her art music tion of Western body to (Cook 2001). in However, the diegesis, only the primary as the subsidiary subjects, subject, performing music, is present, discipline (see Schirrmacher 2016). Mechanical metaphors compare Mechanical metaphors compare discipline (see Schirrmacher 2016). or other (Jelinek 1988, 40, 114), Erika to a piece of ticking clockwork mechanical instruments (36); an unmotivated music student is notion of (28). The gendered car engine to a reluctant compared to music music as an approach performing (and thus reproducing) deemed suitable for women (Powell and Bethman 2008) is con to audience listens veyed in domestic metaphors. Thus, a recital’s (Jelinek patterns of contrapuntal texture” “the intricate crocheted the “corrects as piano teacher, 1983, 63f.), and Erika, in her role Bach, mends and patches” (105) when a student fails to perform adequately. (ibid., 176). However, several of her disturbing actions appear to be to appear actions disturbing her of several However, 176). (ibid., used to violent metaphors that are with in performative relation as presented is music of performance the novel, In music. describe of a performative narrative dis gender performance by means course. This merging of different performative levels destabilizes as diegetic actions and is perceived between what the borders metaphorical language. pleasure. From the perspective of the music performer, appears as and mechanical meta and discipline. Violent work of hard the result physical strain and subjection to phors highlight the amount of course. The novel’s protagonist, Erika Kohut, is a failed pianist and turned severe piano Her teacher. sexual life revolves around one voyeurism of and Klemmer, her self-harm. stu When Walter only conceive her his sexual conquest, she can dents, tries to make of Bondage & Dominance. in terms of a sexual relationship tributes to her inhibited sexuality (Powell and Bethman 2008). Her and terms of both sadistic aggression in most disturbing behaviour, subject of psychological interpretation the self-harm, often remains quarter
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Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing Erika performs.
5 how of the intricate crocheted patterns of of the intricate crocheted The similarity between the net of the The similarity between the net of 4 the whiplashes Actions of violence and self-harm are not only metaphori only not are self-harm and violence of Actions 6 Thus, the aggression towards the body that is demanded of the towards Thus, the aggression Subjecting the body to discipline in performing music also is con is also music performing in discipline to body the Subjecting cally evoked, but they also literally take place in the diegesis. The razor is an object in the diegesis, and Erika uses it to slash her vulva the as the whips, or maim her hands, at the same time, the razor, gags are imbued with significance as subsidiary subjects of violent must imagine what language otherwise As the reader metaphors. twisted, to, this is experienced as being transgressive, only refers distorted. oughly as he can” (215); “Use a rubber hose . . . to stuff the gag so stick out my tongue: . . . Pleasetightly into my mouth that I can’t my face so skilfully and tie up my pleasure: use a blouse to increase that I can’t get it off.” (218) thoroughly also out in metaphors, but (female) performer is not only brought literally carried out by Erika’s actions. When Erika cuts her hands, . . . . the blade into the back of her hand several times “she presses The metal slices her hand like butter” (44). In her need for self-harm geni her mutilates and cut” a makes she legs her “spreading is she (86). tals ham and the grid system of the staves literally ‘fleshes out’ how the how out’ ‘fleshes literally staves the of system grid the and ham unlike the However, demands of discipline may the mistreat body. theof subjects subsidiary the metaphors, mechanical and domestic contexts: the appear in non-metaphorical also violent metaphors the body play a vital role that hurt whips, the gags, the instruments be she fantasies her BDSM In self-harm. sexuality and in Erika’s net, asking her ham in the the smoked as as immobilised comes . . . and also the to tie “her up with the ropes would-be lover Walter Hogtie her; bind her up as thor leather straps and even the chains! strung [Erika] in an untearable net of directions . . . like a rosy ham . . . like a rosy [Erika] in an untearable net of directions strung on a butcher’s hook” (190). needlework, clocks or engines are only conceptually evoked in nar only conceptually evoked or engines are needlework, clocks to describe the way rative discourse patterns” “crocheted violence. The of direct veyed by metaphors in fact “ above are should, audience (my italics), while the recital’s contrapuntal tissue” as they apparently to Erika, be “gagged and subjected”, according yearn for “thrashings” (68). The five black lines of the staves of a that has ham to be a “grid system, said are piece of sheet music quarter
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34/1995). Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing Der Spiegel Ein weites Feld, ( As (1986). Fonty always draws Tallhover Too Far Afield Too – Visualising Metaphors – Visualising Set in 1990 in Berlin, the novel reflects German re-unification, and re-unification, German reflects novel the Berlin, in 1990 in Set In artistic performance, the very materiality of the acts carried acts carried the very materiality of the In artistic performance, Hoftaller is a kind of literary double of the protagonist spy in Hans- in spy protagonist the of double literary of kind a is Hoftaller Joachim Schädlich’s novel on history in order to explain the present, and as Germany’s unifi cation in 1871 preceded two world wars, Fonty expects re-unifica This critical perspec German aggression. tion to lead to renewed tive theon critics re-unification was widely Additionally, attacked. found the novel’s plot overly complex, its style intolerably cumber some and the protagonists as being lifeless. Fonty’s actions appear critics literally ripped the novel to pieces (Reich-Ranicki 1995; see also Negt 1996). On its front page, the news magazine Reich- Marcel critic literary influential most then Germany’s showed novel ( Ranicki to ‘actually’ tear apart the are and hopes of former GDR citizens who deals with the problems Still, the plot appears somewhat con adapting to the new order. trived. The novel’s protagonist, Theo is nicknamed Wuttke, Fonty, the life of his re-enacting mentally stuck in the nineteenth century, idol, the novelist Theodor Fontane. a Hoftaller, former member of the Stasi, constantly follows – or rather shadows – Even Fonty. ness. Art performance usually takes place at a performance site site place at a performance usually takes Art performance ness. rather than a clearly framed stage; it toys with the uncertain rela certain of Eri (ibid.). Similarly, tion, of material and symbolic acts a performance site. ka’s actions turn the diegesis into Far Afield Too metaphorical language Just as in the work of Jelinek, disturbing deforms and distorts the narrative in the fiction of Günter Grass. novel The controversial and material qualities of in the visual example, appears rooted all literary in 1995, approximately Grass’s graphic work. Published out prevents a merely symbolical interpretation, and so both mate and symbolical interpretation, a merely out prevents rial and begin symbolic to interpretation oscillate (Fischer-Lichte self-harm to Erika’s the passages that relate 2008, 16-18). Reading The in feelings of unease and rejection. results almost certainly bodily violence overrules any merely symbolic interpretation; the of world virtual The kept present. is in the diegesis actual violence believed to lack performative the diegesis, which is traditionally force, is thus able to provoke emotional affect a notion of ‘actual’- quarter
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Beate Schirrmacher Beate In drawing, Grass 7 Volume 16 Disturbing the Metaphor the Disturbing . Too Far Afield Too – in various ways. They explicitly lead their narrated livesnarrated their lead explicitly They ways. various in – Hoftaller to is as referred Fonty’s “day-and-night-shadow” 8 In “Bilderbogen – sitzend, stehend und gehend” (‘Epinal print und gehend” (‘Epinal print In “Bilderbogen – sitzend, stehend Scholarship has considerably revised this picture of a failed novel. this picture revised Scholarship has considerably gängers being in in the shadows, or as the shadows, of their predecessors, (Grass 2000, 6, 13) or “shadowly outlines” as “silhouettes” troduced (45). (36 et clinging passim), as he does to the object of observation – Fonty – that he is tasked with ‘shadowing’. Nevertheless, as Grass not to he refers literary to visual means of expression, moves from of – which the commonplace associations of shadows in literature process can be process exemplified with the series of during images created the writing of protagonists two the find we 1) Figure moving’; standing seated, – standing side by side or back to back, sitting vis-à-vis, or parting company at a corner. Here, Fonty and Hoftaller appear loosely more usually Grass’s to contrast in flat, two-dimensional, sketched, silhouettes, like look however, figures, These style. graphic detailed as can be seen shadows. Thus, their loose, vaguely sketched nature draw of means by shadow’ ‘to metaphor the test on put to way a Hoftaller are literary doubles – ing. Fonty and, arguably, can also be explained by how Grass visually explored metaphors. by how Grass visually explored explained be also can His working process involved drawing motifs that were related to by the verbal metaphors on “checking of process this the text. In the drawn metaphor as be he perceived them”, drawing of means ing more exact, . . . as to the alluring sound of words. “not prone canmetaphor the representation, graphic into translated when First 2007, 506) itself to be consistent.” (Grass prove subsidiary objects of the metaphor how primary and explored re-translated then He another. one on influence concrete exert might metaphors appear as artistic into the text. Verbal these relations This a graphic process. through material, formed and deformed to be too often dictated by Fontane’s biography and predilections, as Moreover, and psychological depth. and lacking in individuality Fonty is very fond of quoting his idol Fontane, and both he and Hoftaller frequently repeat their favourite phrases, they thus ap of their originals.pear to be poor imitations point out to the relevantAlexandra Pontzen, for example, parallels between FontyHow 2008). (Pontzen Quixote Don Cervantes’s and lack of depth and complexity unsatisfactory the protagonist’s ever, quarter
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, Volume 2: Die , Volume Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing © Steidl Verlag. Catalogue Raisonné Figure 1: Günter Grass, “Bilderbogen – sitzend, stehend und gehend,” 1: Günter Figure 1993. In Günter Grass: Kugelschreiber Lithographien (Göttingen: Steidl 2007), 254. quarter
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and the shad and prints, and the prints, and the Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing épinal doppelgänger protagonist and a contrived protagonist and a contrived
unfamiliar (see Freud, 1919). In 1919). Freud, (see unfamiliar Instead, the material characteristics of characteristics Instead, the material . print was used to disseminate popular popular print was used to disseminate unheimlich épinal but literally unable to act independently, encum but literally unable to act independently, doppelgänger However, the disturbance of metaphorical language obstructs im However, The visual metaphor with its more unconventional characteris unconventional with its more metaphor visual The Flatness and two-dimensionality are present in the graphic pre govern Fonty’s behaviour and distort his diegetic actions. When When behaviour and distort his diegetic actions. govern Fonty’s met the familiar recognise the reader does not automatically asked and critics many readers aphor of the shadow as a double rather, only perceive an odd ‘badly written’ tics of the shadow bereaves the literary the literary tics of the shadow bereaves of The visual treatment potential. owing spy of their threatening of threat the of demystification deliberate a is protagonists two the history repeating itself. Upon closer inspection, the novel does not re history German of – perspective fatalist protagonist’s its share peating itself – but offers emancipation from the past (Platen 1999; 2008, Schirrmacher 2012, 163–208). Preece of the shadows not only il The metaphor understanding: mediate behaviour lustrates Fonty’s the shadow develop an agency of their own – they do not explain but bered as he is by the visual restraints of his assumed role, and thus of his assumed role, restraints as he is by the visual bered to contemporary critics) lack perhaps, his behaviour is (irritatingly, ing in depth. plot. As aspects of the plot appear oddly distorted, critics are easily oddly distorted, appear plot of the As aspects plot. conven obstruction of The of failure. author to blame the tempted tional understanding however is intended. techniques that duplicate the original on a two-dimensional surface.techniques that duplicate the original Furthermore, the century and was, in terms of bothsongs and stories in the nineteenth simplistic and lacking relatively visual detail and narrative quality, exploration of the metaphoricalin depth. The visual and material material appears to be re-integrated into the narrative; Fonty is not only a ten is the familiar turned ten is the familiar drawing, Grass highlights the visual qualities – the flatness of the silhouette, the fleeting nature and dependency inherent in arela deliberately are – aspects that on ever-following tionship centred as an uncanny, literary metaphor of the shadow downplayed in the haunting double. to refers sentation as well. The series’ title printing planographic ‘flat’, – lithographs as produced are drawings quarter
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Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing The Piano Teacher Piano The Proceedings of the Aristotelian So Proceedings , which resists symbolical meaning and instead instead symbolical meaning and , which resists , Günter Grass questions established metaphorical mean , Günter Grass questions established New Series 55: 273–94. ciety The awareness of medial performance, of medial presence effects presence medial of performance, medial of awareness The The insistence on conceptual relations ‘actually’ taking place pre The insistence on conceptual relations The irritation not being able to settle for a meaning beyond what isThe irritation not being able to settle for a meaning beyond what “me these In draws attention to the language at work. presented, dial presence effects” we thus perceive literary language in action, they make language as a medium disturbingly perceptible. References Black, Max. 1954–1955. “Metaphor.” could be used to reconsider Grass’s insistance on the concrete, on Grass’s insistance on the concrete, could be used to reconsider Gegenständlichkeit a notion of objects being present. might be understood as mediating effect in also is metaphors of performance how ask, also might One in Jelinek’s later prose, which often is perceived as self-reflexive it the irrita erative language game. It might help to better approach but at the same time tion caused by texts that engage with reality as has noted concerning Coetzee’s reading referential resist (Horsman 2009, 147). Of course, these texts still convey meaning, but interpretation includes affectivereaction to what is presented. of the text and in the material production of his visual art. Con of the text and in the material production evoked, turn usually only into diegetic actions, ceptual relations, of being present, things ‘really’ for the notion of which accounts events ‘actually’ taking place. to sepa would enable the reader vents a metaphorical shift, which do The texts discussed here rate diegetic actions and their meaning. world, as the language par not simply give access to an imagined The texts thus performativelyticipates in forming diegetic actions. not exist without narrative dis demonstrate how the diegesis does language present. course; they keep the medium of Conclusion – Performing Medial Presence – Performing Conclusion Both Jelinek and Grass deliberately disturb the effectiveness of of the meta metaphorical language as they insist on the presence of metaphors involved. The subsidiary subjects phorical subjects In Jelinek’s diegesis. in the events deform able to and present of violent metaphors are subsidiary subjects ‘actually’ hurt and even maim in diegetic actions. Not only in Afield Far both in diegesis ‘actually’ present ing. Subsidiary subjects become quarter
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Philosophy and Sigmund Freud: Sigmund Freud: Beate Schirrmacher Beate Volume 16 , 505–07. Göttingen: 34. http://www.spie Disturbing the Metaphor the Disturbing
Vol. 12. Edited by Anna by Edited 12. Vol. des Performativen des Hamburg: Rowohlt. Hamburg: Elfriede Jelinek. Writing Wom Elfriede Jelinek. Writing Göttingen: Steidl. , edited by Nicholas Cook and Ästhetik . Cambridge, Mass.: Uni Harvard .” In Production of Presence. What Meaning of Presence. Production . Translated by Joachim Neugroschel. . Translated Translated by Krishna Translated New Winston. The Transformative Power of Performance: The Transformative . 2004. Oxford: Oxford University Press. Oxford Oxford: Metaphor y, edited by Mattias Piccolruaz Konzett andKonzett Piccolruaz Mattias by edited y, 2010. “The Polyphony of Remembrance: 2010. “The Polyphony of Remembrance: Die Klavierspielerin. Translated by Saskya Iris Jain. London: Rout Jain. by Saskya Iris Translated “Mein lieber Günter Grass.” Marcel Reich-Ranicki Grass.” Marcel Günter lieber “Mein Ein weites Feld. . Thinking of Others: On the Talent for Metaphor. for Metaphor. On the Talent Thinking of Others: Darstellung und Appell in der Blechtrommel. Blechtrommel. in der Appell Darstellung und Rethinking Music . Stanford, CA: Stanford University Press. University Press. CA: Stanford . Stanford, Travelling Concepts in the Humanities. A Rough Guide the Humanities. A Concepts in Travelling Too Far Afield Too The Piano Teacher 21: 223–42. Die Kinder Der Toten A New Aesthetics New A ledge. Originally published as furt am Main: Suhrkamp, 2004). geordnet. Chronologisch Gesammelte Werke. 22778. Frankfurt am Main: Fischer. Freud, Cannot Convey über das Scheitern eines großen Schriftstellers. über das Scheitern eines großen gel.de/spiegel/print/index-1995-34.html. versity Press. Harcourt. York: XV Vol. Reden II. 1970–1979. Werkausgabe, Steidl. Mark Everist, 239–61. New York: Grove. Grove. York: New Athenäum. furt: Reading an, Nation, and Identit Dick Fairleigh Madison: 189–217. Lamb-Faffelberger, Margarete inson University Press. Toronto: University of Toronto Press. Toronto University of Toronto: University Press. Princeton: Princeton Literature Analysis.” In Jelinek, Elfriede. 1983. Just, Georg. 1972. Just, Georg. Kecht, Maria-Regina. Fischer-Lichte, Erika. 2008. Erika. Fischer-Lichte, In (1919). Unheimliche” “Das 1999. Sigmund. Freud, Hans Gumbrecht, Ulrich. ———. 1989. DER SPIEGEL. 1995. DER SPIEGEL. Donoghue, Denis. 2014. 1995. Grass, Günter. 2000. ———. oder Zeichner?” in ———. 2007. “Bin ich nun Schreiber Bal, Mieke. 2002. Bal, Mieke. 2002. 2008. Cohen, Ted. ———. 1997. Feeling, “Metaphor, and Narrative.” Cook, Nicholas. 2001. “Analysing Performance and Performing quarter
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, edited by (1995). ” In
Performativität , edited by Re Überlegungen zur Beate Schirrmacher Beate Volume 22: 112–25. 16 Disturbing the Metaphor the Disturbing Bonn: Bouvier. Würzburg: Königshau Würzburg: . and France”. In Ein weites Feld “The Many Faces of Elfriede Exploring Textual Action Exploring Textual 32: 163–83. Göttingen: Steidl. Too Far Afield Too edited by Inge Stephan und Alexandra Ta edited by Inge Stephan und Metaphor: A Practical Introduction Practical Metaphor: A Der Fall Fonty: “Ein weites Feld” von Günter “Was haben ‘Performativität’ und ‘Medialität’ und ‘Performativität’ haben “Was Die zerschlagene Wirklichkeit. Die zerschlagene Wirklichkeit. Madison: Fairleigh Dickinson University Press.University Dickinson Fairleigh Madison: “Gegen eine Erlösung von der Geschichte. Eini Geschichte. der von Erlösung eine “Gegen edited by Sybille Krämer, 11–32. München: Fink. München: 11–32. Krämer, edited by Sybille Univ.forlag. Univ.forlag. Elfriede Jelinek: Writing Woman, Nation, and Identity Nation, Woman, Elfriede Jelinek: Writing Elfriede Jelinek: Writing Woman, Nation, and Identity Nation, Woman, Writing Jelinek: Elfriede Köln: Böhlau. Ein weites Feld.” Literatur für Leser Ein weites Feld.” Literatur für Leser In 34: 162–69.
.” In Århus: Århus Århus Århus: Grass im Spiegel der Kritik. Jelinek.” und Medialität, diality of Performance.” In M. Gullestad, 59–82.Anders and Patrizia Lombardo, Lars Sætre, SPIEGEL von Günter Grass Form der Danzig-Trilogie Teacher Lamb-Faf Margarete and Konzett Piccolruaz Matthias by edited 250–69. felberger, und Wahnsystem. Zu Günter Grass’ und Wahnsystem. NachBilder der Wende, cke, 31–45. Elfriede Jelinek’s Musicality.” tion in oneself, to hate it properly’: Journal of Modern Literature Flowed Into the Rhône’: the Nation. Günter Grass in International Perspective becca Braun and Frank Brunssen, 81–93. sen & Neumann. edited by Matthias Piccolruaz Konzett and Margarete Lamb-Faf Margarete and Konzett Piccolruaz Matthias by edited Fairleigh Dickinson University Press. 7–21. Madison: felberger, der epischen Geschichtsdarstellung in Gün ge Voraussetzungen ter Grass’ Oxford University Press. Oxford miteinander zu tun? Plädoyer für eine in der ‘Aisthetisierung’ gründende Konzeption des Performativen.” In Richter, Frank. 1977. Richter, Jelinek’s in Discourse “Musical 2007. Ivan. Karl Solibakke, Powell, Larson and Brenda Bethman. 2008. “‘One must have tradi Julian. Preece, 2008. “‘According the Spree to His Inner Geography, Negt, Oskar, ed. Negt, 1996. Oskar, Piccolruaz Konzett, Matthias. 2007. 1999. Platen, Edgar. “Intertextualität 2008. Sinnkonstruktion Alexandra. als Pontzen, Kövecses, Zoltán. 2010. 2004. Sybille. Krämer, Larsen, Svend Erik. 2010. “‘Speak again. Speak like rain’: The Me Reich-Ranicki, Marcel. 1995. “…Reich-Ranicki, Marcel. werden.” und es muss gesagt quarter
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Danish Musi ” Beate Schirrmacher Beate tatsächlich Volume 16 Performanz Disturbing the Metaphor the Disturbing , edited by Uwe Wirth, “Man muss sie schon tyrannisie
Stockholm: Acta Universitatis The Piano Teacher. als Vampirinnen, Mütter als Vampirinnen, Elfriede Jelinek: Stücke für und gegen das The Elfriede Jelinek: Stücke für und gegen Gegenständlichkeit der “neuen, alle meine Mög Gegenständlichkeit 2016. “Musical Performance and Textual Per and Textual 2016. “Musical Performance 93–107.
: tatsächlich Musik in der Prosa von Günter Grass. Intermediale Refe Musik in der Prosa Göteborg: Acta Universitatis Gothoburgiensis. Göteborg: . . geschnürt wie einen rosigen Rollschinken am Haken eines . , edited by Inge Arteel and Heidy Margrit 215–24. Müller, ater lichkeiten versammelnde Form”: Die Text-Bild-Bände von Günter Günter von Form”: Die Text-Bild-Bände lichkeiten versammelnde Grass Jelinek’s formativity in Elfriede Stockholmiensis. bei Elfriede Jelinek.” Brüssel: contactforum. In Indexikalität.” und Iteration Illokution, Sprachphilosophie und Kulturwissenschaften 9–60. Frankfurt am Main: Suhrkamp. cology Online. Special Edition. Word and Music Studies – New Paths, and Music Studies – Edition. Word cology Online. Special New Methods Perspektiven. – Transmediale renzen “Peitschenschläge[ ] des verschlungenen zu Mustern gehäkelten Kon 63f.); 1983, (Jelinek trapunktgewebes” ren, man muß sie knebeln und knechten, damit sie überhaupt durch berührt . werden. . Wirkung . Sie wollen Prügel und einen Haufen Lei Kind frühester seit Erika ist Notensystem dieses “In (69); denschaften.” heit eingespannt. Dieses Rastersystem hat sie . . . in ein unzerreißbares Netz . Fleischhauers.” (191) “Darstellung psychischer oder anderer unanschaulicher Vorgänge [die] Vorgänge unanschaulicher anderer oder psychischer “Darstellung Gegenstände der epischen Handlung angehören.” als reale treten “Frauen dabei wird Signifikant Der . . . . auf Monster fressende und ermordende übersteigert und als zugleich komisches und grausiges ins Groteske Objekt – als Ding oder Körper – auf die Bühne ‘geworfen.’” Zweiglatt/Zweiverkehrt” (Jelinek 1983, 151); “des “in regelmäßigem verschlungenen zu Mustern gehäkelten Kontrapunktgewebes” (63f., my translation as this passage is missing in the English translation). (105) “Erika K. bessert den Bach aus, sie flickt an ihm herum.” 4 Notes 1 2 3 Tabah, Mireille. 2008. “Genderperformanz als Theaterperformanz 2008. “Genderperformanz als Theaterperformanz Mireille. Tabah, Uwe. Wirth, 2002. “Der Performanzbegriff im Spannungsfeld von Standfuss, Katja. 2008. Beate. Schirrmacher, ———. 2012. quarter
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Beate Schirrmacher Beate Volume 16 Disturbing the Metaphor the Disturbing “die sprachliche Metapher zeichnerisch zu überprüfen” “die sprachliche Metapher zeichnerisch “Die Grafik . . . ist Sie genauer. lässt sich nichtWortklang durch ver die Wortmeta . . . . Erst ins graphische Bild übersetzt beweist führen pher ob sie Bestand hat.” et (48 “Tagundnachtschatten” 45); 21, 13, 1995, (Grass “Schattenrisse” passim). “dass er sie mit Genuß so derart fest, stramm, gründlich, ausgiebig, grausam, kunstgerecht, qualvoll, raffiniert mit den Stricken, die ich ge sammelt habe, und auch den Lederriemen und sogar Ketten!, die ich zusammenschnürt und zusammen und ver- ebenfalls habe, fesselt, kann.” (216)schnallt wie er nur hin Handrücken den in tief Male mehrere Klinge die sie drückt “Dann ein . . . . Das Metall fräst sich hinein wie in (45); Butter.” “Sie setzt sich des Rasierspiegels Beinen vor die mit Vergrößerungsseite gespreizten und vollzieht einen Schnitt” (88). 7 8 5 6 quarter
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