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1 Title Page UNCANNY COLLAPSE: SEXUAL VIOLENCE AND UNSETTLED RHETORIC IN GERMAN-LANGUAGE LUSTMORD REPRESENTATIONS, 1900-1933 by Jay Michael Layne A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in The University of Michigan 2008 Doctoral Committee: Assistant Professor Kerstin Barndt, Chair Associate Professor Helmut Puff Associate Professor Scott D. Spector Associate Professor Silke-Maria Weineck © Jay Michael Layne All rights reserved 2008 To Annie ii Acknowledgements It has been my great fortune to have enjoyed the support and encouragement of a number of scholars, institutions, and friends, without whom this dissertation could never have been written. My thanks go first to my dissertation chair, Kerstin Barndt, and to my committee: Scott Spector, Helmut Puff, and Silke Weineck. The greatest gift anyone could give an aspiring scholar is a close and critical reading of their work, and I count myself lucky to have found such sharp and insightful critics for my project. Their intellectual acumen and generosity of spirit were invaluable in shepherding my project through the stages of clarification and revision. My thanks go further to the Department of Germanic Languages and Literatures where I found an intellectual home, to the then chair Fred Amrine who did so much on my behalf when I first came to Michigan, and to Marga Schuwerk-Hampel who helped tremendously with the logistics of being a graduate student. The dissertation would have been impossible without the generous financial support of a variety of institutions. The Council for European Studies and the Mellon Foundation provided funds for a preliminary research trip. The German Academic Exchange Service enabled me to spend a year researching newspaper articles and fantastic fiction in Berlin. The Rackham Graduate School has financed conference trips, a summer session at the School for Criticism and Theory at Cornell, and a final semester of study. The Sweetland Writing Center at the University of Michigan offered me a place in their spring Dissertation Writing Institute along with a much appreciated stipend. iii Finally, I am very grateful to the German Department for the funding that allowed me to finish writing the dissertation in its final stages. I’d like to thank my fellow graduate students for their friendship and encouragement. I can’t imagine my time here at Michigan without having known the companionship and encouragement of Sun-Young Kim, Kayte Steinbock, Jeff Luppes, Michael Andre, Clara Hong, Didem Ekici, and Olivier Delers. My thanks also to the members of my graduate student reading group: No Grad Left Behind. For those of you still out there, I say: Hang on! We’re coming back to get you! I’d like to thank my family, who, though sometimes bewildered by what I’m doing, has always been supportive. And finally, I’d like to thank Annie for her patience and support in these final days, and Sophie for being so darn cute. iv Table of Contents Dedication............................................................................................................................ii Acknowledgements............................................................................................................iii Introduction..........................................................................................................................1 Chapter 1 The Fantastic Uncanny: Genre and Affect in Newspaper Articles and Popular Fiction..................23 Chapter 2 Archeology, Excavation, and What Remains: The Female Corpse....................................................................................68 Chapter 3 Monstrous Humans and the Return of the Repressed..............................116 Chapter 4 The Blasé Sadist: Ironic Distance and Uncanny Collapse....................................................194 Chapter 5 Psychosis, Contagion, and Control: Images of the Endangered/Dangerous Public in the Kürten Case...........242 Bibliography....................................................................................................................270 v Introduction In Robert Musil’s Der Mann ohne Eigenschaften (Book 1, 1930), the character of the sexual murderer Moosbrugger is introduced in terms that emphasize his appeal to a public at once scandalized by and attracted to the description of Lustmord: Und es ereignete sich des weiteren auch das Merkwürdige, daß die krankhaften Ausschreitungen Moosbruggers, als sie noch kaum bekannt geworden waren, schon von tausenden Menschen, welche die Sensationsgier der Zeitungen tadeln, als “endlich einmal etwas Interessantes” empfunden wurdern; von eiligen Beamten wie von vierzehnjährigen Söhnen und durch Haussorgen umwölkten Gattinnen. Man seufzte zwar über eine solche Ausgeburt, aber man wurde von ihr innerlicher beschäftigt als vom eigenen Lebensberuf. Ja, es mochte sich ereignen, daß in diesen Tagen beim Zubettgehen ein korrekter Herr Sektionschef oder ein Bankprokurist zu seiner schläfrigen Gattin sagte: “Was würdest du jetzt anfangen, wenn ich ein Moosbrugger wäre…”1 Musil deploys the implied erotic identification of the petit bourgeois Bankprokurist with the “Ausgeburt” Moosbrugger to ironic effect. Moosbrugger is a blue-collar worker who has brutally killed a lower-class woman (“eine Prostituierte niedersten Ranges”) and has subsequently become a media sensation.2 The scandal of Lustmord itself becomes part of an erotic role-play in which the Bankprokurist can cross class lines and project himself into the role of the notorious Lustmörder (and his wife as the prostitute victim). There is a contradiction between the professed moral judgments of people like the Bankprokurist and their private fantasies that suggests secret homologies between “correct” society and the demimonde. In this sense, “das Merkwürdige” of the public response to Moosbrugger’s Lustmord is hardly strange at all. 1 Robert Musil, Der Mann ohne Eigenschaften: Erstes Buch Kapitel 1-80, ed. Adolf Frisé, Gesammelte Werke 1 (1930; Reinbek bei Hamburg: Rowohlt, 1978), 69. 1 And yet, there are hints in this passage that the public’s identification with the Lustmörder is less pleasurable and more fraught with anxiety than would at first seem to be the case. That one might be “innerlicher beschäftigt als vom eigenen Lebensberuf” by a case of sexual murder implies more than a casual fantasy of identification. In the context of the novel as a whole, the public’s interest in and ambiguous identification with Moosbrugger echoes that of Musil’s protagonist Ulrich, for whom Moosbrugger becomes a focal point for ruminations on society and identity.3 Ulrich’s first encounter with Moosbrugger is an imaginary chance meeting on the street, inspired by the newspaper stories that he has read about the killer. Musil’s description of this fantasy breaks off abruptly: […]; so erfuhr er— —: doch so muß derartiges sich wohl früher abgespielt haben, da man es oft in dieser Weise berichtet findet, und Ulrich glaubte beinahe selbst daran, aber die zeitgenössische Wahrheit war, daß er alles bloß in der Zeitung gelesen hatte. […] Die Wahrscheinlichkeit, etwas Ungewöhnliches durch die Zeitung zu erfahren, ist weit größer als die, es zu erleben; mit anderen Worten, im Abstrakten ereignet sich heute das Wesentlichere, und das Belanglosere im Wirklichen.4 In Musil’s text, public interest in Moosbrugger consists of a communal Beschäftigung5—an active preoccupation and pursuit of the case that is carried out through the medium of the newspapers. Another possible referent to Musil’s “das Merkwürdige”—beyond the irony that the same people who condemn the “Sensationsgier 2 Ibid., 68. 3 Andrew Webber argues that Moosbrugger is (one of) Ulrich’s Doppelgänger. See Andrew Webber, The Doppelgänger: Double Visions in German Literature (New York: Oxford UP, 1996), 18-19. Moosbrugger himself experiences his crime not as Lustmord, but as a panicked attempt to cut himself loose from the woman whose identity seems to flow into his own: “Da erkannte er, daß er niemals von ihr loskommen werde, weil er es selbst war, der sie hinter sich herzog. Ein weinerlicher Ekel füllte seinen Hals aus. Er ging, und das, halb hinter ihm, war wiederum er. […] Er hatte sich einmal einen großen Holzsplitter selbst aus dem Bein geschnitten, weil er zu ungeduldig war, um auf den Arzt zu warten; ganz ähnlich fühlte er jetzt wieder sein Messer, lang und hart lag es in seiner Tasche.” Musil, Mann ohne Eigenschaften, 74. 4 Musil, Mann ohne Eigenschaften, 69. 2 der Zeitungen” could greet the sensation of Moosbrugger’s Lustmord with such pleasure—is the inflationary nature of the crime’s influence on thousands of people. Materials: The “Discursive Fullness” of Lustmord Representation Musil’s fictional depiction of the presence of a Lustmord case in the popular imagination makes reference to the increasing prevalence of actual Lustmord cases in the newspapers of the 1920’s and early 1930’s. The increased visibility of sexual murder in the newspapers found a counterpart in an increased cultural preoccupation with Lustmord. As Beth Irwin Lewis and Maria Tatar have shown, representations of Lustmord occurred in avant-garde visual arts and in modernist literature with shocking regularity.6 These high-cultural representations were accompanied—and preceded—by a mass of popular “low” representations: film, newspapers, and so-called “Trivialliteratur.” Tatar speaks of a “discursive fullness” of Lustmord representation which provides the context
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