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Utopian Visions of Madness in Austrian Literature

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Utopian Visions of Madness in Austrian Literature Utopian Visions of Madness in Austrian Literature Geoff Howes German, Russian and East Asian Languages Ins8tute for the Study of Culture and Society February 12, 2013 The project • “Where such ailments are rampant”: The Representa5on of Madness in Austrian Ficon • Austrian fic8onal texts from the mid- nineteenth century to the late twen8eth century, including texts by Franz Grillparzer, Arthur Schnitzler, Robert Musil, Elias Cane, Ingeborg Bachmann, Thomas Bernhard, Gerhard Roth, Werner Kofler, and Norbert Gstrein. The project (2) • Madness in literature – The project regards literature as a source of non- clinical knowledge about madness and its social effects, and hence about Austrian culture. – This knowledge is embedded in complex cultural structures, which allows a view of madness as an integral part of society. – This knowledge complements clinical knowledge and research by sacrificing isolated variables and repeatability for complexity and individuality. The poster: Angel Statues on the Church of St. Leopold at Steinhof Vienna, Austria Architect: O\o Wagner One of the most important Jugendsl (art nouveau) churches a.k.a. Kirche am Steinhof Source: wikipedia Lower Austrian State Provincial Ins8tu8on for the Cure and Care of the Mentally and Nervously Ill “am Steinhof” (1907) O\o Wagner (1841-1918) Part of the “Vienna Secession” group, which pioneered the shid from historicism to modernism (including art nouveau). Plan of the (current) O\o Wagner Hospital and O\o Wagner Health Care Center Church Entrance Points of Departure 1 Austria’s self-image as a breeding ground for madness • The project proceeds from the documented self-percep8on of Austrians that their society produces more mental illness than others. Anton Kuh (1890-1941), “The Luna5cs of Görz” ”In those days, the city of Görz (Goricia) s8ll belonged to Austria. As a consequence there was an insane asylum there.” (My emphasis) Austria as a breeding ground for madness? Ingeborg Bachmann (1926-1973), The Book of Franza “But she wasn’t …? – to think that he hadn’t thought of that before now! And he went through all of the closer family and then the more distant relaons, the marginal familial phenomena, but among the closer ones there had been no mental illnesses, unbelievable in this country where such ailments were rampant, but that’s how it was …” (30) The “Narrenturm” (“Fools’ Tower”; Vienna 1784) The first ins8tu8on in the world built specifically for housing the mad. Now a museum of pathological anatomy. a.k.a. “Guglhupf” Source: wikipedia Sigmund Freud (1864-1939) “Father” of Psychoanalysis Source: wikipedia Sigmund Freud State Psychiatric Clinic, Graz “Puntigam Links” Source: wikipedia Points of Departure 2 Construcvist approach applied to the effects but not to the origins of madness • The project will assume on the basis of recent research in neurology, physiology, and gene8cs that the eEology of madness is extremely complex and individual. • The project will not ask literature to help show how or why a society produces mental illnesses in some of its members, but rather how a society treats those members who do suffer from mental illness. Construcvist approach applied to the effects but not the origins of madness • The project will thus take a cri8cal approach toward Foucault’s historical theories of madness and the an8-psychiatric movement (e.g. R. D. Laing, Thomas Szasz, Ken Kesey’s One Flew over the Cuckoo’s Nest) • This chapter will draw in part on the work of Marta Caminero-Santangelo, The Madwoman Can’t Speak, or Why Insanity is Not Subversive (1998). Foucault, Madness and Civiliza-on (1961; Engl. 1964; now History of Madness, 2006) • “… by the madness that interrupts it, a work of art opens a void, a moment of silence, a ques8on without answer, provokes a breach without reconciliaon where the world is forced to ques8on itself.” (288) Shoshana Felman, Wri-ng and Madness (1978; Engl. 1985) • Felman describes “the vanishing point of the uninterpretable toward which the effort of interpretaon heads, but where it falls apart” (32). • Interpretaon must enact, not explain, this disintegraon. The “Utopia” of madness as an8-reason • Foucault and Felman look for literature that enacts madness rhetorically as an ul8mate challenge to the power of discourse (especially psychology) to account for the world. • This project looks more modestly at literature as a rhetorical and themac space where compe8ng discourses, including the discourses of the mad, are shown in juxtaposi8on. Points of departure 3 • The project will apply Arno Gruen’s theory from The Insanity of Normality (1987), a func8onal, sociological defini8on of schizophrenia: • Persons with major mental illness do all they can to resist the fragmen8ng of their inner emo8onal integrity, whereas the “insanity of normality” results from precisely this fragmentaon of inner emo8onal integrity. Points of Departure 4 The Patron and the Client • In the texts under consideraon there is a paern of human—and narrave— relaonships in which one character takes a personal, non-professional interest in another character who is afflicted with madness. • I call the former patrons and the laer clients. The Patron and the Client • The patron figures provide an outside perspec8ve on the mad person that is neither clinical nor first-person. • Patrons also show the effec8veness and ineffec8veness of non-clinical assistance to, support for, and interac8ons with the mad. Utopian Visions of Madness In Robert Musil, The Man without Quali5es (1930, 1932) Ingeborg Bachmann, The Book of Franza (1966) Werner Kofler, Ida H. (1978) How can madness be utopian? • Madness is seen in the face of oppressive social condi8ons and ins8tu8ons as a rebellion against or refuge from the limitaons of social, poli8cal, familial, and gender roles. • However isolang it may be, madness some8mes seems to inflict less suffering than conformity (and treatment) and create a space for freedom and individuality. (See Arno Gruen) h. c. artmann (1921-2000): One Poet’s Utopian Vision of Madness Source: Österreichische Gesellscha` für Literatur What I’d do at Steinhof h. c. artmann WHAT I’D DO AT STEINHOF pre\y soon I’m gonna give up poetry out there on the pre\y lemon hill an’ report to Steinhof in pure peacefulness and bliss first thing next Monday mornin’ i’m gonna live like a garden gnome as a fool and a homing-pigeon breeder .. as a fool and a homing-pigeon breeder .. then the aendants are gonna order me yep, at the very crack o’ dawn a green checkered harlequin suit on the steps outside a round room as a sign of my feeble brainpower i’ll be sin’ — an’ lookin’ at pigeons as a fool and homing-pigeon breeder .. as they fly around over the wien river .. artmann: “What I’d do at Steinhof” con8nued as they gently float away over there .. raisins an’ wine berries! that quiet hill would be no shame up up up to the firmament — as a poet I’ll write words of praise — as if to a be\er life .. !! so I’m gonna put on a harlequin suit: As a fool and a homing-pigeon breeder … ! but ‘fore it gets dark i’ll wait with corn kernels fer them ta come back so they’ll get somethin’ fer supper too so the people don’t start complainin’ .. Transl. G. Howes Arthur Schnitzler (1862-1931) Photo ca. 1912; wikipedia Arthur Schnitzler, Flucht in die Finsternis (Flight into Darkness) Wrien 1912-17; publ. 1931. Source: amazon.de Flight into Darkness • The client: Robert, an upper-middle-class government official in the educaon ministry who has taken a rest cure for his “nervous” problems. • The patrons: – His brother O\o, who is an accomplished professor of psychiatry – His family doctor and friend Leinbach Schnitzler, Flight into Darkness: The Utopia of Idleness “[Doctor] Leinbach shrugged his shoulders: ‘my dear friend, if someone is in the fortunate posi8on of being able to have himself sent away — then of course we send him away. On the other hand, there are many people who simply don’t have enough 8me to go crazy.” Robert Musil (1880-1942) Source: Brandstätter Verlag, Vienna Musil, Der Mann ohne Eigenscha`en (1930, 1932) Source: wikipedia Musil, The Man without Quali5es (Transl. E. Kaiser & E. Wilkins, 1953-1956; transl. S. Wilkins and B. Pike, 1995) Source: amazon.com The Man without Quali8es: Ulrich • A former soldier and engineer, now an unemployed mathemacal scholar. • Decides in 1913 that he is a “man without quali8es” and will take a “vacaon from life.” • His father arranges a posi8on with the “Parallel Campaign,” a celebraon planned for 1918 of the 70th anniversary of the emperor’s coronaon. • The “Parallel Campaign” is seeking a unifying “Austrian Idea.” Patrons and Clients in The Man without Quali5es • Patron 1 : Ulrich (the man without quali8es) – Client 1: Clarisse, the wife of Ulrich’s childhood friend, an aesthete. – Client 2: Moosbrugger, an in8nerant worker who murders a pros8tute during a psycho8c break. • Patron 2: Clarisse – Client: Moosbrugger: “This murderer is musical!” and embodies the “Austrian Idea.” Clarisse’s Utopia • Clarisse wants to visit Moosbrugger at Steinhof because he seems to represent her vision for a “mad” alternave to society. • Ulrich arranges the visit. • Clarisse tries and fails to interact with the inmates, and never gets to Moosbrugger. • “Hell is not interes8ng, it is terrifying.” Ingeborg Bachmann (1926-1973) Source: oe1.orf.at Bachmann, The Book of Franza Part of the “Todesarten” Bachmann ceased (“Ways of Death”) working on project of three The Book of novels: Franza Malina, in 1966. The Book of Franza, and Requiem for Fanny Goldman. Source: amazon.com Patron and Client • First configuraon: – Patron: Franza’s brother Mar8n – Client: Franza, who has fled her cruel psychiatrist husband and seeks refuge in her hometown in southern Austria.
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