(für den Nachwuchsworkshop 2014)
Elfriede Jelinek’s novel Die Klavierspielerin is an early masterpiece by the Austrian feminist, which does not display the radical nature of her later work. The English translation of this book by Joachim Neugroschl, entitled The Piano Teacher, closely follows Jelinek’s intentions, yet English does not provide as many opportunities for gendered expressions as the German language does. In contrast, Michael Haneke’s film adaptation, La Pianiste gives the audience a chance to see a sometimes more clearly gendered interpretation in French. This paper will examine the translations of Die Klavierspielerin with regard to their more or less gendered interpretations.
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