AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: NOEMINA CÂMPEAN.
DOI: 10.24193/subbphil.2020.1.05
Published Online: 2020-04-30
Published Print: 2020-04-30
pp. 63-74
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ABSTRACT.
This paper aims to explore a psychoanalytical comparison between Erika from the novel The Piano Teacher (Die Klavierspielerin, 1983), and the same character from the Michael Haneke’s film, La Pianiste (2001), adapted after Elfriede Jelinek’s writing. Whereas the woman in the book can only exist as a mask in order to exist as a phallus (the version of the father, Fr. la Père-version) – according to Jelinek’s obsession with the monstrous couple eye-gaze, expressed in an unnatural sexuality –, the woman on the screen is caught between the instances of embedding (the woman as uterus – the mother, the woman as a living tomb – the daughter) and the demystification of sexuality which culminates in rape.
Keywords: language, gaze, sexuality, voyeurism, masochism, Jelinek, Haneke.
