Abstract

Elfriede Jelinek's novel Die Klavierspielerin describes a segment in the life of a piano-teacher,Erika Kohut, who, having failed to succeed as a concert pianist, teaches at the conservatory. Erika stilllives at home under the domination of her mother, who forbids Erika from engaging in relationships.Erika's forms of sexual release are either voyeuristic or sado-masochistic. The novel focuses on a time inher life during which she attempts to develop a relationship with a student. It is an attempt which fails,leaving Erika in the same position she was at the start of the novel.Die Klavierspielerin contains many themes and motifs which provoke a psychoanalytic reading, yetsurprisingly few critics have chosen to examine it in this light. Such a reading is prompted not only by thepresence of themes such as sexuality, desire, the body, the self, the gaze; but also by the form of thenovel. The novel has some peculiar structural aspects, which have seemingly gone hitherto unnoticed. Inthe first part of the novel there are four clearly separated texts, which are stylistically quite unlike those ofthe rest of the novel, although the themes are similar. I have designated these 'unconscious texts', forthey seem to conform to the characteristics of, and the rules governing, constructions of theunconscious