摘要
How should we approach Die Kinder der Toten by the Austrian Nobel Prize winner Elfriede Jelinek today?And how does the 2019 film adaptation by the Nature Theatre of Oklahoma change the text’s reception through focus on intermedial and intertextual elements?So far,the most insightful reviews have centered on the conceptual,contextual and textual-and thus also political aspects of this work.By focusing on intertextual and intermedial components,I hope to illustrate a few aspects of the novel that have yet to be analyzed in the scholarship on Jelinek.Drawing on Derrida’s Specters of Marx and on elements of sound studies,literature studies,and film studies,I hope to demonstrate how sound can have a significant spectral presence that connects with other literary texts and media,different world regions in the past,the present and the future.
