darin:

• Fi­dd­ler, Al­ly­son

  /

  Jürs-Mun­by, Ka­ren:

  Introduction: Elfriede Jelinek in Multiple Arenas.

  S. 1-8.

• Jürs-Mun­by, Ka­ren:

  Agon, Conflict and Dissent: Elfriede Jelinek’s „Ein Sportstück“ and its Stagings by Einar Schleef and Just a Must Theatre.

  S. 9-25.

• Bas­ti­an, An­dré:

  ‚One Can’t Show More Than What is Known‘: On Palimpsestuous Strategies in the Australian Production of Elfriede Jelinek’s „Princess Dramas“.

  S. 26-42.

• Ar­teel, In­ge:

  Jelinek on the Dutch-speaking Stage: From Marginal Attention to Dramaturgical Success.

  S. 43-58.

• Riz­zo, Jes­si­ca:

  Elfriede Jelinek’s Melodramas of Multiple Exposure.

  S. 59-71.

• Ste­vens, La­ra:

  Gestic Intertextuality in Elfriede Jelinek’s „Bambiland“.

  S. 72-88.

• Bra­dy, Mar­tin:

  ,Nicht zu alt für Sport im allgemeinen‘: Winter Sports, Cerebral Gymnastics and Competitive Quoting in Elfriede Jelinek’s Play „Winterreise“.

  S. 89-105.

• So­li­bak­ke, Karl Ivan:

  Geseire, Geleiere und Gehübungen: Music and Sports in Elfriede Jelinek’s „Die Klavierspielerin“ and „Winterreise“.

  S. 106-120.

• Braun, Re­bec­ca:

  Embodying Achievement: Thomas Bernhard, Elfriede Jelinek, and Authorship as a Competitive Sport.

  S. 121-138.

• Neelsen, Sa­rah:

  Jelinek’s Essays Framed by Translation and Collection.

  S. 139-151.

• Hoef­le, Arn­hilt Jo­han­na:

  Jelinek and the Chinese ,Nobel Complex‘: A Challenging Reception.

  S. 152-165.

• Mor­gan, Ben:

  The Limits of Political Hope in 1988: Jelinek’s „Wolken.Heim.“ in Context.

  S. 166-182.

• Ba­la, Sru­ti:

  ,Translation is the making of a subject in reparation‘: Elfriede Jelinek’s Response to Fukushima in „Kein Licht“.

  S. 183-198.

• Fi­dd­ler, Al­ly­son:

  Reckoning with „Rechnitz“: On Elfriede Jelinek, Translation and Cultural Reproduction.

  S. 199-214.