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Josefine Mutzenbacher Meine 365 Liebhaber Film

Written By Thursday, July 14, 2022 Add Comment Edit

Austrian novel

Josefine Mutzenbacher
Mutzenbacher-title-page.jpg

Title page from 1906.
Author Anon. (attributed to Felix Salten)[1]
Original championship Josefine Mutzenbacher oder Die Geschichte einer Wienerischen Dirne von ihr selbst erzählt
Illustrator Anon.
Land Austria
Language German
Genre Erotica

Publication date

 1906

Published in English

 1931/1967/1973/2018
Media type Print
Pages 383
OCLC 757734607

Josephine Mutzenbacher or The Story of a Viennese Whore, equally Told past Herself (German: Josefine Mutzenbacher oder Die Geschichte einer Wienerischen Dirne von ihr selbst erzählt) is an erotic novel beginning published anonymously in Vienna, Austria in 1906. The novel is famous[2] [3] [four] in the High german-speaking world, having been in impress in both German language and English for over 100 years and sold over iii million copies,[5] becoming an erotic bestseller.[6] [seven] [viii] [9]

Although no author claimed responsibility for the work, it was originally attributed to either Felix Salten or Arthur Schnitzler by the librarians at the Academy of Vienna.[10] Today, critics, scholars, academics and the Austrian Government designate Salten as the sole author of the "pornographic archetype".[11] [12] [thirteen]

The original novel uses the specific local dialect of Vienna of that fourth dimension in dialogues and is therefore used every bit a rare source of this dialect for linguists. It also describes, to some extent, the social and economic conditions of the lower class of that fourth dimension. The novel has been translated into English language, French, Spanish, Italian, Hungarian, Hebrew, Dutch, Japanese, Swedish, Estonian and Finnish, amidst others,[14] and been the subject area of numerous films, theater productions, parodies, and university courses, as well every bit two sequels.

Contents [edit]

Plot [edit]

The publisher'south preface – formatted as an obituary and excluded from all English translations until 2018 – tells that Josefine left the manuscript to her physician before her death from complications later a surgery. Josefine Mutzenbacher wasn't her existent name. The protagonist is said to have been born on 20 February 1852 in Vienna and passed on 17 December 1904 at a sanatorium.[15]

The plot device employed in Josephine Mutzenbacher is that of first-person narrative, structured in the format of a memoir. The story is told from the point of view of an achieved aging 50-twelvemonth-old Viennese courtesan who is looking back upon the sexual escapades she enjoyed during her unbridled youth in Vienna. Contrary to the title, almost the entirety of the book takes place when Josephine is between the ages of 5–thirteen years old, earlier she actually becomes a licensed prostitute in the brothels of Vienna. The book begins when she is 5 years old and ends when she is thirteen years old and starts her career as an unlicensed prostitute with a friend, to support her unemployed father.

Although the German-language text makes employ of witty nicknames – for instance, the curate's genital is called "a hammer of mercy" – for homo anatomy and sexual behavior, its content is entirely pornographic. The actual progression of events amounts to trivial more than a graphic, unapologetic description of the reckless sexuality exhibited past the heroine, all earlier reaching her 14th year. The mode bears more than a passing resemblance to the Marquis de Sade'southward The 120 Days of Sodom in its unabashed "laundry list" cataloging of all manner of taboo sexual antics from children's sexual play, incest and rape to child prostitution, group sex, sado-masochism, lesbianism, and fellatio. In some constellations, Josefine appears as the active seducer, and sex is usually depicted equally an elementary, satisfactory experience.[16]

Illustrations [edit]

A sample illustration from a 1922 edition shows Pepi and Zenzi whipping a young male customer.

The original Austrian publication was unillustrated, only a later on pirated edition from 1922 contained blackness-and-white drawings, entirely pornographic as the text. These illustrations were jump in the archival copy of the first edition at the Austrian National Library,[17] and have been reproduced at least in the hardcover edition of the 2018 English language translation[18] and in a 2019 Finnish translation,[19] erroneously dated to 1906. Another illustrated German-language edition was published in the belatedly 1960s in Liechtenstein with images by Jean Veenenbos (1932–2005).

Other illustrations have been created every bit well. The first English language translation of 1931 was quickly pirated in New York and illustrated by Mahlon Blaine (1894–1969). The 1973 translation, Oh! Oh! Josephine, is illustrated with photographic stills from "the continental pic" of 1970, Josephine Mutzenbacher a.one thousand.a. Naughty Knickers by Kurt Nachmann.

Also a Danish translation of 1967 contains illustrations. An incomplete Swedish translation from 1983 contains random photographs of prostitutes with scathing comments.[fourteen]

Interpretations [edit]

The novel Josefine Mutzenbacher has given ascent to a multitude of interpretations. It has been listed both as child pornography and labeled as an apposite depiction of the milieu and manners of its time in Vienna, a travesty or a parody or a persiflage of a coming-of-historic period story or a novel of development,[20] and mentioned every bit a rare case of a picaresque novel with a female person protagonist.[21] Information technology has also been praised for its criticism of the bourgeois society.[22]

The relation of the novel to the Freudian theory of sexuality has been subject field to debate. The Swedish translator C.-M. Edenborg sees Josefine Mutzenbacher as an indictment of Freud'due south bourgeois psychology,[23] whereas the Austrian psychoanalyst Désirée Prosquill thinks that not merely are there marked thematic correspondences between Josefine Mutzenbacher (1906) and 3 Essays on the Theory of Sexuality (1905) only Mutzenbacher too anticipates some issues apropos infantile sexuality that Freud added to his theory only afterwards.[24]

Legal processes in German-speaking countries [edit]

Banned in Austria, 1913–1971 [edit]

The distribution of the novel Josefine Mutzenbacher was forbidden in Republic of austria from 1913 on when it was taken into the list Catalogus Librorum in Austria Prohibitorum because of its obscenity.[25]

In 1931, a bookseller called Josef Kunz was bedevilled in Vienna for a public human activity of obscenity because he had published a new edition of the novel, and the copies of the book were confiscated.[26] In 1971, even so, the Supreme Court of Austria decided that there is no longer reason to punish a publisher for distributing the novel considering there are artistic tendencies in the work. Notwithstanding in 1988, there was another legal procedure to ban the novel considering of obscenity, but this time, too, the Supreme Court judged in favour of the publisher.[27]

The Mutzenbacher Conclusion [edit]

The Mutzenbacher Decision (Instance BVerfGE 83,130[28]) was a ruling of the Federal Constitutional Court of Germany (Bundesverfassungsgericht) on 27 November 1990 apropos whether or not the novel Josefine Mutzenbacher should be placed on a list of youth-restricted media. However, the significance of the case came to eclipse Josefine Mutzenbacher every bit an individual piece of work, because it set a precedent as to which has a larger weight in German Constabulary: Freedom of Expression or The Protection of Youth.

The final conclusion was fabricated in 1992 at the Federal Ramble Court (Bundesverfassungsgericht), putting the piece of work once again on the list of "Media harming the youth" (Jungendgefährdenden Medien) forcing the right of Liberty of Expression (Nether Article 5 Three Primal rights) to stride back.

Abstract [edit]

"Pornography and Fine art are not Mutually Sectional."

Preface [edit]

In Federal republic of germany, there is a process known equally indexing (German: Indizierung). The Bundesprüfstelle für jugendgefährdende Medien (BPjM or "Federal inspection section for youth-endangering media") collates books, movies, video games and music that could be harmful to young people considering they comprise violence, pornography, Nazism, hate speech and similar unsafe content. The items are placed on the "List of youth-endangering media" (Liste jugendgefährdender Medien).

An item will stay on the list for 25 years, after which time the effects of the indexing will cease automatically.[29]

Items that are indexed (placed on the list) cannot be bought by anyone nether 18, they are not allowed to be sold at regular bookstores or retailers that young people accept admission to, nor are they immune to be advertised in whatsoever mode.[xxx] An item that is placed on the list becomes very difficult for adults to access as a upshot of these restrictions.

The issue underlying the Mutzenbacher Decision is not whether the book is legal for adults to buy, ain, read, and sell – that is not disputed. The instance concerns whether the intrinsic merit of the volume equally a work of fine art supersedes the potential harm its controversial contents could have on the impressionable minds of minors and whether or non it should exist "indexed".

The history [edit]

In the 1960s, two separate publishing houses made new editions of the original 1906 Josefine Mutzenbacher. In 1965 Dehli Publishers of Copenhagen, Denmark, published a two volume edition, and in 1969 the German publisher Rogner & Bernhard in Munich printed another edition with a glossary by Oswald Wiener. The BPjM placed Josefine Mutzenbacher on its list, after ii criminal courts declared the pornographic content of the book obscene.[31]

The BPjM maintained that the book was pornographic and dangerous to minors considering information technology contained explicit descriptions of sexual promiscuity, child prostitution, and incest every bit its exclusive subject matter, and promoted these activities as positive, insignificant, and even humorous behaviors in a manner devoid of whatever artistic value. The BPjM stated that the contents of the book justified it existence placed on the "list of youth-endangering media" and then that its availability to minors would be restricted.

In 1978 a third publishing house attempted to upshot a new edition of Josefine Mutzenbacher that included a foreword and omitted the "glossary of Viennese vulgarisms" from the 1969 version. The BPjM again placed Josefine Mutzenbacher on its "list of youth-endangering media," and the Rowohlt Publishing house filed an appeal with the Federal Constitutional Court of Germany on the grounds that Josefine Mutzenbacher was a piece of work of fine art that minors should not exist restricted from reading.

The determination [edit]

On 27 November 1990 the Federal Constitutional Courtroom of Deutschland made what is now known every bit "The Mutzenbacher Conclusion". The Court prefaced their verdict by referring to 2 other seminal freedom of expression cases from previous German Case Law, the Mephisto Determination and the Anachronistischer Zug Decision. The court ruled that nether the German language constitution (Grundgesetz) affiliate almost Freedom of Art (Kunstfreiheit), the novel Josefine Mutzenbacher was both pornography and art, and that the former is not sufficient to deny the latter.

In plain English, even though the contents of Josefine Mutzenbacher are pornographic, they are still considered art and in the procedure of indexing the book, the aspect of freedom of art has to be considered. The court's ruling forced the BPjM to temporarily remove the Rowohlt edition of Josefine Mutzenbacher from its list of youth-endangering media.

Aftermath, 1992–2017 [edit]

The book was added to the list once again in November 1992[32] in a new conclusion by the BPjM which considered the aspect of freedom of art, but deemed the aspect of protecting children to be more important.[33] Some later on editions of the volume by other publishers were added to the listing as well.[29]

Again, the publisher appealed to the Administrative Court (Verwaltungsgericht) of Cologne and won the case in 1995.[34] However, the BPjM appealed for its role and won in September 1997 at the higher instance, Oberverwaltungsgericht, and the Federal Authoritative Court (Bundesverwaltungsgericht) refused farther appeal in February 1998.[35]

Therefore Josefine Mutzenbacher was taken into the list for 25 years. Afterwards this period of fourth dimension had passed and the indexing ceased, the BPjM decided in Nov 2017 that there was no more any reason to list the book anew.[29] According to the BPjM, one reason was that, because of the primitive language and parodic way of depiction, the book was no longer considered to conduce its readers to imitate the calumniating sexual practices described within. The BPjM also noted that co-ordinate to current scholarly opinion, the volume shows remarkable literary merit, for instance, by tending to nowadays new perspectives to autobiographical works of literature.[36]

External links [edit]

  • English-language translation of the German ruling[37]
  • Mutzenbacher-Entscheidung des Bundesverfassungsgerichts (BVerfGE 83, 130) – German-linguistic communication ruling of The Mutzenbacher Determination
  • The Mutzenbacher Decision on Wikipedia Germany
  • Federal Section for Media Harmful to Young Persons General Policy Page in English
  • Federal Department for Media Harmful to Young Persons Official Argument Concerning the Mutzenbacher Decision (German)
  • Federal Department for Media Harmful to Young Persons on Wikipedia Deutschland – Includes a list of the virtually popular restricted games, movies, comic books, and music not included on the English Wikipedia list.

The copyright process of the heirs [edit]

In 1976 the heirs of Felix Salten – more than precisely, his granddaughter Lea Wyler – demanded the German publishing company Rogner & Bernhard to stop distributing the novel Josefine Mutzenbacher and to pay royalties. In response, the company asked for "decisive evidence" for Salten's authorship. The heirs could not provide such testify.[38]

Ten years after, in June 1986, the heirs instituted an action at the Munich Landgericht courtroom confronting Rogner & Bernhard, claiming that Salten'southward authorship could be proven, although they only provided coexisting evidence.[39] The court, however, did not examine the question of authorship because, according to the sometime German Copyright Act, the anonymously published novel had get Public Domain in 1957 and the copyright could no longer exist reinstituted; that is, Salten's heirs should accept declared the authorship before the finish of 1956. So, the instance was ruled in favour of the publishing company in May 1988.[twoscore]

The heirs appealed to Munich Oberlandesgericht court only lost at that place in July 1989 and, subsequently, also lost at the Federal Court of Justice in early 1990.[41]

Derivative works [edit]

Literature [edit]

Sequels [edit]

Volume 2: Meine 365 Liebhaber. (First edition, ca. 1925.)

Ii novels, also written anonymously, which present a continuation of the original Josephine Mutzenbacher, accept been published. Still, they are not generally ascribed to Felix Salten.

  • Josefine Mutzenbacher: Meine 365 Liebhaber. [My 365 Lovers.] Paris: Neue Bibliophilen-Vereinigung, ca. 1925.
  • Josephine Mutzenbacher: Meine Tochter Peperl. [My Daughter Peperl.] München: Heyne, 1974. ISBN iii-453-50056-iii

Likewise the sequels have been translated into many languages. For instance, Oh! Oh! Josephine: Volume 2 from 1973 is an English language rendering of Meine 365 Liebhaber.

Works influenced by Josephine Mutzenbacher [edit]

In 2000 the Austrian writer Franzobel published the novel "Scala Santa oder Josefine Wurznbachers Höhepunkt" (Scala Santa or Josefine Wurznbacher'southward Climax). The championship's similarity to Josephine Mutzenbacher, existence only two messages different, is a play on words that is non just coincidence.[42] The book's content is derivative every bit well, telling the story of the character "Pepi Wurznbacher" and her first sexual feel at age half dozen.[43] [44]

The proper name "Pepi Wurznbacher" is directly taken from the pages of Josephine Mutzenbacher; "Pepi" was Josephine Mutzenbacher's nickname in the early chapters.[45] [46] Franzobel has commented that he wanted his novel to be a retelling of the Josephine Mutzenbacher story set in modern twenty-four hour period.[47] [48] He simply took the characters, plot elements and setting from Josephine Mutzenbacher and reworked them into a thoroughly modernized version that occurs in the 1990s.[49] He was inspired to write the novel after beingness astounded at both the prevalence of child abuse stories in the German Press and having read Josephine Mutzenbacher'due south blatantly unapologetic depiction of the same.[50]

Academia [edit]

Josephine Mutzenbacher has been included in several academy courses and symposium.[51]

  • Pornography: Writing of Prostitutes COL 289 SP – Weissman, Promise Wesleyan University
  • Der Sexual practice-Akt in der Literatur. Zur Geschichte u. Repräsentation des Sex-Aktes im Spannungsfeld von "hoher Literatur, Trivialliteratur u. Pornographie" 641500 Study section, Comparative Literature Science – Babka, Anna Universität Innsbruck
  • Sexuality, Eroticism, and Gender in Austrian Literature and Culture Annual Briefing of the Mod Austrian Literature and Civilisation Association International Symposium University of Alberta 13–fifteen Apr 2007
  • Literatur und Sexualität um 1900 SS 2001 510.273 – Rabelhofer, Bettina Karl-Franzens-Universität Graz

Motion-picture show [edit]

Twelvemonth High german Title Translation Runtime Country Notes/English Title
1970 Josefine Mutzenbacher Josephine Mutzenbacher 89min Westward Deutschland Naughty Knickers (Britain)
1971 Josefine Mutzenbacher 2 – Meine 365 Liebhaber Josephine Mutzenbacher II – My 365 Lovers 90min Westward Germany Don't Get your Knickers in a Twist (UK)
1972 Ferdinand und die Mutzenbacherin Ferdinand and the Mutzenbacher Girl 81min Due west Germany The Games Schoolgirls Play (USA)
1976 Josefine Mutzenbacher- Wie sie wirklich war 1 Josephine Mutzenbacher- The Way She Actually Was 94min West Deutschland Sensational Janine (United states of america)
1978 Die Beichte der Josefine Mutzenbacher The Confession of Josephine Mutzenbacher 94min West Germany Studio Tabu, Dir. Hans Billian
1981 Aus dem Tagebuch der Josefine Mutzenbacher From the Diary of Josephine Mutzenbacher 93min Westward Germany Professional Janine (USA)
1984 Josefine Mutzenbacher – Mein Leben für die Liebe Josephine Mutzenbacher – My Life for Love 100min West Frg The Mode She Was (USA)
1987 Das Lustschloss der Josefine Mutzenbacher The Pleasure Palace of Josephine Mutzenbacher 85min Germany Clamorous Janine (USA)
1990 Josefine Mutzenbacher – Manche mögen'southward heiß! Josephine Mutzenbacher – Some Like it Hot! 90min Germany Studio Ems GmbH, Dir. Jürgen Enz
1991 Josefine Mutzenbacher – Dice Hure von Wien Josephine Mutzenbacher – The Whore of Vienna 90min Germany Trimax Studio, Dir. Hans Billian
1994 Heidi heida! Josefine Mutzenbackers Enkelin lässt grüßen Heidi heida! Let'due south Say Hello to Josephine Mutzenbacher'due south Granddaughter 90min Germany Studio KSM GmbH

Theater/cabaret/phase [edit]

The Viennese a cappella quartet called 4she[52] regularly performs a cabaret musical theatre production based on Josephine Mutzenbacher called "The 7 Songs of Josefine Mutzenbacher" ("Dice vii Lieder der Josefine Mutzenbacher"). The show is a raunchy, humorous parody of the novel, fix in a brothel, that runs approximately 75 minutes.[3] [53] [54] [55] [56] [57] [58]

In 2002 the German actor Jürgen Tarrach and the jazz group CB-funk performed a live rendition of the texts of Josephine Mutzenbacher and Shakespeare set to mod music equanimous by Bernd Weißig and bundled past the Pianist Detlef Bielke of the Günther-Fischer-Quintett at the Kalkscheune [de] in Berlin.[59] [60] [61]

In January 2005, Austrian actress Ulrike Beimpold gave several comedy cabaret live performances of the text of Josephine Mutzenbacher at the Auersperg15-Theater in Vienna, Austria.[62]

In an outcome organized by the Jazzclub Regensburg, Werner Steinmassl held a alive musical reading of Josephine Mutzenbacher, accompanied by Andreas Rüsing, at the Leeren Beutel Concert Hall in Ratisbon, Bavaria, Germany called "Werner Steinmassl reads Josefine Mutzenbacher" on 3 September 2005.[63] [64]

Sound adaptations [edit]

Both the original Josephine Mutzenbacher and the two "sequels" are bachelor as spoken give-and-take audio CDs read by Austrian actress Ulrike Beimpold:

  • Josefine Mutzenbacher oder Dice Geschichte einer Wienerischen Dirne von ihr selbst erzählt. Random House Audio 2006. ISBN 3-86604-253-1.
  • Josefine Mutzenbacher und ihre 365 Liebhaber. Audio CD. Götz Fritsch. Der Sound Verlag 2006. ISBN 3-89813-484-9.

In 1997 Helmut Qualtinger released "Fifi Mutzenbacher", a parody on audio CD:

  • Fifi Mutzenbacher (Eine Porno-Parodie). Helmut Qualtinger (reader). Sound CD. Preiser Records (Naxos) 1997.

Exhibits [edit]

The Jewish Museum of Vienna displayed an exhibit at the Palais Eskeles chosen "Felix Salten: From Josephine Mutzenbacher to Bambi" where the life and piece of work of Felix Salten was on brandish, which ran from December 2006 to March 2007. Austrian State Parliament Delegate Elisabeth Vitouch appeared for the opening of the exhibit at Jewish Museum Vienna and declared: "Everyone knows Bambi and Josefine Mutzenbacher even today, but the author Felix Salten is today to a large extent forgotten".[12] [65] [66]

Translations [edit]

There are several English translations of Josefine Mutzenbacher, some of which, even so, are pirated editions of each other.[fourteen] Until 2018, all the English translations were missing the original publisher'south introduction.[15]

When checked against the German text, the translations differ, and the original chapter and paragraph partition is usually not followed, except for the 2018 edition. The original novel is divided only in two long capacity, but nearly translated editions disrupt the text, each in their ain mode, into 20–30 chapters, sometimes with added chapter titles.

The 1973 edition, Oh! Oh! Josephine, claims to be "uncensored and uncut", but actually it is incomplete and censored, e.g., obfuscating references to anal intercourse.[14] All these issues are replicated in the 1975 Finnish translation which is fabricated via this English edition.

The starting time anonymous English translation from 1931 is abridged and leaves part of the sentences untranslated; the 1967 translation by Rudolf Schleifer, withal, contains large inauthentic expansions, as shown in the post-obit comparison:

1931 edition 1967 edition (Schleifer) 1973 edition 2018 edition

My father was a very poor homo who worked equally a saddler in Josef Metropolis. Nosotros lived in a tenement firm away out in Ottakring, at that time a new house, which was filled from pinnacle to bottom with the poorer form of tenants. All of the tenants had many children, who were forced to play in the back yards, which were much also small for so many.
I had ii older brothers. My father and my mother and we three children lived in two rooms... a living-room and kitchen. Nosotros also had a roomer.
The other tenants, probably 50 in all, came and went, sometimes in a friendly way, more than often in anger. Most of them disappeared and we never heard from them again.
I distinctly recollect ii of our roomers. One was a locksmith-apprentice. He had dark eyes and was a sorry-looking lad; his black eyes and lark face always were covered with grime and soot. We children were very much afraid of him. He was a very silent man, never proverb a give-and-take.
I remember ane afternoon, when I was alone in the house, he came home. I was and so only 5 years old. My mother and my two brothers had gone to Furstenfeld and my father had not withal returned from work.
The locksmith took me upwardly from the flooring, where I was playing, and held me on his lap. I wanted to cry, only he quietly told me: "Exist placidity, I won't hurt you lot".[67]

My father was a very poor journeyman saddler who worked from morning till evening in a shop in the Josefstadt, as the eighth commune of Vienna is called. In order to exist there at seven in the morning time, he had to get up at five and leave half an hr later to catch the horse-drawn streetcar that delivered him after 1 and a half-hour's ride at a stop near his working place.
"Suburbia" in the Vienna of the mid-19th century did non necessarily mean a residential department for the well-to-practice middle-course, as in modern times. Rich people did live in the outer districts to the n and northwest, only the western and southern suburbs constituted what we chosen the "workers' ghetto". In that location, in gloomy tenement houses about five stories high, lived all the Viennese who were not white-collar workers.
Our tenement building, filled from pinnacle to bottom with poor folk, was in the seventeenth commune, chosen Ottakring. Nobody who never visited those tenement houses tin imagine the unsanitary, primitive living conditions under which we spent our babyhood and adolescence, and—in nearly cases—the residuum of our poor lives.
My parents, and my two brothers and I lived in a and so-called apartment that consisted of 1 room and a kitchen. That was the size of all the apartments in our building and in well-nigh of the other buildings of the district. Most tenants had a lot of children who swarmed all over the buildings and crowded the small courtyards in the summer. Since I and my two older brothers made upward only a "small" family unit, compared with the families around us having at least half a dozen brats, my parents could afford to make a niggling coin by accepting roomers. Such roomers, who had to share our i room and a kitchen with the whole family, were chosen "sleepers", because the tiny rent one could charge them was for a small, atomic number 26 folding bed that was placed in the kitchen at nighttime.
I remember several dozens of such sleepers who stayed with us for a while, one after another. Some left because they found work out of boondocks, some, considering they quarreled too much with my father, and others only did not bear witness up i evening, thus creating a vacancy for the next one. Among all those sleepers there were two who clearly stand out in my retentivity. I was a night-haired young fellow with sad eyes who made a scant living as a locksmith's apprentice and hardly ever washed his sooty face. We children were a little afraid of him, peradventure considering of his blackened face up and also considering he hardly said anything. One afternoon I was lone in our place playing with what was supposed to be a doll on the flooring. My female parent had taken my two brothers to a nearby empty lot that was covered with wild grass and shrubbery where the boys could play, and my male parent was not yet habitation from work. The young sleeper came abode quite unexpectedly and, equally usual, did non say a word. When he saw me playing on the floor, he picked me up, sat down and put me on his knees. When he noticed that I was about to cry, he whispered fiercely, "Shut your mouth! I'g not going to injure you!"[68]

My father was the anaemic apprentice of a saddler and worked in Josefstadt, a suburb of Vienna. We lived fifty-fifty farther out, in a tenement edifice which, in those days, was relatively new. Nonetheless it was crowded from top to bottom with poor families which had so many children that, in summer, the courtyard was likewise pocket-size to contain usa all. I had two brothers, both of whom were some years older than myself, and the v of us, my mother, father and us three kids, lived in one room and a kitchen. In addition there was ever a lodger. Altogether, nosotros must have had 50 of these lodgers. They came and went, one afterwards another. Sometimes they fitted in well enough, merely sometimes they were a nuisance. Well-nigh of them disappeared without a trace and were never heard of once again.
One of these lodgers, whom I remember particularly well, was an amateur locksmith, a dark, pitiful-featured young chap who had tiny blackness eyes and a face that was always covered with soot. His appearance, and the fact that he hardly ever spoke a word, made u.s.a. children really scared of him. I notwithstanding remember ane afternoon when he came home early. I was about five at the time and was solitary in the apartment, playing quietly on the floor. My mother had taken the boys on to the common and my begetter had not yet returned from work. The young locksmith picked me up from the floor and sat me on his knee joint. I began to whimper, only he whispered nastily: 'Close up. I ain't gonna do nuffin' to yer.'[69]

My begetter was a penniless saddle-maker'southward help who worked in a store in Josefstadt. Our tenement building, at that time a new one, filled from top to lesser with poor folk, was far in Ottakring. All of these people had so many children that they over-crowded the small courtyards in the summer. I myself had two older brothers, both of whom were a couple of years older than I. My male parent, my mother, and we three children lived in a kitchen and a room, and had also i lodger. Several dozens of such lodgers stayed with usa for a while, 1 afterward some other; they appeared and vanished, some friendly, some quarrelsome, and most of them disappeared without a trace, and we never heard from them. Amid all those lodgers there were 2 who clearly stand out in my retention. One was a locksmith's amateur, a dark-haired young fellow with a sad look and always a thoroughly sooty face up. Nosotros children were afraid of him. He was quiet, too, and rarely spoke much. I remember how one afternoon he came home when I was lone in our place. I was at that time 5 years old and was playing on the floor of the room. My female parent was with the two boys in Fürstenfeld, my father not yet dwelling house from work. The apprentice picked me upward, sat down and hold me on his knees. I was almost to cry, but he whispered fiercely, "Lay still, I do you nothin'!"[70]

Editions [edit]

  • Memoirs of Josefine Mutzenbacher: The Story of a Viennese Prostitute. Translated from the German and Privately Printed. Paris [Obelisk Printing?], 1931.
  • Memoirs of Josefine Mutzenbacher. Illustrated by Mahlon Blaine. Paris [i.e. New York], 1931.
  • The Memoirs of Josephine Mutzenbacher. Translated by Paul J. Gillette. Los Angeles, Holloway Business firm, 1966.
  • The Memoirs of Josephine Mutzenbacher: The Intimate Confessions of a Courtesan. Translated by Rudolf Schleifer [Hilary E. Holt]. Introduction by Hilary East. Holt, PhD North Hollywood, Brandon Firm, 1967.
  • Memoirs of Josephine M. Consummate and unexpurgated. Continental Classics Erotica Book, 113. Continental Classics, 1967.
  • Oh! Oh! Josephine 1–ii. London, King's Route Publishing, 1973. ISBN 0-284-98498-1 (vol. one), ISBN 0-284-98499-X (vol. two)
  • Josefine Mutzenbacher or The Story of a Viennese Wench, as Told past Herself. Translated by Ilona J. Hämäläinen-Bauer. Helsinki, Books on Demand, 2018. ISBN 978-952-80-0655-8

See also [edit]

  • Fanny Hill

References [edit]

  1. ^ Boil, Beverley Driver (2010). Felix Salten: Human of Many Faces. Riverside (Ca.): Ariadne Press. pp. 111–114. ISBN978-i-57241-169-2.
  2. ^ Outshoorn, Joyce (2004). The Politics of Prostitution: Women'southward Movements, Democratic States, and the Globalisation of Sex activity Commerce. Cambridge, UK: Cambridge University Press. p. 41. ISBN0-521-54069-0.
    Tohill, Cathal; Tombs, Pete (1995). Immoral tales: European sex & horror movies 1956–1984. New York: St. Martin's Griffin. p. 46. ISBN0-312-13519-X.
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    WAS IST SOLLIZITATION? Archived xxx Jan 2007 at the Wayback Automobile
  3. ^ a b Wien im Rosenstolz 2006 Archived 17 May 2009 at the Wayback Machine
  4. ^ ERBzine 0880: Mahlon Blaine Bio and Bib. Erbzine.com (five June 1917). Retrieved on 28 November 2011.
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Further reading [edit]

  • Boa, Elizabeth (2012). "Taking Sex to Market: Tagebuch einer Verlorenen: Von einer Toten and Josefine Mutzenbacher, Dice Lebensgeschichte einer wienerischen Dirne, von ihr selbst erzählt". In Woodford, Charlotte; Schofield, Bridegroom (eds.). The German Bestseller in the Tardily Nineteenth Century. Rochester (N.Y.): Camden Business firm. pp. 224–241. ISBN978-1-57113-487-five.
  • Ehness, Jürgen (2002). "Josefine Mutzenbacher – ein pornographisches Werk ohne Autor?". Felix Saltens erzählerisches Werk: Beschreibung und Deutung. Regensburger Beiträge zur deutschen Sprach- und Literaturwissenschaft B 81 (in High german). Frankfurt am Main: Peter Lang. pp. 305–312. ISBN3-631-38178-6. ISSN 0721-3301.
  • Farin, Michael, ed. (1990). Josefine Mutzenbacher oder die Geschichte einer wienerischen Dirne von ihr selbst erzählt: Ungekürzter Nachdruck der Erstausgabe aus dem Jahr 1906 mit Essays zum Werk (in German). München: Schneekluth. ISBN3-7951-1170-6.
  • Hage, Volker (1996). "Pornographie kann Kunst sein: Josefine Mutzenbacher". In Kogel, Jörg-Dieter (ed.). Schriftsteller vor Gericht: Verfolgte Literatur in vier Jahrhunderten (in German). Frankfurt a.Grand.: Suhrkamp. pp. 281–292. ISBN3-518-39028-vii.
  • Ruthner, Clemens (2011). "The Back Side of Fin-de-Siècle Vienna: The Infamously Infantile Sexuality of Josefine Mutzenbacher". In Ruthner, Clemens; Whitinger, Raleigh (eds.). Contested Passions: Sexuality, Eroticism, and Gender in Modern Austrian Literature and Culture. Austrian Culture. New York: Peter Lang. pp. 91–104. ISBN978-1-4331-1423-half dozen.
  • Ruthner, Clemens; Schmidt, Matthias, eds. (2019). Dice Mutzenbacher: Lektüren und Kontexte eines Skandalromans (in German language). Wien: Sonderzahl. ISBN978-iii-85449-513-0.

External links [edit]

  • Josefine Mutzenbacher (1906) as a facsimile at the National Library of Austria.

Source: https://en.wikipedia.org/wiki/Josephine_Mutzenbacher

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