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Therese. Chronik eines Frauenlebens
Es ist ein heller Vorfrühlingstag, als Therese in Wien eintrifft. Hinter ihr liegt die Langeweile des kleinstädtischen Alltags, die Enttäuschung der ersten Liebe. Die Offzierstochter aus gutem Hause nimmt das Dasein eines Dienstmädchens auf sich, denn sie will leben, frei sein, endlich glücklich werden in dieser verführerischen Stadt.
360 pages, Paperback
First published January 1, 1928
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About the author
Arthur Schnitzler
1,004 books540 followersArthur Schnitzler was an Austrian author and dramatist.
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
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October 13, 2020
Το απλό μήνυμα του Σνίτσλερ μέσα απο μια καταιγιστική αφήγηση με καταπιεστικό λόγο μας δίνει το χρονικό της πολύπαθης ζωής και του τραγικού τέλους της Τερέζας.
Η γυναίκα με τα πολλά μυστικά και τη διαρκή και επίμονη προσπάθεια να μην εγκαταλείψει την ελπίδα της επιβίωσης, των ονείρων, των προσδοκιών και των πολλών δραματικών προβλημάτων που την καταπίεζαν εστιάζοντας στην αποτυχημένη ύπαρξη της αληθινής αγάπης και της σεξουαλικής πίστης προς την φυσική παρόρμηση για ολοκλήρωση.
Ο συγγραφέας αδιαμφισβήτητα ποζάρει με ένα λαμπρό ύφος και μια ειρωνικά κλινική παρατήρηση μπροστά στον φακό της ανθρώπινης ψυχολογίας και της κοινωνικής απαξιωτικής αποσύνθεσης.
Η ανησυχία που εκφράζεται αριστουργηματικά σε ολόκληρο το μυθιστόρημα σχετικά με την ατομική ευτυχία. Προσεγγίζει με σαρκασμό και αιχμηρή τρυφερότητα τους αντιφατικούς τόνους και την ειρωνικά επίκτητη καταξίωση που αποζητούσαν οι εξουσίες, οι νόμοι και οι θεσμοί στο πλαίσιο της τυπικής και απρόσωπης ισορροπίας ανάμεσα σε ανθρωπιστικές αξίες και συνειδησιακή ανηθικότητα.
Η Τερέζα ήταν το δεκαεξάχρονο κορίτσι που ξεκίνησε με παρορμητικές πλάνες και αυθόρμητα ένστικτα να ζήσει, να αγαπηθεί, να διεκδικήσει, να προφτάσει τα χρόνια που πέρασαν και τις άφησαν νεκρές και απαθέστατες παρακαταθήκες για προσωπική υπόληψη, για ασφαλή και προστατευτική αγκαλιά, για ερωτική και φιλική ακόμη και συγγενική συμπόνοια, αφοσίωση και απαντοχή.
Όλα όμως άρχιζαν και τελείωναν πάντα με τη συνηθισμένη μελαγχολική απογοήτευση της απόρριψης και της καιροσκοπικής εκμετάλλευσης, κάτι που ίσως εως έναν βαθμό επέτρεψε και η ίδια στους άλλους,
τους πολλούς, τους ξένους και γνωστούς,
να της κλέβουν και να παρακρατούν πάντα την επικαρπία των υλικών και άϋλων φαντασιώσεων της μέσω των πολλαπλών θέσεων που κάλυπτε η προσωπικότητα της και τελικά δημιουργούσε εντάσεις και αντιφάσεις ανατρεπτικές για ανακατασκευή των κοινωνικών αλλαγών, μέσα σε έναν κόσμο άπληστο, σκληρό και χαλασμένο σε κάθε έκφανση του.
Η Τερέζα δεν τα κατάφερε, την νίκησαν τα δόγματα και οι αντιλήψεις της καθεστηκυίας τάξης.
Καλή ανάγνωση.
Πολλούς ασπασμούς.
Η γυναίκα με τα πολλά μυστικά και τη διαρκή και επίμονη προσπάθεια να μην εγκαταλείψει την ελπίδα της επιβίωσης, των ονείρων, των προσδοκιών και των πολλών δραματικών προβλημάτων που την καταπίεζαν εστιάζοντας στην αποτυχημένη ύπαρξη της αληθινής αγάπης και της σεξουαλικής πίστης προς την φυσική παρόρμηση για ολοκλήρωση.
Ο συγγραφέας αδιαμφισβήτητα ποζάρει με ένα λαμπρό ύφος και μια ειρωνικά κλινική παρατήρηση μπροστά στον φακό της ανθρώπινης ψυχολογίας και της κοινωνικής απαξιωτικής αποσύνθεσης.
Η ανησυχία που εκφράζεται αριστουργηματικά σε ολόκληρο το μυθιστόρημα σχετικά με την ατομική ευτυχία. Προσεγγίζει με σαρκασμό και αιχμηρή τρυφερότητα τους αντιφατικούς τόνους και την ειρωνικά επίκτητη καταξίωση που αποζητούσαν οι εξουσίες, οι νόμοι και οι θεσμοί στο πλαίσιο της τυπικής και απρόσωπης ισορροπίας ανάμεσα σε ανθρωπιστικές αξίες και συνειδησιακή ανηθικότητα.
Η Τερέζα ήταν το δεκαεξάχρονο κορίτσι που ξεκίνησε με παρορμητικές πλάνες και αυθόρμητα ένστικτα να ζήσει, να αγαπηθεί, να διεκδικήσει, να προφτάσει τα χρόνια που πέρασαν και τις άφησαν νεκρές και απαθέστατες παρακαταθήκες για προσωπική υπόληψη, για ασφαλή και προστατευτική αγκαλιά, για ερωτική και φιλική ακόμη και συγγενική συμπόνοια, αφοσίωση και απαντοχή.
Όλα όμως άρχιζαν και τελείωναν πάντα με τη συνηθισμένη μελαγχολική απογοήτευση της απόρριψης και της καιροσκοπικής εκμετάλλευσης, κάτι που ίσως εως έναν βαθμό επέτρεψε και η ίδια στους άλλους,
τους πολλούς, τους ξένους και γνωστούς,
να της κλέβουν και να παρακρατούν πάντα την επικαρπία των υλικών και άϋλων φαντασιώσεων της μέσω των πολλαπλών θέσεων που κάλυπτε η προσωπικότητα της και τελικά δημιουργούσε εντάσεις και αντιφάσεις ανατρεπτικές για ανακατασκευή των κοινωνικών αλλαγών, μέσα σε έναν κόσμο άπληστο, σκληρό και χαλασμένο σε κάθε έκφανση του.
Η Τερέζα δεν τα κατάφερε, την νίκησαν τα δόγματα και οι αντιλήψεις της καθεστηκυίας τάξης.
Καλή ανάγνωση.
Πολλούς ασπασμούς.
June 9, 2017
Das Geniale an Arthur Schnitzler,finde ich, liegt genau darin, wie es schon damals Sigmund Freud in einem Brief an ihn formulierte:"Im Grund Ihres Wesens sind Sie ein psychologischer Tiefenforscher, so ehrlich unparteiisch und unerschrocken wie nur je einer war."
Arthur Schnitzler gilt als Meister des inneren Monologs. Beim Lesen seiner Schriften passiert es mir doch öfters, dass solch monologhafte Gedankenblitze seiner Protagonisten in verdrängte schäbige Schichten meiner eigenen Psyche eindringen.
Er kratzt etwas derber an den fassadenhaften Bildern die man oberflächlich von sich hat.
Auf diese Weise sind seine Werke Stupser zu: Mensch,erkenne dich selbst!
Arthur Schnitzler gilt als Meister des inneren Monologs. Beim Lesen seiner Schriften passiert es mir doch öfters, dass solch monologhafte Gedankenblitze seiner Protagonisten in verdrängte schäbige Schichten meiner eigenen Psyche eindringen.
Er kratzt etwas derber an den fassadenhaften Bildern die man oberflächlich von sich hat.
Auf diese Weise sind seine Werke Stupser zu: Mensch,erkenne dich selbst!
July 22, 2023
Un style très différent de Mademoiselle Else mais une histoire très triste, parfois presque détachée. Une mère qui ne se sent pas mère et qui porte au fond d'elle des remords. Bien née, elle va toutefois vivre une descente aux enfers. Les personnages masculins sont tous... arghhhh et Thérèse elle-même semble tellement dénuée de sentiments que c'est souvent surprenant. Toutefois, j'ai beaucoup aimé.
June 26, 2025
წიგნის დასაწყისში გგონია, რომ ეს ამბავი ერთ ქალზეა, ტერეზაზე. მე თუ მკითხავთ, ეს ამბავი თაბარად არის როგორც ტერეზაზე, ასევე მის შვილზე, ფრანცზე. იმ ქრონიკაზე, რომელიც ქალურობის თუ დედობის სიმძიმეში გაახვია მთავარი გმირი და მისი ისტორიის თანხმლები შვილის უიღბლო ცხოვრება. ხშირად ვფიქრობ ხოლმე კაცების დაწერილ ქალ პერსონაჟებზე და ამ შემთხვევაში შნიცლერმა შესანიშნავად გაართვა თავი. არ ვიცი, რამდენად ობიექტურად ვაფასებ კაცის მიერ დაწერილ ტერეზას განცდებს, თუმცა წაკითხვის შემდეგაც თვალწინ მიდგას საფლავთან მდგომი ტერეზას სურათი, რომელსაც “რამდენი მკვდარი და ცოცხალი მოუკვდა”(შნიცლერი, არტურ. 268) და ამის შემყურეს სხეულის ყველა წერტილით ვგრძნობ ტერეზას ამბავს. მელჩორის და კამილო ხოსე სელას შემდეგ სულ ვაყურადებ წიგნებში დამნაშავისა და ბრალეულობის ურთიერთკავშირს და ამ წიგნშიც ტერეზას გულუბრყვილო დედობისა არ იყოს, მეც ვცდილობ ფრანცისის გაგებას. იყო ის რაიმეში დამნაშავე? თუ უბრალოდ ბავშვი იყო, რომელმაც ტრავმის ჯაჭვის გაწყვეტა ვერ შეძლო? თუ რაიმეში დამნაშავეა, იქნებ მასთან ერთად სხვა ყველაც დამნაშავეა? სხვა ყველა, ვინც ამ გარემოს ხელი შეუწყო და სცენის შუაში დააყენა ტერეზა და მისი საბრალო შვილი, ფრანცისი. მართალია, კითხვისას ცოტათი დავიქანცე, თუმცა დასასრულს ესესაა მივუახლოვდი, თანაც მატარებლით ვმგზავრობ მარტო და თუ შეიძლება მითხარით, როდის არის შემდეგი გაჩერება… ტერეზას ქრონიკა უნდა ამოვისუნთქო და იქნებ, წყალიც ვიყიდო სადმე.
February 17, 2013
it's far from perfect, to repetitive in the middle, simple in language but also all of this was made deliberately and for a point
Read
February 26, 2023Abandonné p65
April 30, 2025
ანასნაირად ვიტყვი, კარგი გოგოა ტერეზა ❤️
July 15, 2021
Je ne m'attendais à rien et ça a été une heureuse découverte.
On oublie que c'est un homme en 1928 qui écrit. Pour moi c'est un très bon exemple de "female gaze" et je trouve ça même rassurant dans un sens. J'ai pu lire qu'Arthur Schnitzler était un médecin et ses oeuvres sont souvent liées à la psychanalyse. Honnêtement je n'en ai pas eu l'impression dans ce roman. Oui le personnage de Thérèse est "complexe" comme un être humain au final. Peut-être sa relation avec son fils ? Mais la situation me paraît tellement difficile qu'à la fois le développement me parait plausible.
Pour finir, je voulais faire remarquer le positionnement de Thérèse quant à la gestion de ses relations avec les hommes. On ne tombe pas une seconde dans la recherche du grand amour. J'ai eu pour ma part plus l'impression de suivre une femme qui se laisse porter par ses désires, impulsions, intuitions. J'aime les descriptions de ses lassitides et insatisfactions. Pourtant elle n'ai pas non plus si pro active que ça. Bref, un personnage complexe.
On oublie que c'est un homme en 1928 qui écrit. Pour moi c'est un très bon exemple de "female gaze" et je trouve ça même rassurant dans un sens. J'ai pu lire qu'Arthur Schnitzler était un médecin et ses oeuvres sont souvent liées à la psychanalyse. Honnêtement je n'en ai pas eu l'impression dans ce roman. Oui le personnage de Thérèse est "complexe" comme un être humain au final. Peut-être sa relation avec son fils ? Mais la situation me paraît tellement difficile qu'à la fois le développement me parait plausible.
Pour finir, je voulais faire remarquer le positionnement de Thérèse quant à la gestion de ses relations avec les hommes. On ne tombe pas une seconde dans la recherche du grand amour. J'ai eu pour ma part plus l'impression de suivre une femme qui se laisse porter par ses désires, impulsions, intuitions. J'aime les descriptions de ses lassitides et insatisfactions. Pourtant elle n'ai pas non plus si pro active que ça. Bref, un personnage complexe.
November 19, 2013
"Una storia di tutti i giorni, nei nostri tempi, di migliaia di donne abbandonate a loro stesse".
Con queste parole facenti parte della prefazione italiana di Sibilla Aleramo, entriamo nel mondo di Thérèse.
Quello che colpisce leggendo questo racconto lungo di Schnitzler (il mio approccio a questo autore), è l'estrema solitudine, l'estremo bisogno di essere amata e di amore che caratterizza il personaggio di Thérèse. Un amore, un bisogno di amore che la porta a cercare sempre nuovi amanti, nuovi amori, senza mai lasciarsi andare e farsi amare.
Una donna che, pur essendo istitutrice e dovendosi occupare per lavoro dei bambini degli altri, non riesce a colmare d'amore suo figlio, Franz, che considera la solo una dispensatrice di denaro.
Un romanzo che affronta la solitudine, l'incomunicabilità, il male di vivere in una donna che chiede solo di essere felice e amata.
Con queste parole facenti parte della prefazione italiana di Sibilla Aleramo, entriamo nel mondo di Thérèse.
Quello che colpisce leggendo questo racconto lungo di Schnitzler (il mio approccio a questo autore), è l'estrema solitudine, l'estremo bisogno di essere amata e di amore che caratterizza il personaggio di Thérèse. Un amore, un bisogno di amore che la porta a cercare sempre nuovi amanti, nuovi amori, senza mai lasciarsi andare e farsi amare.
Una donna che, pur essendo istitutrice e dovendosi occupare per lavoro dei bambini degli altri, non riesce a colmare d'amore suo figlio, Franz, che considera la solo una dispensatrice di denaro.
Un romanzo che affronta la solitudine, l'incomunicabilità, il male di vivere in una donna che chiede solo di essere felice e amata.
August 8, 2025
რა ტრაგიზმია.
,,შენც არ გქონია ბედი, დედა.”
,,შენც არ გქონია ბედი, დედა.”
August 29, 2024
3,5 Sterne
Das letzte im Jahr 1928 erschienene Buch des Autors. Eine direkte Zeit, in der das Buch handelt, wird nicht genannt. Aber ich schätze, der Roman spielt gegen Ende des 19. Jahrhunderts. Es schildert den sozialen Abstieg von Therese Fabiani. Sie bekommt ein uneheliches Kind und ist gezwungen, den Sohn zu Pflegeeltern zu geben und selbst als Gouvernante und Hauslehrerin ihren Lebensunterhalt zu verdienen. Eine geplante Hochzeit mit einem gut situierten Mann fällt leider ins Wasser, da der Bräutigam kurz vor der Hochzeit überraschend stirbt. Der Sohn schlägt eine kriminelle Bahn ein, an der Therese sich auch die Schuld gibt.
Ich hätte Therese manchmal wirklich gern geschüttelt. Zu Anfang kann man ihren Wunsch nach Unabhängigkeit verstehen. Mit dem Vater hat sie noch ein gutes Verhältnis aber er wird in eine Nervenheilanstalt eingewiesen und stirbt bald darauf. Mit Mutter und Bruder versteht sie sich nicht wirklich. Also geht sie nach Wien und will Kindermädchen/Gouvernante werden. Hier wechselt sie ihre Anstellungen wie andere ihre Unterhosen. Manchmal aus nachvollziehbaren Gründen (sexuell aufdringliche Chefs), manchmal aber auch aus Nichtigkeiten, weil ihr Kleinigkeiten nicht passen oder weil sie sich langweilt. Manchmal wird ihr auch gekündigt. Dabei hat sie aber immer das Privileg, Unterkünfte zu mieten oder auch die Pflegeeltern ihres Sohnes zu bezahlen. Wo kam das Geld her, wenn sie mal wieder ohne Stellung war? Zuwendungen der Mutter? Rentenzahlungen des toten Vaters? Ich denke, mit etwas mehr Ehrgeiz und Willen hätte sie ihr Leben durchaus in den Griff bekommen können und in sehr einfacher aber stabiler finanzieller Lage auskommen können.
Mit der Specherin des Hörbuchs Birgit Minichmayr bin ich gar nicht klar gekommen. Sie hat das Hörbuch sehr monoton, fast schon gelangweilt eingesprochen.
Das letzte im Jahr 1928 erschienene Buch des Autors. Eine direkte Zeit, in der das Buch handelt, wird nicht genannt. Aber ich schätze, der Roman spielt gegen Ende des 19. Jahrhunderts. Es schildert den sozialen Abstieg von Therese Fabiani. Sie bekommt ein uneheliches Kind und ist gezwungen, den Sohn zu Pflegeeltern zu geben und selbst als Gouvernante und Hauslehrerin ihren Lebensunterhalt zu verdienen. Eine geplante Hochzeit mit einem gut situierten Mann fällt leider ins Wasser, da der Bräutigam kurz vor der Hochzeit überraschend stirbt. Der Sohn schlägt eine kriminelle Bahn ein, an der Therese sich auch die Schuld gibt.
Ich hätte Therese manchmal wirklich gern geschüttelt. Zu Anfang kann man ihren Wunsch nach Unabhängigkeit verstehen. Mit dem Vater hat sie noch ein gutes Verhältnis aber er wird in eine Nervenheilanstalt eingewiesen und stirbt bald darauf. Mit Mutter und Bruder versteht sie sich nicht wirklich. Also geht sie nach Wien und will Kindermädchen/Gouvernante werden. Hier wechselt sie ihre Anstellungen wie andere ihre Unterhosen. Manchmal aus nachvollziehbaren Gründen (sexuell aufdringliche Chefs), manchmal aber auch aus Nichtigkeiten, weil ihr Kleinigkeiten nicht passen oder weil sie sich langweilt. Manchmal wird ihr auch gekündigt. Dabei hat sie aber immer das Privileg, Unterkünfte zu mieten oder auch die Pflegeeltern ihres Sohnes zu bezahlen. Wo kam das Geld her, wenn sie mal wieder ohne Stellung war? Zuwendungen der Mutter? Rentenzahlungen des toten Vaters? Ich denke, mit etwas mehr Ehrgeiz und Willen hätte sie ihr Leben durchaus in den Griff bekommen können und in sehr einfacher aber stabiler finanzieller Lage auskommen können.
Mit der Specherin des Hörbuchs Birgit Minichmayr bin ich gar nicht klar gekommen. Sie hat das Hörbuch sehr monoton, fast schon gelangweilt eingesprochen.
October 25, 2025
The woman in the novel is a self-confident young woman who chooses her own path and pursues it uncompromisingly and relentlessly. Because of her uncompromising attitude, she turns down many opportunities. Ultimately, she fails. How can one fail because of self-confidence? Does that require a stronger dose of selfishness? Or did the woman lack self-confidence at all, but merely an unhappy egotism? Did the woman fail solely because of society and her subordinate role? Yes, that's one way of looking at it. The fact that Schnitzler was also a psychiatrist and that his complex characters are at the forefront of his work means the answer isn't so one-sided. My reflection? It's hard to say. But I see this case as beautifully transparent, a warning and instructive for all who follow her path unconditionally.
October 29, 2021
Je pense qu'on peut dire que c'est un roman écrit par un homme sur l'infinie solitude conjuguée au féminin.
Sans pathos, la narration est neutre et decrit presque factuellement la vie d'une femme à qui rien n'arrive, à qui rien ne sourit. Ce style narratif est presque ce qui est le plus triste, on percoit par ce biais l'auteur chuchoter, à l'occasion de son dernier roman, "voilà tout, voilà tout ce qui est".
Très beau texte
Sans pathos, la narration est neutre et decrit presque factuellement la vie d'une femme à qui rien n'arrive, à qui rien ne sourit. Ce style narratif est presque ce qui est le plus triste, on percoit par ce biais l'auteur chuchoter, à l'occasion de son dernier roman, "voilà tout, voilà tout ce qui est".
Très beau texte
May 29, 2018
altough nicely written - I like the little stylish differences in austrian-german, it lacks of depth in charackters and so the story get's pretty reputative wich kind of bores after a while. It took me surprisingly over 1 month to read this 312 page novel - also due to the studies I have to do - but I do was relieved to have finally finished it. I redommend Schnitzlers work on 'die Traumnovelle'.
August 5, 2017
a very sad story of a mother
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October 31, 2021gelesen während einer schlaflosen nacht im easy flat Mariahilf City Living apartment 4 stumpergasse
July 4, 2025
Une chronique sur l'infatigable espoir d'avoir une vie meilleure.
August 6, 2025
3.5 ⭐️
ჩემთვის ამ სევდიანი წიგნის “სულის” აღსაწერი თავად ავტორს აქვს ნათქვამი, იმ პატარა, თუმცა მშვენიერ ეპიზოდში, როცა დუნაის ნაპირებთან ორი “შეყვარებული” წყვილი მიაბიჯებს და ითქმება სიტყვები:
“რომ მაინც არსებობდა წამები, რომელთა გამოც სიცოცხლე ღირდა…არსებითად ეს არაფერს ცვლის, საბოლოოდ ხომ ყველაფერი სევდიანია, განსაკუთრებით, მშვენიერება, და ამიტომ სიყვარული ამქვეყნად ყველაზე სევდიანი რამაა”🩷
ჩემთვის ამ სევდიანი წიგნის “სულის” აღსაწერი თავად ავტორს აქვს ნათქვამი, იმ პატარა, თუმცა მშვენიერ ეპიზოდში, როცა დუნაის ნაპირებთან ორი “შეყვარებული” წყვილი მიაბიჯებს და ითქმება სიტყვები:
“რომ მაინც არსებობდა წამები, რომელთა გამოც სიცოცხლე ღირდა…არსებითად ეს არაფერს ცვლის, საბოლოოდ ხომ ყველაფერი სევდიანია, განსაკუთრებით, მშვენიერება, და ამიტომ სიყვარული ამქვეყნად ყველაზე სევდიანი რამაა”🩷
September 30, 2025
I don't usually get brought down by stories but this one was definitely heavy, especially for summer reading. It felt repetitive and unnecessarily cruel to its main character, and I was honestly relieved when it ended. I still appreciate Schnitzler's writing though.
September 1, 2011
Fantastic writing (German version) but the stories of each and every posting as an au pair became way too repetitive and annoying. And the book was really, really depressing. Not to be recommended if you are not in a good mood to begin with.
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