Abstract

Sacher-Masoch is unjustly forgotten. Krafft-Ebing reduced his staging to a syndrome, and his writing is thought to be more obscene than that of the Marquis de Sade, though neither is, in the first instance, pornographic. Both of them examine the possibilities of relations and their shaping by power. Is Wanda, the femme fatale of Venus im Pelz, the one in power? Is it not the narrator-victim who creates and co-defines the rules of the game?

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