Reviews 171 here so impenetrable later becomes a source of inspiration for Kafka, as shown in the section ‘Telephon, Parlograph, Grammophon: Geräusch der Dinge, verdinglichtes Geräusch’ [Telephone, Parlograph, Gramophone: The Noise of Things, Reified Noise]. Despite his reservations, Kafka creates a ‘Technopoetik’ [techno-poetics, p. 152] which extends the field of hearing beyond the mortal body and its limitations. Overall, Görner’s examination of Kafka’s writings is meticulous, and his expertise in musical theory and history clear. This reviewer would have appreciated some mention of recent developments in theories of hearing (Jean-Luc Nancy and Peter Szendy, for instance), or of Kata Gellen’s excellent publications in the field of Kafka and sound studies, which show how closely hearing in Kafka’s work relates to other media. However, the accessible style and detailed approach of this study encourage the reader to enter the akustische Welten of its title and find room for further resonances. Syamala Roberts Jesus College, Cambridge Die Mutzenbacher: Lektüren und Kontexte eines Skandalromans. Edited by Clemens Ruthner and Matthias Schmidt. Editorial Assistant Carolin Schmieding. Vienna: Sonderzahl, 2019. 351 pp. €28. ISBN 978–3-85449–513–0. The scandalous pornographic novel Josephine Mutzenbacher oder die Geschichte einer Wienerischen Dirne von ihr selbst erzählt was published anonymously in Vienna in 1906 for a rather restricted public. Contemporaries attributed its authorship to Felix Salten (1869–1945), who never denied having written this pseudo-autobiography of a Viennese prostitute. It was published again in 1969 and has since become a classic of German-language erotic literature. Many questions are raised by the book, which widely uses the Viennese vernacular and offers a rich collection of ‘dirty’ words. It is mainly such stylistic features that justify a literary discussion of Josephine Mutzenbacher, which does more than speculate on the instincts of its male readers (see the interesting remark by Müller-Funk on a stylistic detail, p. 40). Another literary aspect is the radical Naturalism with which it depicts the life of the poorer classes. Readers who hope for answers to such questions raised by the novel itself will be disappointed by this collection of seventeen essays, the majority of which avoid analysis of Josephine Mutzenbacher and treat general problems or parallels in Austrian literature instead. Perhaps close reading of a blatantly pornographic text is still compromising for many literary scholars; whatever the reason, explicitly sexual passages are not the focus of any of the articles in this volume. Its title promises ‘readings’ and ‘contexts’ but it is mainly contexts that are studied. Once in a while the problem of authorship is mentioned, but we do not get anything like a survey of the different positions on this important question (see p. 15, n. 21). Many contributors seem to dislike the idea of attributing the Reviews 172 book to Salten; Clemens Ruthner believes that a female author might turn up (p. 17, see also Smetazko, pp. 229–30 and pp. 243–44) and briefly discusses the consequences of such a discovery for the interpretation. (Discussion of the likelihood of a woman having authored the text would have to take into account the taboo on women of this period using explicit, vulgar language, even in the case of those colleagues of Josephine capable of having written books.) Martin A. Heinz’s formula ‘[Mutzenbacher/Salten?]’ (p. 298) is not a satisfactory solution. Reading the novel as a parody, as do Weinzierl and Glaser (p. 195), implies an author experienced in literary techniques; if Josephine Mutzenbacher is not the work of a professional writer such interpretations are very unlikely. One should ask why it was Salten whom all Vienna suspected of having written the novel — but there is no contribution by a Salten specialist, no reference to Salten’s other writings. None of the contributions focuses on the narrator or undertakes an analysis of the indeed unique style of this Viennese Sexualtext (Ruthner, p. 19). This reviewer would also expect more than isolated remarks on Naturalism in the novel (see Preljević, pp. 139–40; Concetti, p. 179). Three essays study aspects of the novel itself: Désirée Prosquill convincingly argues that the author knew Freud’s studies of...