{"id":5646,"date":"2022-01-27T11:14:15","date_gmt":"2022-01-27T10:14:15","guid":{"rendered":"https:\/\/www.petrasterry.com\/text-christa-steinle-princess-dunkelschoen\/"},"modified":"2022-04-25T11:36:12","modified_gmt":"2022-04-25T09:36:12","slug":"text-christa-steinle-princess-dunkelschoen","status":"publish","type":"page","link":"https:\/\/www.petrasterry.com\/en\/text-christa-steinle-princess-dunkelschoen\/","title":{"rendered":"TEXT Christa Steinle &#8211; Princess Dunkelsch\u00f6n"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-776gv-bf4de915db4f0f12493cb5552f04fbcf\">\n#top .flex_column.av-776gv-bf4de915db4f0f12493cb5552f04fbcf{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n.responsive #top #wrap_all .flex_column.av-776gv-bf4de915db4f0f12493cb5552f04fbcf{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n<\/style>\n<div  class='flex_column av-776gv-bf4de915db4f0f12493cb5552f04fbcf av_three_fourth  avia-builder-el-0  el_before_av_one_fourth  avia-builder-el-first  first av-break-at-tablet flex_column_div  '     ><section  class='av_textblock_section av-kw4x0d5w-7a009f00247cbf970435d81e78bd201b '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Christa Steinle<\/h2>\n<h1>Petra Sterry\u2019s \u201cTale of Princess Dunkelsch\u00f6n\u201d as a linguistic-conceptual strategy<\/h1>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-kxytmrzj-b392312f15aab93e6c4c7a00789e9999 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>A fairy tale written in three text blocks on a curtain: that could be interpreted as a pleonasm. The curtain and the fairy tale share a common morphological structure. Both the curtain and the fairy tale conceal and cover something. Petra Sterry explores the \u201cmorphology of the fairy tale\u201d(Vladimir Propp).<sup>1<\/sup> She recognizes that fairy tales are narratives which are continually being woven a new out of the same or similar elements. Fairy tales are living things, they tell of life, they are a postmodern literature <em>avant la lettre<\/em> that lives from an aura of ambivalence. Fairy tales are the mirror of society, a dark mirror that is clouded at some points \u2013 thus the fascination of the fairy tale, but also the fear of it. In the fairy tale the child becomes acquainted with concealed social mechanisms and reads of social hierarchies and social classes, of poor and rich, of beautiful and ugly, of good and evil, of names and the nameless, of prohibitions and laws.The true meaning of the fairy tale glimmers through the interpretable and the uninterpretable, the surreal and the irreal; it is, namely, to point toward that which is concealed behind the curtain. Petra Sterry seems to be telling a new fairy tale, but its elements are familiar: the lake, the forest, the mirror, the queen, the princess, the dwarf by the name of Rumpelstilzchen. She opens a newchapter in the unending history of the fairy tale. Similarly to Paul McCarthy and Mike Kelley in their interpretation of \u201cHeidi\u201d, Sterry\u2019s interpretation also reveals the dark side of the fairy tale. Not a happy end, but disaster waits at the end of the \u201cTale of Princess Dunkelsch\u00f6n\u201d,<sup>2<\/sup> who hangs herself in the forest, abruptly and brutally eliminating the hopeful line about \u201cliving happily ever after\u201d found at the conclusion of every fairy tale.<\/p>\n        <div class=\"rmwr-wrapper\" \n             data-id=\"rmwr-6a0ac6d13ffd3\"\n             data-mode=\"normal\"\n             data-animation=\"fade\"\n             data-duration=\"300\"\n             data-smooth-scroll=\"true\"\n             data-scroll-offset=\"0\">\n            <button \n                type=\"button\"\n                class=\"read-link\" \n                id=\"readlinkrmwr-6a0ac6d13ffd3\"\n                data-open-text=\"Mehr lesen \/ Read more ...\"\n                data-close-text=\"\"\n                aria-expanded=\"false\"\n                aria-controls=\"readrmwr-6a0ac6d13ffd3\"\n                aria-label=\"Mehr lesen \/ Read more ...\"\n            >\n                <span class=\"rmwr-text\">Mehr lesen \/ Read more ...<\/span>\n            <\/button>\n            <div \n                class=\"read_div\" \n                id=\"readrmwr-6a0ac6d13ffd3\"\n                aria-hidden=\"true\"\n                data-animation=\"fade\"\n                data-duration=\"300\"\n                style=\"display: none;\"\n            >\n                <\/p>\n<p>In exploring and deconstructing fairy tales, Sterry is really exploring social mechanisms, whose clockwork of rules is veiled and conveyed by the fairy tale\u2019s narrative. The subjects are eroticism and death, power and morality, esteem and honor, possessions and social rank. Myths and fairy tales deal with the fields that psychoanalysis pulled forth from the darkness of the soul, from incest to Oedipus. In visual depictions, the art of antiquity explored myths and fairy tales allegorically. Petra Sterry, in contrast, dissects the fairy tale in its logical structure: she shows the fairy tale as a communicative text in which language games reveal the game of social class (as a sociological\u201cpuzzle\u201d). Since she has printed her fairy tale on a curtain, it could be referred to as a \u201ctext picture\u201d. Sterry has created a number of text pictures, which are characterized by their deformed language, a language that a dreamer might murmur in sleep. The language of the dream is the language of the fairy tale transformed. Through their \u201cfaulty\u201d orthography, Sterry\u2019s text pictures amplify the ambiguity of the fairy tale\u2019s language. They make it clear that the rules of language are not only governed by compulsion \u2013 the compulsion of grammar, the compulsion of communication, which for her reflect the compulsions of life \u2013 but that liberties can also be taken, liberties with meaning. The fairy tale\u2019s ambiguity and the pluralism of meaning found in Sterry\u2019s picture texts show that she is concerned with a fundamental element of social life: the freedom of the individual. She expresses this freedom in her individualized text pictures, practicing social resistance by rewriting orthography and rewriting the fairy tale. She preserves the child\u2019s unreserved experience of society, which emanates from an attitude of questioning and amazement. Thus a language game becomes a social game. Such linguistic-conceptual strategies were formulated after 1945 by the Wiener Gruppe and later popularized by Peter Handke.<sup>3<\/sup> In her work Sterry brings together the language games of the Wiener Gruppe and the world of Viennese Actionism, as becomes apparent when one compares her drawings with the sketches of Rudolf Schwarzkogler. Art that invokes the fairy tale gives way to its mechanisms. The 1999 drawing \u201cPrincess Dunkelsch\u00f6n\u201d shows a phallus that as a snake pushes like a backbone into the head of the princess. The snake\u2019s forked tongue parallels the trident in her crown. In the text Sterry adheres to the rules of the fairy tale, tabooing sexuality: Rumpelstilzchen strokes the princess\u2019 face. In the drawing, however, she negates the fairy tale\u2019s rules, showing sex and death in all their cruelty. In many other similar drawings from 1999, Sterry sketches out the dark primordial ground of existence, death. The drawings emanate from a defensive zone, from an escape, from an attempt toward off something whose name is clear, but which may not be spoken out. Thus Sterry\u2019s art remains rooted in the grammatical and the narrative structure of the fair tale. Her art is the art of the fairy tale, only it is crueler. Aesthetic experiences like those of Artaud\u2019s Theater of Cruelty, of Art Brut and beyond have for decades spread out a map of human suffering, where no home is tobe found, rather a continual state of instability and uprootedness, a state of floating. These aesthetic experiences also represent the horizon of the aesthetic obsessions of Petra Sterry.<br \/>\n            <\/div>\n        <\/div>\n        \n<\/div><\/section><\/p><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-fspzj-3cbcad1f65dc4548c406798de1dc4044\">\n#top .flex_column.av-fspzj-3cbcad1f65dc4548c406798de1dc4044{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n.flex_column.av-fspzj-3cbcad1f65dc4548c406798de1dc4044{\npadding:5px 5px 5px 5px;\nbackground-color:rgba(175,126,126,0.1);\n}\n.responsive #top #wrap_all .flex_column.av-fspzj-3cbcad1f65dc4548c406798de1dc4044{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n<\/style>\n<div  class='flex_column av-fspzj-3cbcad1f65dc4548c406798de1dc4044 av_one_fourth  avia-builder-el-3  el_after_av_three_fourth  el_before_av_three_fourth  av-break-at-tablet flex_column_div  '     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-87f93-8816b455fdb6e0ab06a02a569140832b\">\n.av_font_icon.av-87f93-8816b455fdb6e0ab06a02a569140832b .av-icon-char{\nfont-size:20px;\nline-height:20px;\n}\n<\/style>\n<span  class='av_font_icon av-87f93-8816b455fdb6e0ab06a02a569140832b avia_animate_when_visible av-icon-style- avia-icon-pos-center avia-iconfont avia-font-entypo-fontello av-no-color avia-icon-animate'><a href='https:\/\/www.petrasterry.com\/downloads\/Steinle_Princess_Dunkelschoen_Petra-Sterry_EN.pdf'  target=\"_blank\"  rel=\"noopener noreferrer\"  class='av-icon-char' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' aria-hidden=\"false\" ><\/a><\/span><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kx4wesau-a36f37c8d0410304eebf788b39237020\">\n#top .av_textblock_section.av-kx4wesau-a36f37c8d0410304eebf788b39237020 .avia_textblock{\nfont-size:12px;\n}\n<\/style>\n<section  class='av_textblock_section av-kx4wesau-a36f37c8d0410304eebf788b39237020 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h6 style=\"text-align: center;\"><a href=\"https:\/\/www.petrasterry.com\/downloads\/Steinle_Princess_Dunkelschoen_Petra-Sterry_EN.pdf\" target=\"_blank\" rel=\"noopener\"><strong>Tale of Princess Dunkelsch\u00f6n<\/strong><br \/>\nChrista Steinle<br \/>\nabout<br \/>\nPetra Sterry<br \/>\npdf<\/a><\/h6>\n<\/div><\/section><\/p><\/div><\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-7ztbz-fe3aceaa57de94cc080a5dcb6995077c\">\n#top .flex_column.av-7ztbz-fe3aceaa57de94cc080a5dcb6995077c{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.responsive #top #wrap_all .flex_column.av-7ztbz-fe3aceaa57de94cc080a5dcb6995077c{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-7ztbz-fe3aceaa57de94cc080a5dcb6995077c av_three_fourth  avia-builder-el-6  el_after_av_one_fourth  avia-builder-el-last  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-kx4wnrh5-db2bb32c63a41de8e9a4fa9d9d512a84 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p id=\"footnote\"><em><sup>1<\/sup> Vladimir Propp, Morphologie des M\u00e4rchens (1928), Suhrkamp, Frankfurt\/Main 1975.<br \/>\n<span id=\"page1R_mcid78\" class=\"markedContent\"><span dir=\"ltr\" role=\"presentation\"><sup>2<\/sup> Translator\u2019s note: Although its resonances conjure rich imagery, the invented name \u201cDunkelsch\u00f6n\u201d simply<\/span><\/span><span id=\"page1R_mcid79\" class=\"markedContent\"><\/span><span id=\"page1R_mcid80\" class=\"markedContent\"> <span dir=\"ltr\" role=\"presentation\">combines the German words for<\/span><\/span><span id=\"page1R_mcid81\" class=\"markedContent\"> <span dir=\"ltr\" role=\"presentation\">dark<\/span><\/span><span id=\"page1R_mcid82\" class=\"markedContent\"> <span dir=\"ltr\" role=\"presentation\">and<\/span><\/span><span id=\"page1R_mcid83\" class=\"markedContent\"> <span dir=\"ltr\" role=\"presentation\">beautiful<\/span><\/span><span id=\"page1R_mcid84\" class=\"markedContent\"><span dir=\"ltr\" role=\"presentation\">.<\/span><\/span><\/em><br \/>\n<em> <sup>3<\/sup> Peter Handke, Kaspar, Suhrkamp, Frankfurt\/Main 1970; Das Spiel vom Fragen, Suhrkamp, Frankfurt\/Main 1989.<\/em><\/p>\n<\/div><\/section><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5646","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/pages\/5646","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/comments?post=5646"}],"version-history":[{"count":26,"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/pages\/5646\/revisions"}],"predecessor-version":[{"id":8108,"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/pages\/5646\/revisions\/8108"}],"wp:attachment":[{"href":"https:\/\/www.petrasterry.com\/en\/wp-json\/wp\/v2\/media?parent=5646"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}