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Josefine Mutzenbacher ist ein Roman der erotischen Literatur, der erstmals publiziert wurde. Als Autor des anonymen Werks gilt Felix Salten. Die als Erzählerin fungierende Protagonistin des Romans ist eine Wiener Prostituierte, die – The Project Gutenberg EBook of Josefine Mutzenbacher, by Felix Salten This eBook is for the use of anyone anywhere at no cost and with almost no restrictions. Josefine Mutzenbacher ist ein Roman der erotischen Literatur, der erstmals publiziert wurde. Als Autor des anonymen Werks gilt Felix Salten. Die als. Josefine Mutzenbacher ist ein deutscher Sexfilm von Kurt Nachmann aus dem Jahr , der als Klassiker seiner Art gilt. Verfilmt wurde der Felix Salten. Ohne jede Scham: Die Mutzenbacher-Trilogie: Drei Romane in einem eBook: "​Die Geschichte einer Wiener Dirne, von ihr selbst erzählt", "Meine Liebhaber​.

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The Project Gutenberg EBook of Josefine Mutzenbacher, by Felix Salten This eBook is for the use of anyone anywhere at no cost and with almost no restrictions. Mutzenbacher. – Bücher – gebraucht, antiquarisch & neu kaufen ✓ Preisvergleich ✓ Käuferschutz ✓ Wir ♥ Bücher! simf.se 'mutzenbacher' Search, free sex videos.

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The highlight of her public house is costume, situational sex. The girls satisfy any fantasies of customers, as well as residents of a small town where the brothel is located - the postman, bartender, chauffeur.

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Rate This. Although no author claimed responsibility for the work, it was originally attributed to either Felix Salten or Arthur Schnitzler by the librarians at the University of Vienna.

The original novel uses the specific local dialect of Vienna of that time in dialogues and is therefore used as 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 time. The novel has been translated into English, French, Spanish, Italian, Hungarian, Hebrew, Dutch, Japanese, Swedish and Finnish, among others, [14] and been the subject of numerous films, theater productions, parodies, and university courses, as well as two sequels.

The protagonist is said to have been born on 20 February in Vienna and passed on 17 December at a sanatorium. 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 accomplished aging year-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—13 years old, before she actually becomes a licensed prostitute in the brothels of Vienna.

The book begins when she is five years old and ends when she is thirteen years old and starts her career as an unlicenced prostitute with a friend, to support her unemployed father.

The actual progression of events amounts to little more than a graphic, unapologetic description of the reckless sexuality exhibited by the heroine, all before reaching her 14th year.

In some constellations, Josefine appears as the active seducer, and sex is usually depicted as an uncomplicated, satisfactory experience.

The original Austrian publication was unillustrated, but a later pirated edition from contained black-and-white drawings, entirely pornographic as the text.

These illustrations were bound 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 English translation [18] and in a Finnish translation, [19] erroneously dated to Another illustrated German-language edition was published in the late s in Liechtenstein with images by Jean Veenenbos — Other illustrations have been created as well.

The first English translation of was quickly pirated in New York and illustrated by Mahlon Blaine — The translation, Oh!

Josephine , is illustrated with photographic stills from "the continental movie" of , Josephine Mutzenbacher a. Naughty Knickers by Kurt Nachmann. Also a Danish translation of contains illustrations.

An incomplete Swedish translation from contains random photographs of prostitutes with scathing comments. The novel Josefine Mutzenbacher has given rise 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-age story or a novel of development, [20] and mentioned as a rare case of a picaresque novel with a female protagonist.

The relation of the novel to the Freudian theory of sexuality has been subject to debate. The Swedish translator C.

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

In , a bookseller called Josef Kunz was convicted in Vienna for a public act of obscenity because he had published a new edition of the novel, and the copies of the book were confiscated.

Still in , there was another legal process to ban the novel because of obscenity, but this time, too, the Supreme Court judged in favour of the publisher.

However, the significance of the case came to eclipse Josefine Mutzenbacher as an individual work, because it set a precedent as to which has a larger weight in German Law: Freedom of Expression or The Protection of Youth.

The final decision was made in at the Federal Constitutional Court Bundesverfassungsgericht , putting the work once again on the list of "Media harming the youth" Jungendgefährdenden Medien forcing the right of Freedom of Expression Under Article 5 III Fundamental rights to step back.

In Germany, there is a process known as indexing German : Indizierung. The Bundesprüfstelle für jugendgefährdende Medien BPjM or "Federal inspection department for youth-endangering media" collates books, movies, video games and music that could be harmful to young people because they contain violence, pornography, Nazism , hate speech and similar dangerous 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.

Items that are indexed placed on the list cannot be bought by anyone under 18, they are not allowed to be sold at regular bookstores or retailers that young people have access to, nor are they allowed to be advertised in any manner.

The issue underlying the Mutzenbacher Decision is not whether the book is legal for adults to buy, own, read, and sell — that is not disputed.

The case concerns whether the intrinsic merit of the book as a work of art supersedes the potential harm its controversial contents could have on the impressionable minds of minors and whether or not it should be "indexed".

In the s, two separate publishing houses made new editions of the original Josefine Mutzenbacher. The BPjM placed Josefine Mutzenbacher on its list, after two criminal courts declared the pornographic content of the book obscene.

The BPjM maintained that the book was pornographic and dangerous to minors because it contained explicit descriptions of sexual promiscuity, child prostitution, and incest as its exclusive subject matter, and promoted these activities as positive, insignificant, and even humorous behaviors in a manner devoid of any artistic value.

The BPjM stated that the contents of the book justified it being placed on the "list of youth-endangering media" so that its availability to minors would be restricted.

In a third publishing house attempted to issue a new edition of Josefine Mutzenbacher that included a foreword and omitted the "glossary of Viennese vulgarisms" from the 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 work of art that minors should not be restricted from reading.

The Court prefaced their verdict by referring to two other seminal freedom of expression cases from previous German Case Law, the Mephisto Decision and the Anachronistischer Zug Decision.

The court ruled that under the German constitution Grundgesetz chapter about Freedom of Art Kunstfreiheit , the novel Josefine Mutzenbacher was both pornography and art, and that the former is not necessary and 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 process 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. The book was added to the list again in November [32] in a new decision by the BPjM which considered the aspect of freedom of art, but deemed the aspect of protecting children to be more important.

Again, the publisher appealed to the Administrative Court Verwaltungsgericht of Cologne and won the case in Therefore Josefine Mutzenbacher was taken into the list for 25 years.

After this period of time had passed and the indexing ceased, the BPjM decided in November that there was no more any reason to list the book anew.

The BPjM also noted that according to current scholarly opinion, the book shows remarkable literary merit, for instance, by tending to present new perspectives to autobiographical works of literature.

The heirs could not provide such evidence. So, the case was ruled in favour of the publishing company in May The heirs appealed to Munich Oberlandesgericht court but lost there in July and, subsequently, also lost at the Federal Court of Justice in early Two novels, also written anonymously, which present a continuation of the original Josephine Mutzenbacher , have been published.

However, they are not generally ascribed to Felix Salten. Also the sequels have been translated into many languages. For instance, Oh! Josephine: Volume 2 from is an English rendering of Meine Liebhaber.

The title's similarity to Josephine Mutzenbacher, being only two letters different, is a play on words that is not just coincidence.

The name "Pepi Wurznbacher" is directly taken from the pages of Josephine Mutzenbacher ; "Pepi" was Josephine Mutzenbacher's nickname in the early chapters.

Josephine Mutzenbacher has been included in several university courses and symposium. 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" "Die 7 Lieder der Josefine Mutzenbacher".

The show is a raunchy, humorous parody of the novel, set in a brothel, that runs approximately 75 minutes. Both the original Josephine Mutzenbacher and the two "sequels" are available as spoken word audio CDs read by Austrian actress Ulrike Beimpold:.

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".

There are several English translations of Josefine Mutzenbacher , some of which, however, are pirated editions of each other.

When checked against the German text, the translations differ, and the original chapter and paragraph division is usually not followed, except for the edition.

The original novel is divided only in two long chapters, but most translated editions disrupt the text, each in their own way, into 20—30 chapters, sometimes with added chapter titles.

The edition, Oh! Josephine , claims to be "uncensored and uncut", but actually it is incomplete and censored, e. The first anonymous English translation from is abridged and leaves part of the sentences untranslated; the translation by Rudolf Schleifer, however, contains large inauthentic expansions, as shown in the following comparison:.

My father was a very poor man who worked as a saddler in Josef City. We lived in a tenement house away out in Ottakring, at that time a new house, which was filled from top to bottom with the poorer class of tenants.

All of the tenants had many children, who were forced to play in the back yards, which were much too small for so many. I had two older brothers.

My father and my mother and we three children lived in two rooms We also had a roomer. The other tenants, probably fifty in all, came and went, sometimes in a friendly way, more often in anger.

Most of them disappeared and we never heard from them again. I distinctly remember two of our roomers. One was a locksmith-apprentice.

He had dark eyes and was a sad-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 saying a word. I remember one afternoon, when I was alone in the house, he came home.

I was then only five years old. My mother and my two brothers had gone to Furstenfeld and my father had not yet returned from work.

The locksmith took me up from the floor, where I was playing, and held me on his lap. I wanted to cry, but he quietly told me: "Be quiet, I won't hurt you".

My father was a very poor journeyman saddler who worked from morning till evening in a shop in the Josefstadt, as the eighth district of Vienna is called.

Rich people did live in the outer districts to the north and northwest, but the western and southern suburbs constituted what we called the "workers' ghetto".

There, in gloomy tenement houses about five stories high, lived all the Viennese who were not white-collar workers. Our tenement building, filled from top to bottom with poor folk, was in the seventeenth district, called Ottakring.

Nobody who never visited those tenement houses can imagine the unsanitary, primitive living conditions under which we spent our childhood and adolescence, and—in most cases—the rest of our poor lives.

My parents, and my two brothers and I lived in a so-called apartment that consisted of one room and a kitchen. That was the size of all the apartments in our building and in most 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 up only a "small" family, compared with the families around us having at least half a dozen brats, my parents could afford to make a little money by accepting roomers.

Such roomers, who had to share our one room and a kitchen with the whole family, were called "sleepers", because the tiny rent one could charge them was for a small, iron folding bed that was placed in the kitchen at night.

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 town, some, because they quarreled too much with my father, and others simply did not show up one evening, thus creating a vacancy for the next one.

Among all those sleepers there were two who clearly stand out in my memory. We children were a little afraid of him, perhaps because of his blackened face and also because he hardly said anything.

One afternoon I was alone in our place playing with what was supposed to be a doll on the floor.

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