(RE)PRODUKCIJA IDEOLOGIJE U DRAMI „ŠTA SE DOGODILO NAKON ŠTO JE NORA NAPUSTILA MUŽA ILI STUBOVI DRUŠTAVA“ ELFRIDE JELINEK

Abstract

Тhis paper examines how Elfriede Jelinek, by situating the play in the era of industrialization and the rise of fascism, in her drama What Happened after Nora Left Her Husband or Pillars of Societies, depicts the formation of female identity at the intersection of ideological and economic structures. The theoretical framework relies on Althusser’s concept of interpellation and Gramsci’s definition of cultural hegemony, which provide insight into the mechanisms through which social order shapes everyday practices and thus determines the individual’s experience of subjectivity. Jelinek exposes the processes of reproducing ideological control and patriarchal domination, whereby the private sphere functions as a space that multiplies cultural and political power. In this way, the play operates both as a reminder of the Nazi legacy and as a critique of contemporary forms of gender and class inequality.