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Business-Fiktionen und Management-Inszenierungen


Edited By Yvette Sánchez

Seit der Finanz-und Wirtschaftskrise von 2008 ist ein Anstieg literarischer und literaturkritischer Auseinandersetzungen mit der Figur des Managers und den Mechanismen der Geschäftswelt zu vermerken. Gleichzeitig setzen Unternehmen vermehrt auf das Distinktionsmerkmal der Kreativität. Dazu gehören die Methoden des Storytelling sowie der kunstbasierten Interventionen zur Personalentwicklung oder die Zusammenarbeit mit professionellen Theaterleuten an Aktionärsversammlungen.

Die in diesem Band vereinten vierzehn Beiträge aus verschiedenen Disziplinen testen die Grenzen zwischen den Künsten und der Wirtschaft. Es wird unter anderem die These aufgestellt, dass die Fiktionalitätsanteile in Romanen oder Theaterstücken niedriger ausfallen als in deklariert lebensweltlichen Inszenierungen von Managern.

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Entertainment, Optimization, and Self-Medication in The Wolf of Wall Street (Natalie Roxburgh)


Natalie Roxburgh (University of Siegen)

Entertainment, Optimization, and Self-Medication in The Wolf of Wall Street

In a tradition of films that deal with the culture of Wall Street — Wall Street (1987), Wall Street: Money Never Sleeps (2010), American Psycho (2000), Boiler Room (2000), Margin Call (2011), and Limitless (2011), to name only a few — Martin Scorsese’s The Wolf of Wall Street (2013) seems to fit the bill. The film is based on the memoirs of Jordan Belfort, a stockbroker-turned-motivational speaker who wrote his life story while in federal prison, and it provides a first-person account of Belfort’s hedonistic rise to the ‘one percent’ in the late 1980s and early 90s. A voice-over by Leonardo DiCaprio, playing Belfort, narrates the many highlights of the life of a proud “former member of the middle class” who now owns a yacht and various other luxury properties, drives a Ferrari, is married to a model, loves gambling, alcohol, and prostitutes, and has been federally indicted for financial fraud. The year he turned 26, he brags, he earned 49 million dollars through his own brokerage firm, Stratton Oakmont, and he was disappointed that it was not even more. Through the film’s initial montage sequence, Belfort is shown to be obscenely rich, as the film redefines what is entailed by a form of obscenity afforded by a seemingly limitless capacity to accumulate wealth. One way this is achieved is through the presentation of Belfort’s almost sublime consumption of drugs.


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