Austria's Nazi past), Jelinek's writing is deeply rooted in the tradition of Austrian literature, showing the influence of Austrian writers such as Ingeborg Bachmann, Marlen Haushofer, and Robert Musil. Jelinek's political positions, in particular her feminist stance and her Communist Party affiliations, are of vital importance to any assessment of her work. They are also a part of the reason for the controversy directed at Jelinek and her work. Editor Friederike Eigler states that Jelinek has three major and inter-related "targets" in her writing: what she views as capitalist consumer society and its commodification of all human beings and relationships, what she views as the remnants of Austria's fascist past in public and private life, and what she views as the systematic exploitation and oppression of women in a capitalist-patriarchal society. Jelinek has claimed in multiple interviews that the Austrian-Jewish satirical tradition has been a formative influence on her writing, citing Karl Kraus, Elias Canetti, and Jewish cabaret in particular. In an interview with Sigrid Löffler, Jelinek claimed that her work is considered an oddity in contemporary Austria, where she claims satire is unappreciated and misunderstood, "because the Jews are dead." She has stressed her Jewish identity as the daughter of a Holocaust survivor, claiming a continuity with a Jewish-Viennese tradition that she believes has been destroyed by fascism and is dying out. Work Jelinek's output has included radio plays, poetry, theatre texts, polemical essays, anthologies, novels, translations, screenplays, musical compositions, libretti and ballets, film and video art. Jelinek's work is multi-faceted, and highly controversial. It has been praised and condemned by leading literary critics. In the wake of the Fritzl case, for example, she was accused of "executing 'hysterical' portraits of Austrian perversity". Likewise, her political activism has encountered divergent and often heated reactions. Despite the controversy surrounding her work, Jelinek has won many distinguished awards; among them are the Georg Büchner Prize in 1998; the Mülheim Dramatists Prize in 2002 and 2004; the Franz Kafka Prize in 2004; and the Nobel Prize in Literature, also in 2004. Female sexuality, sexual abuse, and the battle of the sexes in general are prominent topics in her work. Texts such as Wir sind Lockvögel, Baby! (We are Decoys, Baby!), Die Liebhaberinnen (Women as Lovers) and Die Klavierspielerin (The Piano Teacher) showcase the brutality and power play inherent in human relations in a style that is, at times, ironically formal and tightly