The masters thesis ventures a comparative narratological analysis of Thomas Bernhards "Der Untergeher" and Elfriede Jelineks "Die Klavierspielerin" aiming at clarifying the world view that is provided by these texts. Therefor it asks for their position towards the communicative and epistemological potential of language as well as its restrictions, and it looks for possible conceptualizations of meaning.In a first step, the narratological structure of both texts is explored with regard to narrative instances and the construction of fictional figures as well as the fictional setting of space and time. The communicative situation of the texts is found to be specifically indirect, unreliable and contaminated by structures of violence. Furthermore, the thesis focuses on the texts within the texts taking into account their role as selfreflexive elements. This comprises intertextual references on the one hand and intradiegetic writings (written by fictional figures) on the other. Although those texts within the texts are used in very different ways, the results of their use for the analysis of the world view of Bernhards "Der Untergeher" and Jelineks "Die Klavierspielerin" are quite similar: Language in its communicative and epistemological functions is shown as highly problematic, nevertheless the both creative as destructive act of writing is shown as essential for survival. Each kind of canonized tradition or absolutistic claim is entirely dismissed. In contrast, a sense of meaning and affirmation might be found in the transgression of norms and given concepts and in the acceptance of failure as a basic condition of human existence.