Pub Date : 2022-10-01DOI: 10.5325/pennhistory.6.2.0154
C. M. Van Demark
Between 1945 and 1955, US policymakers targeted Austrian children with a sweeping propaganda campaign intended to cultivate democratic, free-market sensibilities. Coordinated in the 1950s by the US Department of State’s Information Agency, US occupation authorities used subtle, Austrian-ized propaganda to develop educational and extracurricular programming at a moment of sociopolitical and economic transformation in postwar Austria. Responding to concerns about the moral degradation of children after Nazism and rising instances of youth delinquency, this campaign sought to address the ongoing youth problem by inscribing a set of behaviors—empathy, cooperation, and respect for others—that were amenable to the broader US democratizing mission in Central Europe. This paper examines a series of articles from Eine neue Welt für unsere Jugend (1953), a German-language anthology written by authors from both sides of the Atlantic. The text exposed Austrian young people to the richness of life in the United States by flaunting sociopolitical and cultural achievements that aligned with the aims of postwar reorientation initiatives, including articles on the Boy Scouts, transatlantic pen pal programs, and after-school clubs. By broaching these topics, US policymakers hoped to cultivate democratic sensibilities in Austrian youth—to build a new Austria supportive of Western-style liberalism. Works by prominent historians in the field, including Jaimey Fisher and Reinhold Wagnleitner, help frame this article that explores the transnational dynamics of democratic rehabilitation in miniature as US policymakers grappled with the aftermath of Nazism on the one hand and an escalating Cold War on the other.
1945年至1955年间，美国政策制定者针对奥地利儿童展开了一场大规模的宣传运动，旨在培养他们对民主和自由市场的敏感性。20世纪50年代，在美国国务院新闻署的协调下，美国占领当局在战后奥地利社会政治和经济转型的时刻，利用微妙的、奥地利化的宣传来发展教育和课外活动。为了回应人们对纳粹主义后儿童道德沦丧和青少年犯罪上升的担忧，这场运动试图通过一系列行为——同情、合作和尊重他人——来解决持续存在的青少年问题，这些行为符合美国在中欧更广泛的民主化使命。本文考察了《新世界报》(Eine neue Welt fr unsere Jugend, 1953)中的一系列文章，这是一本由大西洋两岸的作者撰写的德语选集。这本书通过炫耀社会政治和文化成就，向奥地利年轻人展示了美国丰富的生活，这些成就与战后重新定位倡议的目标相一致，包括关于童子军、跨大西洋笔友计划和课后俱乐部的文章。通过提出这些话题，美国决策者希望培养奥地利年轻人的民主敏感性——建立一个支持西式自由主义的新奥地利。该领域著名历史学家的著作，包括杰米·费舍尔和莱因霍尔德·瓦格莱特纳，帮助构建了这篇文章，探讨了民主复兴的跨国动态，一方面是美国政策制定者在努力应对纳粹主义的后果，另一方面是不断升级的冷战。
{"title":"Sketch of a New World: US Occupation and the Politics of Childhood in Postwar Austria","authors":"C. M. Van Demark","doi":"10.5325/pennhistory.6.2.0154","DOIUrl":"https://doi.org/10.5325/pennhistory.6.2.0154","url":null,"abstract":"\u0000 Between 1945 and 1955, US policymakers targeted Austrian children with a sweeping propaganda campaign intended to cultivate democratic, free-market sensibilities. Coordinated in the 1950s by the US Department of State’s Information Agency, US occupation authorities used subtle, Austrian-ized propaganda to develop educational and extracurricular programming at a moment of sociopolitical and economic transformation in postwar Austria. Responding to concerns about the moral degradation of children after Nazism and rising instances of youth delinquency, this campaign sought to address the ongoing youth problem by inscribing a set of behaviors—empathy, cooperation, and respect for others—that were amenable to the broader US democratizing mission in Central Europe. This paper examines a series of articles from Eine neue Welt für unsere Jugend (1953), a German-language anthology written by authors from both sides of the Atlantic. The text exposed Austrian young people to the richness of life in the United States by flaunting sociopolitical and cultural achievements that aligned with the aims of postwar reorientation initiatives, including articles on the Boy Scouts, transatlantic pen pal programs, and after-school clubs. By broaching these topics, US policymakers hoped to cultivate democratic sensibilities in Austrian youth—to build a new Austria supportive of Western-style liberalism. Works by prominent historians in the field, including Jaimey Fisher and Reinhold Wagnleitner, help frame this article that explores the transnational dynamics of democratic rehabilitation in miniature as US policymakers grappled with the aftermath of Nazism on the one hand and an escalating Cold War on the other.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"177 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126744348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.5325/jaustamerhist.6.1.0089
J. D. Jenkins
The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.
{"title":"The Early Years of the American Musical in Vienna","authors":"J. D. Jenkins","doi":"10.5325/jaustamerhist.6.1.0089","DOIUrl":"https://doi.org/10.5325/jaustamerhist.6.1.0089","url":null,"abstract":"\u0000 The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114739770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.5325/jaustamerhist.6.1.0001
Matěj Kratochvíl
This article looks at the history of the Hruby family as an example of how immigrants to the US adapted and acquired social status through music. The family originated in the village of Cehnice in South Bohemia. Frank Hruby, the family patriarch, started his career there as a musician playing in various circuses across Europe. During his travels, he visited Cleveland, Ohio, and in 1883 settled there with his wife and oldest son. Hruby joined several musical ensembles and gradually became an important personality in the local music scene. His children studied music as well and followed their father’s musical path. They moved from playing in marching bands to founding their own orchestra, which toured across the United States as well as Europe. Using archival sources, I show how musical versatility and professionalism helped the Hruby family to integrate into American society and to reach a certain social status. Their history also illustrates how the family’s music activities balanced their Czech heritage with the requirements of the new-world audience.
{"title":"Music as an Adaptation Strategy: The Hruby Family’s Voyage from Cehnice to Cleveland","authors":"Matěj Kratochvíl","doi":"10.5325/jaustamerhist.6.1.0001","DOIUrl":"https://doi.org/10.5325/jaustamerhist.6.1.0001","url":null,"abstract":"\u0000 This article looks at the history of the Hruby family as an example of how immigrants to the US adapted and acquired social status through music. The family originated in the village of Cehnice in South Bohemia. Frank Hruby, the family patriarch, started his career there as a musician playing in various circuses across Europe. During his travels, he visited Cleveland, Ohio, and in 1883 settled there with his wife and oldest son. Hruby joined several musical ensembles and gradually became an important personality in the local music scene. His children studied music as well and followed their father’s musical path. They moved from playing in marching bands to founding their own orchestra, which toured across the United States as well as Europe. Using archival sources, I show how musical versatility and professionalism helped the Hruby family to integrate into American society and to reach a certain social status. Their history also illustrates how the family’s music activities balanced their Czech heritage with the requirements of the new-world audience.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131745005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.5325/jaustamerhist.6.1.0014
Martin Nedbal
In the early twentieth century, New York’s Metropolitan Opera produced four works by Czech composers: Bedřich Smetana’s The Bartered Bride in 1909, Karel Weis’s The Polish Jew in 1921, Leoš Janáček’s Jenůfa in 1924, and Jaromír Weinberger’s Schwanda the Bagpiper in 1931. American critics associated these productions with exoticized notions of Czech culture and Czech nationalism. Yet, as this article shows, the four American productions also illuminate the multiethnic and multicultural environment of the Czech lands in the late Habsburg and early Czechoslovak eras. The 1909 Bartered Bride featured the famous Czech soprano Ema Destinnová and was choreographed by Czech dancer Otakar Bartík, but it was also prepared by Gustav Mahler, who presented himself as a Bohemian national in connection with the production. Weis’s The Polish Jew held an ambiguous status as a national work in Prague because it was written to a German libretto and first performed at Prague’s German Theater. The Bartered Bride, Jenůfa, and Schwanda the Bagpiper, moreover, were performed in German translations. And both The Polish Jew and Jenůfa were directed by Artur Bodanzky, the chief conductor of German repertoire at the Met, whose career started at Prague’s German Theater. Thus in New York, Czech repertoire benefitted from personalities associated with German-Bohemian circles, whereas in early twentieth-century Prague, Czech and German-Bohemian collaborations were considered taboo.
{"title":"Czech-German Collaborations at the Metropolitan Opera in the Early Twentieth Century","authors":"Martin Nedbal","doi":"10.5325/jaustamerhist.6.1.0014","DOIUrl":"https://doi.org/10.5325/jaustamerhist.6.1.0014","url":null,"abstract":"\u0000 In the early twentieth century, New York’s Metropolitan Opera produced four works by Czech composers: Bedřich Smetana’s The Bartered Bride in 1909, Karel Weis’s The Polish Jew in 1921, Leoš Janáček’s Jenůfa in 1924, and Jaromír Weinberger’s Schwanda the Bagpiper in 1931. American critics associated these productions with exoticized notions of Czech culture and Czech nationalism. Yet, as this article shows, the four American productions also illuminate the multiethnic and multicultural environment of the Czech lands in the late Habsburg and early Czechoslovak eras. The 1909 Bartered Bride featured the famous Czech soprano Ema Destinnová and was choreographed by Czech dancer Otakar Bartík, but it was also prepared by Gustav Mahler, who presented himself as a Bohemian national in connection with the production. Weis’s The Polish Jew held an ambiguous status as a national work in Prague because it was written to a German libretto and first performed at Prague’s German Theater. The Bartered Bride, Jenůfa, and Schwanda the Bagpiper, moreover, were performed in German translations. And both The Polish Jew and Jenůfa were directed by Artur Bodanzky, the chief conductor of German repertoire at the Met, whose career started at Prague’s German Theater. Thus in New York, Czech repertoire benefitted from personalities associated with German-Bohemian circles, whereas in early twentieth-century Prague, Czech and German-Bohemian collaborations were considered taboo.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130213070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.5325/jaustamerhist.6.1.0074
Katherine Baber
This article examines the reception of two American artists during the Salzburg Festival of 1959 in the context of Cold War cultural diplomacy. While Austria had just become an independent republic again in 1955, the Salzburg Festival was experiencing a second American occupation, this time at Austrian invitation. The reasons for and the ways in which Austrian audiences and critics interpreted these performances and the idea of American music—through genre, personality, and politics—reveal the identity of the Festival, and by extension Austria, in a state of flux.
{"title":"“American First Aid”: Jerome Robbins and Leonard Bernstein at the Salzburg Festival, 1959","authors":"Katherine Baber","doi":"10.5325/jaustamerhist.6.1.0074","DOIUrl":"https://doi.org/10.5325/jaustamerhist.6.1.0074","url":null,"abstract":"\u0000 This article examines the reception of two American artists during the Salzburg Festival of 1959 in the context of Cold War cultural diplomacy. While Austria had just become an independent republic again in 1955, the Salzburg Festival was experiencing a second American occupation, this time at Austrian invitation. The reasons for and the ways in which Austrian audiences and critics interpreted these performances and the idea of American music—through genre, personality, and politics—reveal the identity of the Festival, and by extension Austria, in a state of flux.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131256155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.5325/jaustamerhist.6.1.0044
Elisabeth Reisinger
Erich Simon (1907–1994) was a Viennese-born performer, conductor, editor, concert manager, teacher, and composer. Being Jewish and socialist, he escaped from Austria in 1938 and emigrated to New York, where he rebuilt his career. He contributed to the musical cultures in Europe and the United States in many ways. His network contained prominent names from intellectual, cultural, and musical life on both sides of the Atlantic, such as Benny Goodman, Darius Milhaud, Fritz Stiedry, Erika Wagner, and Hans Weigel. However, as Simon himself was no famous composer, conductor, or virtuoso on which musicological research on exile and migration in the 1930s/1940s has focused in the past, he has been largely overlooked by historians and musicologists. This article presents, for the first time, major source findings related to Simon in the form of personal documents, letters, and musical manuscripts from archives in the United States. Each group of documents provides a different perspective on Simon’s life and career. Through a close reading of these sources, this article reconstructs his social background and life in Vienna, his involvement with left-wing intellectual circles, his family’s dramatic escape, his personal and professional network, which helped him settle in the United States, as well as his musical engagement with American history and culture. Bringing Simon’s story out of the margins contributes to broadening our understanding of the diversity of refugee and migration experiences in the 1930s/1940s and the various ways in which individuals confronted a new social, cultural, and political environment.
{"title":"“To Realize in America What Has Become Impossible in Europe”: Excavating Erich Simon’s Life for Music (1907–1994)","authors":"Elisabeth Reisinger","doi":"10.5325/jaustamerhist.6.1.0044","DOIUrl":"https://doi.org/10.5325/jaustamerhist.6.1.0044","url":null,"abstract":"\u0000 Erich Simon (1907–1994) was a Viennese-born performer, conductor, editor, concert manager, teacher, and composer. Being Jewish and socialist, he escaped from Austria in 1938 and emigrated to New York, where he rebuilt his career. He contributed to the musical cultures in Europe and the United States in many ways. His network contained prominent names from intellectual, cultural, and musical life on both sides of the Atlantic, such as Benny Goodman, Darius Milhaud, Fritz Stiedry, Erika Wagner, and Hans Weigel. However, as Simon himself was no famous composer, conductor, or virtuoso on which musicological research on exile and migration in the 1930s/1940s has focused in the past, he has been largely overlooked by historians and musicologists. This article presents, for the first time, major source findings related to Simon in the form of personal documents, letters, and musical manuscripts from archives in the United States. Each group of documents provides a different perspective on Simon’s life and career. Through a close reading of these sources, this article reconstructs his social background and life in Vienna, his involvement with left-wing intellectual circles, his family’s dramatic escape, his personal and professional network, which helped him settle in the United States, as well as his musical engagement with American history and culture. Bringing Simon’s story out of the margins contributes to broadening our understanding of the diversity of refugee and migration experiences in the 1930s/1940s and the various ways in which individuals confronted a new social, cultural, and political environment.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116482636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/jaustamerhist.5.2.0157
A. Scholz
Classic but by no means “timeless,” Carol Reed’s 1949 British/US co-production The Third Man is also a fascinating historical document about the Four Power occupation in Vienna after 1945. In this article I would like to use the film to focus upon the US occupation in particular and the perception of the role of Americans in postwar Austria. A look at the plot, the production history, and a sample of the German-speaking reception will demonstrate that the film’s ironic distance to the United States was a major part of its appeal to European audiences. Moreover, this distance was elegantly camouflaged through an innovative multilingual script that ultimately helped to reconcile German-speaking audiences to the US occupation rather than deepening “anti-Americanism.” Along with its ironic distance to the Americans, the film’s creative use of Austrian actors, music, and locations without the slightest association with war crimes or complicity with criminal actions during the war ultimately led to its paradoxical high standing as both a “mirror” of postwar reality and “timeless classic.”
{"title":"Preaching to the Unconverted: The Third Man (1949) as Historical Resource for Exploring the Topic of Americans in Vienna, 1945–1955","authors":"A. Scholz","doi":"10.5325/jaustamerhist.5.2.0157","DOIUrl":"https://doi.org/10.5325/jaustamerhist.5.2.0157","url":null,"abstract":"\u0000 Classic but by no means “timeless,” Carol Reed’s 1949 British/US co-production The Third Man is also a fascinating historical document about the Four Power occupation in Vienna after 1945. In this article I would like to use the film to focus upon the US occupation in particular and the perception of the role of Americans in postwar Austria. A look at the plot, the production history, and a sample of the German-speaking reception will demonstrate that the film’s ironic distance to the United States was a major part of its appeal to European audiences. Moreover, this distance was elegantly camouflaged through an innovative multilingual script that ultimately helped to reconcile German-speaking audiences to the US occupation rather than deepening “anti-Americanism.” Along with its ironic distance to the Americans, the film’s creative use of Austrian actors, music, and locations without the slightest association with war crimes or complicity with criminal actions during the war ultimately led to its paradoxical high standing as both a “mirror” of postwar reality and “timeless classic.”","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125637747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/jaustamerhist.5.1.0062
Martina Kerlova
This article examines the life and thought of Erich Heller, a prolific scholar of Austrian and German literature and philosophy. Born into a German Jewish family in the borderland of Habsburg Bohemia, Heller graduated from Prague’s German University, only to be forced to flee the Nazi invasion. He found refuge in Britain before moving ultimately to the United States where he taught for two decades at Northwestern University. Erich Heller’s physical and intellectual journey highlights both moments of conflict and cultural transmittance between German-speaking Central Europe and the Anglophone world. Heller was only half at home in the new world where he helped rehabilitated German and Austrian literature and thought abroad. The article explores Heller’s intellectual development throughout his voluntary and forced migrations and traces changes in his political and philosophical identity. Heller’s life, thought, and success are considered in two main contexts: that of his generation of Bohemian-born émigrés and of the postwar atmosphere in American higher education, in particular, the role of German-speaking scholars within it. It analyzes the way in which Heller understood his own transcendence within the national frames and its implication. The article answers two questions: What were the main contributing factors to Heller’s success in the postwar academic discipline German and Austrian Studies and what is the relevance of his teaching today?
{"title":"Erich Heller’s Disinherited Mind: A Bohemian Jewish Germanist in Anglo-American Exile","authors":"Martina Kerlova","doi":"10.5325/jaustamerhist.5.1.0062","DOIUrl":"https://doi.org/10.5325/jaustamerhist.5.1.0062","url":null,"abstract":"\u0000 This article examines the life and thought of Erich Heller, a prolific scholar of Austrian and German literature and philosophy. Born into a German Jewish family in the borderland of Habsburg Bohemia, Heller graduated from Prague’s German University, only to be forced to flee the Nazi invasion. He found refuge in Britain before moving ultimately to the United States where he taught for two decades at Northwestern University. Erich Heller’s physical and intellectual journey highlights both moments of conflict and cultural transmittance between German-speaking Central Europe and the Anglophone world. Heller was only half at home in the new world where he helped rehabilitated German and Austrian literature and thought abroad. The article explores Heller’s intellectual development throughout his voluntary and forced migrations and traces changes in his political and philosophical identity. Heller’s life, thought, and success are considered in two main contexts: that of his generation of Bohemian-born émigrés and of the postwar atmosphere in American higher education, in particular, the role of German-speaking scholars within it. It analyzes the way in which Heller understood his own transcendence within the national frames and its implication. The article answers two questions: What were the main contributing factors to Heller’s success in the postwar academic discipline German and Austrian Studies and what is the relevance of his teaching today?","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124704701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/jaustamerhist.5.2.0095
A. Rothfeld
Evelyn Tucker, a Monuments, Fine Arts, and Archives (MFA&A) representative, worked in the US military–occupied zone of Austria, investigating and restituting Nazi-plundered, Austrian-owned cultural property between 1946 and 1949. Her experiences remain hidden despite passing references in the scholarship covering Allied restitution of Nazi-looted, Jewish-owned cultural property, as the literature focuses on postwar Germany, not Austria. She attempted to openly criticize the US Army for the thefts by blaming the Army’s appalling behavior on its lack of understanding US restitution efforts. However, she was incapable of stopping this gross negligence, and her condemnation of the Army led to her dismissal. I argue that contentious political divisions within the Allies’ policymaking in occupied Austria stalled Tucker’s restitution investigations, thus her work deserves critical investigation. Tucker defied expectations, and a thoughtful analysis of her contributions to the restitution process helps us gain a clearer appreciation of the political and cultural chaos of occupied Austria. In relationship to that gap, my archival research sheds light on the underappreciated role of Eve Tucker in her fight for rightful restitution.
{"title":"Eve Tucker","authors":"A. Rothfeld","doi":"10.5325/jaustamerhist.5.2.0095","DOIUrl":"https://doi.org/10.5325/jaustamerhist.5.2.0095","url":null,"abstract":"\u0000 Evelyn Tucker, a Monuments, Fine Arts, and Archives (MFA&A) representative, worked in the US military–occupied zone of Austria, investigating and restituting Nazi-plundered, Austrian-owned cultural property between 1946 and 1949. Her experiences remain hidden despite passing references in the scholarship covering Allied restitution of Nazi-looted, Jewish-owned cultural property, as the literature focuses on postwar Germany, not Austria. She attempted to openly criticize the US Army for the thefts by blaming the Army’s appalling behavior on its lack of understanding US restitution efforts. However, she was incapable of stopping this gross negligence, and her condemnation of the Army led to her dismissal. I argue that contentious political divisions within the Allies’ policymaking in occupied Austria stalled Tucker’s restitution investigations, thus her work deserves critical investigation. Tucker defied expectations, and a thoughtful analysis of her contributions to the restitution process helps us gain a clearer appreciation of the political and cultural chaos of occupied Austria. In relationship to that gap, my archival research sheds light on the underappreciated role of Eve Tucker in her fight for rightful restitution.","PeriodicalId":148947,"journal":{"name":"Journal of Austrian-American History","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114580002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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