Pub Date : 2024-06-04DOI: 10.1353/oas.2024.a929389
Martina Wörgötter
Abstract:
Brief einer Unbekannten, one of Stefan Zweig’s best-known novellas, is the story of a famous writer who receives a letter from an “unknown” woman who tells him of her unrequited love for him. The reason for the letter is the death of their child. The novella is often cited as an example of Zweig’s psychologically sensitive portrayal of his characters. The aim of this article is to read the novella as a reflection on Zweig’s artistry and authorship, with the category of gender playing a decisive role: The unknown woman herself appears as a writing woman next to the male writer. In light of contemporary gender discourses that shape the constellation of characters and genders in the novella, Brief einer Unbekannten can be read as an expression of Stefan Zweig’s examination of his own authorship. The question of female and male writing thus becomes a question of distinction. This concerns, in no small part, Stefan Zweig’s personal life and that of his wife Friderike, who not only promoted her husband’s career but was also herself a writer.
{"title":"Geschlecht und Autorschaft Stefan Zweigs \"Künstlernovelle\" Brief einer Unbekannten","authors":"Martina Wörgötter","doi":"10.1353/oas.2024.a929389","DOIUrl":"https://doi.org/10.1353/oas.2024.a929389","url":null,"abstract":"<p><p>Abstract:</p><p><i>Brief einer Unbekannten</i>, one of Stefan Zweig’s best-known novellas, is the story of a famous writer who receives a letter from an “unknown” woman who tells him of her unrequited love for him. The reason for the letter is the death of their child. The novella is often cited as an example of Zweig’s psychologically sensitive portrayal of his characters. The aim of this article is to read the novella as a reflection on Zweig’s artistry and authorship, with the category of gender playing a decisive role: The unknown woman herself appears as a writing woman next to the male writer. In light of contemporary gender discourses that shape the constellation of characters and genders in the novella, Brief einer Unbekannten can be read as an expression of Stefan Zweig’s examination of his own authorship. The question of female and male writing thus becomes a question of distinction. This concerns, in no small part, Stefan Zweig’s personal life and that of his wife Friderike, who not only promoted her husband’s career but was also herself a writer.</p></p>","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258710","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 : 2024-06-04DOI: 10.1353/oas.2024.a929399
Joseph W. Moser
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Goodbye, Eastern Europe: An Intimate History of a Divided Land</em> by Jacob Mikanowski <!-- /html_title --></li> <li> Joseph W. Moser </li> </ul> Jacob Mikanowski, <em>Goodbye, Eastern Europe: An Intimate History of a Divided Land</em>. New York: Pantheon Books, 2023. 376 pp. <p>In <em>Goodbye, Eastern Europe</em>, Jacob Mikanowski tries to historically define the part of Europe that was behind the Iron Curtain. Then it was readily labeled “Eastern Europe,” but today it is often subsumed under the umbrella term of “Central Europe,” and many of the countries in the area have joined the EU and even NATO, in large part to distance themselves from Russia. This makes it more difficult to define what Eastern Europe represents today and where exactly it is located. In this fascinating study, the author links countries from the Baltic States, Poland, Czechia, Slovakia, Hungary, Ukraine, Romania, Bulgaria, and the former Yugoslav states, drawing connections that are fascinating and likely new to many readers.</p> <p>Mikanowski starts his history of Eastern Europe with the Christianization of the various countries, a process that generally came later than in Western Europe. There are very few documentary testimonies of life in Eastern Europe prior to Christianization. In general, Eastern Europe was less centrally ruled than the countries to the West. In the eighteenth century, it became the area between empires (the receding Ottoman, Russian, and Austrian Empires). In this regard the book is also of great interest to Austrian Studies scholars studying the former lands of the Habsburg Empire. <strong>[End Page 147]</strong></p> <p>The book is loosely organized in three parts. Part I, on “Faiths,” is subdivided among the topics of Pagans and Christians, Jews, Muslims, and heretics. This part addresses the late Christianization of Eastern Europe as well as the fact that Ashkenazic Judaism found a home without a country there. The Ottoman Empire also brought Islam to Eastern Europe. Part II, on “Empires and Peoples,” covers the topics of empires, peoples, wanderers, and nations; here the author discusses the many peripatetic peoples and the late emergence of national identities in a region that is too diverse to be subsumed into any one nation-state. Part III, on “The Twentieth Century,” includes subheadings on moderns, prophets, war, Stalinism, and “thaw.” While this part covers the more commonly taught ideas about Eastern Europe, the author manages to show how the various Soviet satellite states diverged from one another and from Soviet directives.</p> <p>The challenge in writing this book certainly came from the fact that it would be easy to focus too much on any specific country in the region, yet Mikanowski manages to link Poland with Hungary, draw connections to the former Yugoslav states and Romania, a
{"title":"Goodbye, Eastern Europe: An Intimate History of a Divided Land by Jacob Mikanowski (review)","authors":"Joseph W. Moser","doi":"10.1353/oas.2024.a929399","DOIUrl":"https://doi.org/10.1353/oas.2024.a929399","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Goodbye, Eastern Europe: An Intimate History of a Divided Land</em> by Jacob Mikanowski <!-- /html_title --></li> <li> Joseph W. Moser </li> </ul> Jacob Mikanowski, <em>Goodbye, Eastern Europe: An Intimate History of a Divided Land</em>. New York: Pantheon Books, 2023. 376 pp. <p>In <em>Goodbye, Eastern Europe</em>, Jacob Mikanowski tries to historically define the part of Europe that was behind the Iron Curtain. Then it was readily labeled “Eastern Europe,” but today it is often subsumed under the umbrella term of “Central Europe,” and many of the countries in the area have joined the EU and even NATO, in large part to distance themselves from Russia. This makes it more difficult to define what Eastern Europe represents today and where exactly it is located. In this fascinating study, the author links countries from the Baltic States, Poland, Czechia, Slovakia, Hungary, Ukraine, Romania, Bulgaria, and the former Yugoslav states, drawing connections that are fascinating and likely new to many readers.</p> <p>Mikanowski starts his history of Eastern Europe with the Christianization of the various countries, a process that generally came later than in Western Europe. There are very few documentary testimonies of life in Eastern Europe prior to Christianization. In general, Eastern Europe was less centrally ruled than the countries to the West. In the eighteenth century, it became the area between empires (the receding Ottoman, Russian, and Austrian Empires). In this regard the book is also of great interest to Austrian Studies scholars studying the former lands of the Habsburg Empire. <strong>[End Page 147]</strong></p> <p>The book is loosely organized in three parts. Part I, on “Faiths,” is subdivided among the topics of Pagans and Christians, Jews, Muslims, and heretics. This part addresses the late Christianization of Eastern Europe as well as the fact that Ashkenazic Judaism found a home without a country there. The Ottoman Empire also brought Islam to Eastern Europe. Part II, on “Empires and Peoples,” covers the topics of empires, peoples, wanderers, and nations; here the author discusses the many peripatetic peoples and the late emergence of national identities in a region that is too diverse to be subsumed into any one nation-state. Part III, on “The Twentieth Century,” includes subheadings on moderns, prophets, war, Stalinism, and “thaw.” While this part covers the more commonly taught ideas about Eastern Europe, the author manages to show how the various Soviet satellite states diverged from one another and from Soviet directives.</p> <p>The challenge in writing this book certainly came from the fact that it would be easy to focus too much on any specific country in the region, yet Mikanowski manages to link Poland with Hungary, draw connections to the former Yugoslav states and Romania, a","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258795","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 : 2024-06-04DOI: 10.1353/oas.2024.a929396
Elke Nicolai
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Paul Celan—“sah daß ein Blatt fiel und wußte, daß es eine Botschaft war”: Neue Einsichten und Lektüren</em> Hrsg. Martin A. Hainz <!-- /html_title --></li> <li> Elke Nicolai </li> </ul> Martin A. Hainz, Hrsg., <em>Paul Celan—“sah daß ein Blatt fiel und wußte, daß es eine Botschaft war”: Neue Einsichten und Lektüren</em>. Berlin: Frank & Timme, 2022. 194 S. <p>Pünktlich zum 100. Geburtstag und 50. Todestages von Paul Celan veranstaltete die Private Pädagogische Hochschule Burgenland (PPH Burgenland) im Jahr 2020 eine internationale Konferenz, auf der sich die Forscher*innen Leonard M. Olschner, Andrei Corbea-Hoisie, Barbara Wiedemann, Vivian Liska, Martin A. Hainz, Leslie Morris, und Artur R. Boelderl aus ihrem je eigenen Blickwinkel der Figur Paul Celans zuwandten, um neue Einsichten in Person und Werk zu vermitteln. Die Prämisse Celans, Denken als fortschreitenden Prozess, der Gedachtes wie bisher nicht Gedachtes umfasst und für Offenheit plädiert, gilt für seine Texte, so Hainz im Vorwort, und ist auch Leitfaden der Konferenz. Das Politische, auf die Zukunft Verweisende in seiner Lyrik freizulegen ist Anspruch aller Beitragenden.</p> <p>Olschners einleitender Aufsatz wirbt für fünf Zugänge zu einem ersten Verständnis der Lyrik Celans, die er Interventionen nennt. Dazu gehören Sachwissen und genaues Quellenstudium, für das Olschner die Diskussion um den Begriff “Harnischstriemen” (geologischer Begriff) heranzieht, den Gadamer auf einer Tagung in Heidelberg als Neologismus bezeichnet hat. Die zweite Intervention beinhaltet das eingewobene Zitat und wird verdeutlicht an der Redewendung “Was auf der Lunge, das auf der Zunge”, die Celan <strong>[End Page 140]</strong> in seinen Notizen zur Büchner-Preis-Rede “Der Meridian” seiner Mutter zuschreibt, diesen Hinweis aber in der aktuellen Rede weglässt, weil—so Olscher—es Celan auf den “Atem als Ursprung der Poesie” ankommt. Der Biographie wird weniger Einfluss zugestanden, dem Entwurf als vierter Intervention des (noch) nicht Eingelösten kommt ein Stellenwert zu, ebenso der Übertragbarkeit von Texten aus anderen Sprachen als fünfter Intervention, mit der Absicht Metaphorisches einzuschließen. Der informierte, klar strukturierte und gut lesbare Beitrag liefert Hintergrundwissen, das bei der Lektüre der nachfolgenden Aufsätze gute Dienste erweist.</p> <p>Der Beitrag von Andrei Corbea-Hoisie befasst sich mit der Genese des Gedichtes “Coagula”, indem Manuskripte zwischen 1962 und 1967 durchforstet werden, Lektüre Celans auf Randbemerkungen hin untersucht wird und sich aus dem Fundus Referenzen zu Celans Bukowiner Erfahrungshorizont ergeben, aus dem das Gedicht “Coagula” schöpft. Dabei wird ganz nebenbei auch die Identität des jüdischen Abiturienten David Falik enthüllt, der den Antisemitismus im Gymnasium anprangerte und ermordet wurde. Über die Motive
以下是内容的简要摘录，以代替摘要：评论者：保罗-塞兰--"看到树叶飘落，知道那是一条信息"：《新的见解和阅读》，马丁-A： 保罗-策兰--"看到一片树叶飘落，知道那是一个信息"：新的见解和读本，马丁-A.Hainz Elke Nicolai Martin A.Hainz, ed., Paul Celan-"sah dass ein Blatt fiel und wußte, dass es eine Botschaft war": Neue Einsichten und Lektüren.柏林：Frank & Timme，2022 年。194 页。为纪念保罗-策兰诞辰 100 周年和逝世 50 周年，布尔根兰州私立师范大学（PPH Burgenland）于 2020 年举办了一次国际会议，研究人员 Leonard M. Olschner、Andrei Corbea-Hoisie、Barbara Wiedemann、Vivian Liska、Martin A．海因茨、莱斯利-莫里斯和阿图尔-R-博尔德尔分别从各自的角度探讨了保罗-策兰这一人物，以期对其个人和作品提出新的见解。正如海因茨在前言中解释的那样，策兰认为思考是一个渐进的过程，既包括思想，也包括以前未曾思考过的东西，并恳求开放，这一前提适用于他的文本，也是本次会议的指导原则。在他的诗歌中发掘政治性和面向未来的东西是所有投稿人的目标。奥尔斯纳在序言中提出了五种初步理解策兰诗歌的方法，他称之为 "干预"。其中包括事实知识和对资料来源的精确研究，为此，奥尔施纳借鉴了关于 "Harnischstriemen"（地质术语）一词的讨论，伽达默尔在海德堡的一次会议上将其描述为一个新名词。第二次发言包含了交织在一起的引文，并以 "Was auf der Lunge, das auf der Zunge "这句话为例作了说明，塞兰 [尾页 140]在其关于毕希纳奖演讲稿《子午线》的笔记中将这句话归功于他的母亲，但在实际演讲稿中却省略了这一引文，因为根据奥尔斯纳的说法，塞兰的 "作为诗歌起源的呼吸 "才是重要的。传记的影响较小，作为第四项干预的未实现（尚未实现）的草案受到重视，作为第五项干预的其他语言文本的可转移性也受到重视，其意图是纳入隐喻。这篇资料翔实、结构清晰、可读性强的文章提供了背景知识，对阅读后续文章很有帮助。安德烈-科尔贝亚-霍伊希（Andrei Corbea-Hoisie）的文章通过分析 1962 年至 1967 年间的手稿，研究塞兰的阅读旁注，并参考塞兰的布科维尼经验视野（《Coagula》这首诗就是从布科维尼经验视野中汲取的），论述了《Coagula》这首诗的起源。在这一过程中，在文法学校谴责反犹太主义并被谋杀的犹太学生大卫-法利克的身份也被顺带揭示出来。伤痕 "和 "罗马尼亚水牛 "的主题被用来将诗中提到的 "罗莎 "与被强奸的同名客厅女仆（卡夫卡《乡村医生》）以及罗莎-卢森堡联系起来，塞兰可能是在切尔诺维茨第一次见到罗莎-卢森堡的狱中书信。在那里，罗莎-卢森堡透过监狱的窗户，以感同身受的方式记录了自由军团士兵如何虐待来自罗马尼亚的水牛。通过对资料的细致研究，这篇文章为解读这首诗奠定了基础。芭芭拉-维德曼（Barbara Wiedemann）在她的文章中，通过重构 20 世纪 60 年代文学研究尚未质疑的这一欺骗手法的各个阶段，对克莱尔-戈尔（Claire Goll）指控策兰剽窃一说进行了分析，并正确地将其视为一种政治行为。薇薇安-利斯卡（Vivian Liska）以文本解读和资料研究为特色，探讨了塞兰的 "haderndes Judentum "是如何铭刻在其诗歌中的。在此过程中，她再次将《烛光之前》这首诗置于她思考的中心。她认为塞兰的 "Hadern "起源于所发生的事情（指后来创造的 "浩劫"/"大屠杀"）。她从最后几行中的 "Hand"、"je und je "和 "Herz "的首字母中发现了这一可能的参照，并将其解读为 "神名 YHWH 的不完整、混乱的组合"，即 "HJJH（Hajah）[......]在希伯来语中的意思是'它是'"（110）。(110).以下文章更倾向于语言哲学，同时也参考了策兰的作品和其他作家的作品...
{"title":"Paul Celan—\"sah daß ein Blatt fiel und wußte, daß es eine Botschaft war\": Neue Einsichten und Lektüren Hrsg. Martin A. Hainz (review)","authors":"Elke Nicolai","doi":"10.1353/oas.2024.a929396","DOIUrl":"https://doi.org/10.1353/oas.2024.a929396","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Paul Celan—“sah daß ein Blatt fiel und wußte, daß es eine Botschaft war”: Neue Einsichten und Lektüren</em> Hrsg. Martin A. Hainz <!-- /html_title --></li> <li> Elke Nicolai </li> </ul> Martin A. Hainz, Hrsg., <em>Paul Celan—“sah daß ein Blatt fiel und wußte, daß es eine Botschaft war”: Neue Einsichten und Lektüren</em>. Berlin: Frank & Timme, 2022. 194 S. <p>Pünktlich zum 100. Geburtstag und 50. Todestages von Paul Celan veranstaltete die Private Pädagogische Hochschule Burgenland (PPH Burgenland) im Jahr 2020 eine internationale Konferenz, auf der sich die Forscher*innen Leonard M. Olschner, Andrei Corbea-Hoisie, Barbara Wiedemann, Vivian Liska, Martin A. Hainz, Leslie Morris, und Artur R. Boelderl aus ihrem je eigenen Blickwinkel der Figur Paul Celans zuwandten, um neue Einsichten in Person und Werk zu vermitteln. Die Prämisse Celans, Denken als fortschreitenden Prozess, der Gedachtes wie bisher nicht Gedachtes umfasst und für Offenheit plädiert, gilt für seine Texte, so Hainz im Vorwort, und ist auch Leitfaden der Konferenz. Das Politische, auf die Zukunft Verweisende in seiner Lyrik freizulegen ist Anspruch aller Beitragenden.</p> <p>Olschners einleitender Aufsatz wirbt für fünf Zugänge zu einem ersten Verständnis der Lyrik Celans, die er Interventionen nennt. Dazu gehören Sachwissen und genaues Quellenstudium, für das Olschner die Diskussion um den Begriff “Harnischstriemen” (geologischer Begriff) heranzieht, den Gadamer auf einer Tagung in Heidelberg als Neologismus bezeichnet hat. Die zweite Intervention beinhaltet das eingewobene Zitat und wird verdeutlicht an der Redewendung “Was auf der Lunge, das auf der Zunge”, die Celan <strong>[End Page 140]</strong> in seinen Notizen zur Büchner-Preis-Rede “Der Meridian” seiner Mutter zuschreibt, diesen Hinweis aber in der aktuellen Rede weglässt, weil—so Olscher—es Celan auf den “Atem als Ursprung der Poesie” ankommt. Der Biographie wird weniger Einfluss zugestanden, dem Entwurf als vierter Intervention des (noch) nicht Eingelösten kommt ein Stellenwert zu, ebenso der Übertragbarkeit von Texten aus anderen Sprachen als fünfter Intervention, mit der Absicht Metaphorisches einzuschließen. Der informierte, klar strukturierte und gut lesbare Beitrag liefert Hintergrundwissen, das bei der Lektüre der nachfolgenden Aufsätze gute Dienste erweist.</p> <p>Der Beitrag von Andrei Corbea-Hoisie befasst sich mit der Genese des Gedichtes “Coagula”, indem Manuskripte zwischen 1962 und 1967 durchforstet werden, Lektüre Celans auf Randbemerkungen hin untersucht wird und sich aus dem Fundus Referenzen zu Celans Bukowiner Erfahrungshorizont ergeben, aus dem das Gedicht “Coagula” schöpft. Dabei wird ganz nebenbei auch die Identität des jüdischen Abiturienten David Falik enthüllt, der den Antisemitismus im Gymnasium anprangerte und ermordet wurde. Über die Motive","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258535","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 : 2024-06-04DOI: 10.1353/oas.2024.a929387
Daniel Milkovits
Abstract:
This article examines Ludwig Anzengruber’s best-known narrative text, the novel Der Sternsteinhof (1884), in particular its affiliation with realism and Austrian precursors of naturalism. It discusses the history of the novel’s genesis as well as the question of Austrian naturalism in general in order to analyze the text for socially critical aspects, for disillusioned fairy tale motifs, for the representation of the village and the realities of rural life, and for reference to Darwinian figures of thought.
{"title":"Zwischen Realismus und österreichischem Protonaturalismus. Zu Ludwig Anzengrubers Roman Der Sternsteinhof","authors":"Daniel Milkovits","doi":"10.1353/oas.2024.a929387","DOIUrl":"https://doi.org/10.1353/oas.2024.a929387","url":null,"abstract":"<p><p>Abstract:</p><p>This article examines Ludwig Anzengruber’s best-known narrative text, the novel <i>Der Sternsteinhof</i> (1884), in particular its affiliation with realism and Austrian precursors of naturalism. It discusses the history of the novel’s genesis as well as the question of Austrian naturalism in general in order to analyze the text for socially critical aspects, for disillusioned fairy tale motifs, for the representation of the village and the realities of rural life, and for reference to Darwinian figures of thought.</p></p>","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258704","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 : 2024-06-04DOI: 10.1353/oas.2024.a929401
Vincent Kling
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Jetzt & Alles: Österreichische Literatur: Die letzten 50 Jahre</em> ed. by Bernhard Fetz, Stephanie Jacobs and Kerstin Putz <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Bernhard Fetz, Stephanie Jacobs, and Kerstin Putz, eds., <em>Jetzt & Alles: Österreichische Literatur: Die letzten 50 Jahre</em>. Vienna: Residenz Verlag, 2023. 240 pp. <p>Like <em>The Austrian Riveter</em>, reviewed in JAS 75.1, the present volume honors Austria’s guest status at the Leipzig Book Fair 2023 and catalogues an exhibit running concurrently in the Österreichisches Literaturmuseum in Vienna and the Deutsches Buch- und Schriftmuseum der deutschen Nationalbibliothek Leipzig. Directors of both institutions offer a welcome, Johanna Rachinger for the Österreichische Nationalbibliothek (13–14) and Frank Scholze and Stefanie Jacobs on behalf of the Deutsche Nationalbibliothek and the Deutsches Buch- und Schriftmuseum (15–16), respectively. Before the greetings is a large-print reproduction, suitably enough, of Ernst Jandl’s poem “nationalliteratur” (10–11).</p> <p>This catalogue looks, partly on purpose it would seem, like a coffee table book, replete with hundreds of illustrations, manuscript pages, and photographs but also artifacts of every kind. When the Austrian Literature Museum was first opened, it charmingly boasted in its advertising that it even owned Heimito von Doderer’s walking stick. How much more is here. This book shows enough items to suggest the phrase “everything but the kitchen sink”—and there may be one of those, too.</p> <p>The items all have relevance to the given writer’s work, like the wooden box in which Arno Geiger kept the photographs from his <em>Die Bewohner von Château Talbot</em> project (149), the film stills from Oswald Egger’s <em>Wo noch war ich wieder?</em> (206–207), Friederike Mayröcker’s collection of stuffed Snoopy figures (81), or the small box of Florjan Lipuš’s pencil stubs (55). The items are anything but a hodgepodge or flea market, however, since their arrangement is always correlated to the author’s production; moreover, they are arranged thematically in organized chapters.</p> <p>Before that, Bernhard Fetz and Kerstin Putz note in their “Auftakt” section (26–27) that 2023 is an appropriate date for bracketing fifty years, half a century after the founding of the Grazer Autorinnen Autorenversammlung in rebellion against the conservative Austrian P.E.N. Club and after the death of Ingeborg Bachmann. The year 1973 also saw the award of the Georg Büchner Prize to Peter Handke, who dedicated his award speech to Bachmann’s memory. This section also includes (29–37) the collage compiled by Marlene <strong>[End Page 152]</strong> Streeruwitz for Austria, answering an inquiry from a Danish newspaper requesting “ten points of view on the flavours and characteristics a
以下是内容的简要摘录，以代替摘要：评论者： Jetzt & Alles：Österreichische Literatur: Die letzten 50 Jahre ed. by Bernhard Fetz, Stephanie Jacobs and Kerstin Putz Vincent Kling Bernhard Fetz, Stephanie Jacobs, and Kerstin Putz, eds., Jetzt &; Alles：Österreichische Literatur: Die letzten 50 Jahre.维也纳：Residenz Verlag, 2023.240 pp.与 JAS 75.1 中评述的《奥地利铆工》一样，本卷也是为了纪念奥地利在 2023 年莱比锡书展上的嘉宾身份，并为同时在维也纳的奥地利文学博物馆和莱比锡德国国家图书馆的德国书籍和印刷品博物馆举办的展览编目。两家机构的馆长致欢迎辞，分别由 Johanna Rachinger 代表奥地利国家图书馆（13-14 厅），Frank Scholze 和 Stefanie Jacobs 代表德国国家图书馆和德国图书与印刷博物馆（15-16 厅）。在致辞之前是恩斯特-扬德尔（Ernst Jandl）的诗歌 "民族文学"（nationalliteratur）（10-11）的大字体复制品，非常合适。这本目录看起来就像一本咖啡桌上的书，不仅有数以百计的插图、手稿页和照片，而且还有各种文物。奥地利文学博物馆开馆之初，曾在广告中夸耀它甚至拥有海米托-冯-多德勒的手杖。这里还有更多。本书所展示的物品足以让人联想到 "除厨房水槽外的一切 "这句话--其中可能也有这样的物品。这些物品都与特定作家的作品有关，比如阿诺-盖格（Arno Geiger）保存其《塔尔博特城堡的露宿者》（Die Bewohner von Château Talbot）项目照片的木盒子（149）、奥斯瓦尔德-埃格（Oswald Egger）的《我是谁》（Wo noch war ich wieder? 206-207）的电影剧照、弗里德里克-迈罗克（Friederike Mayröcker）收集的史努比毛绒公仔（81）或弗洛里扬-利普什（Florjan Lipuš）的铅笔存根小盒子（55）。不过，这些物品并非大杂烩或跳蚤市场，因为它们的排列总是与作者的创作相关联；此外，它们还按主题编排成有组织的章节。在此之前，伯恩哈德-费茨（Bernhard Fetz）和凯尔斯廷-普茨（Kerstin Putz）在 "Auftakt "部分（26-27）中指出，2023 年是五十年的恰当日期，这是为反抗保守的奥地利 P.E.N. 俱乐部而成立的 Grazer Autorinnen Autorenversammlung 成立半个世纪之后，也是英格伯格-巴赫曼（Ingeborg Bachmann）去世之后。1973 年，彼得-汉德克 (Peter Handke) 荣获格奥尔格-毕希纳奖 (Georg Büchner Prize)，他将自己的获奖感言献给了巴赫曼。这一部分还包括（29-37 页）玛琳 [第152页完] 施特莱鲁维茨为奥地利编辑的拼贴画，该拼贴画回答了丹麦一家报纸的询问："关于贵国的风味、特点以及文化和精神包袱的十种观点"（29 页），考虑到施特莱鲁维茨涉猎广泛，从弗洛伊德到维也纳炸肉排，从茜茜公主的电影到蛊惑人心的政治，该拼贴画的收录恰到好处。各章刻意在描绘物品时力求多样化，尽管所附文字很短，但它们无一例外地根据所展示的物品进行了有力的分析。例如，在 "Atemloses Sprechen"（88-85）一章中关于扬德尔的部分，怎么能不包括他的磁带录音机、微型盒式磁带播放机以及手稿页面的图片呢？Kerstin Putz 对 "Josef Winkler：Wortmaschine，Schreibmaschine，Sprachmaschine"（104-7）的评论认为，温克勒的 IBM Selectric 型打字机上独特的字球有助于通过页面的外观来确定句子的节奏和顺序。同样，Magdalena Haid 和 Kerstin Putz 在 "Auf der Bühne und vor der Röhre"(108-11)一文中引用了 Elfriede Jelinek 关于她的苹果电脑的描述：她说："电脑对我的工作非常重要，因为我工作起来非常快"(108)。有关温克勒和耶利内克的片段收录在名为 "Wortmaschinen "的章节中。这并不是说物质先于精神，而是说如果不以某种物质形式记录下来，就无法表达精神。另一个例子是苏珊-雷滕万德（Susanne Rettenwander）的《格尔特-琼克》（Gert Jonke）一书中展示的手稿、排版稿和涂改过的乐谱：在 "Sprachmusik "一章中的 "Die Sprache als Instrument"(68-73)，其中还包括 Arnhild Inguglia-Höfle 对 Gerhard R... 的讨论。
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Pub Date : 2024-06-04DOI: 10.1353/oas.2024.a929394
Monica Strauss
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Oskar Kokoschka und Österreich: Facetten einer politischen Biografie</em> by Bernadette Reinhold <!-- /html_title --></li> <li> Monica Strauss </li> </ul> Bernadette Reinhold, <em>Oskar Kokoschka und Österreich: Facetten einer politischen Biografie</em>. Vienna: Böhlau Verlag, 2023. 338 pp. <p>With the publication of her encyclopedic volume <em>Oskar Kokoschka und Österreich: Facetten einer politischen Biogafie</em>, Bernadette Reinhold, who heads the Oskar Kokoschka Center at Vienna’s Museum of Applied Arts, has joined the disciplines of art history and political inquiry to great effect. The span of Kokoschka’s long life (1886–1980) runs parallel to the evolution of modern Austria from the end of Habsburg rule to the Second Republic. Having passed away at the age of ninety-four in 1980, the artist was not subjected to the country’s self-reckoning that began just a few years later. That later political revision, however—the public acknowledgment of Austria’s wartime complicity in Nazi crimes—prompted Reinhold to reexamine the legacy under her care. There could be no stronger statement of her mission than the citation in her introduction of Ilse Aichinger’s 1946 essay “Aufruf zu Misstrauen.”</p> <p>Kokoschka was not initially a political artist, but playing with the public perception of his persona became part of his art early on. Exaggerating the role of victim after the Kunstschau scandals in 1908 and ’09, he flaunted his rejection by shaving his head—a punishment usually meted out to convicts. By displaying his new guise in a series of self-portraits and a carefully posed photograph, he mocked his detractors. In the decade that followed, he continued to dismantle social pieties by making art out of his own vulnerabilities. He depicted himself as the insecure lover of Alma Mahler, for instance, or as a soldier devoid of glory after being wounded in World War I.</p> <p>Kokoschka’s career took off in the 1920s, despite the political upheavals of the now small and poor country to which Austria had been reduced. He traveled widely, was sought after as a portraitist, and exhibited internationally. He did not initially turn his back on the fascist corporate state established in 1933, hoping it would support the founding of his own art academy. Only after his plan was rejected in 1934 did he give up on the instabilities of his home-land by moving to Prague.</p> <p>By then the Czech city had become a haven for exiles from Hitler’s Germany. It was there that Kokoschka was transformed into a political artist. He wrote pointed articles against the Nazi terror, took upon himself the production and distribution of posters asking for help for children caught <strong>[End Page 136]</strong> in the Spanish Civil War and made his inclusion in the “Entartete Kunst” exhibition the subject of a pugnacious self-port
以下是内容的简要摘录，以代替摘要：评论者： Oskar Kokoschka und Österreich：Bernadette Reinhold 著，Monica Strauss 译 Bernadette Reinhold, Oskar Kokoschka und Österreich：Facetten einer politischen Biografie.维也纳：Böhlau Verlag，2023 年。338 pp.随着她的百科全书式著作《奥斯卡-柯柯施卡与奥地利》（Oskar Kokoschka und Österreich：Bernadette Reinhold 是维也纳应用艺术博物馆奥斯卡-柯柯施卡中心的负责人，她的这本百科全书式的作品《奥斯卡-柯柯施卡与厄斯特雷希：政治传记的面面观》将艺术史和政治探究结合在一起，取得了很好的效果。柯柯施卡漫长的一生（1886-1980 年）与现代奥地利从哈布斯堡王朝统治末期到第二共和国的演变并行不悖。这位艺术家于 1980 年以 94 岁高龄去世，因此没有经历几年后开始的国家自我修正。然而，后来的政治修正--公开承认奥地利在战时是纳粹罪行的同谋--促使莱因霍尔德重新审视她所管理的遗产。莱因霍尔德在序言中引用了伊尔斯-艾欣格（Ilse Aichinger）1946 年的文章 "Aufruf zu Misstrauen"，这是对她的使命最有力的陈述。科科施卡最初并不是一位政治艺术家，但玩弄公众对其形象的看法很早就成为了他艺术的一部分。在 1908 年和 1909 年的 Kunstschau 丑闻之后，他夸大了自己的受害者身份，剃光了自己的头以示拒绝--这通常是对罪犯的惩罚。他在一系列自画像和精心摆拍的照片中展示了自己的新形象，以此嘲讽诋毁他的人。在随后的十年中，他继续利用自身的弱点进行艺术创作，以此瓦解社会的虔诚。例如，他将自己描绘成阿尔玛-马勒（Alma Mahler）不安全感的情人，或在第一次世界大战中受伤后失去荣耀的士兵。尽管奥地利已沦为贫穷的小国，但在 20 世纪 20 年代，科科施卡的艺术生涯却突飞猛进。他周游列国，作为肖像画家受到追捧，并在国际上举办展览。1933 年，法西斯国家成立，他起初并没有放弃，而是希望法西斯国家能够支持他建立自己的艺术学院。直到 1934 年他的计划被否决后，他才放弃了家乡的不稳定因素，搬到了布拉格。当时，这座捷克城市已成为希特勒德国流亡者的天堂。正是在那里，科科施卡转变为一名政治艺术家。他撰写了反对纳粹恐怖的尖锐文章，自发制作和散发海报，为西班牙内战中的儿童 [第 136 页完] 寻求帮助，并将自己参加 "独特的艺术 "展览的经历作为一幅充满斗志的自画像的主题。1938 年秋，在马萨里克（他曾为其画像）的干预下，他获得了捷克公民身份，并逃往英国。他不仅成为当地反法西斯活动的核心人物，还开始将出售作品所得的部分收入捐献给贫困儿童，从而赢得了慈善家的美誉。战争结束后，科科施卡开始敏锐地重振事业。1947 年，他成为英国公民，以便更方便地在欧洲大陆活动。1953 年，他在中立且语言上更为熟悉的瑞士定居下来。他开始努力争取十多年前离开的国家对他的认可。这种努力需要作出让步，而这正是莱因霍尔德 "政治 "传记的核心。莱因霍尔德的研究方法很微妙。她并不纠缠于科科施卡的逃避，而是在讨论维也纳战后保守的文化政治时，顺便提出这些问题。通过这种方式，国家与本土儿子之间的相似之处产生了共鸣。与同胞一样，他从未提及反犹太主义或大屠杀。在 1971 年出版自传时，他没有提到汉斯-蒂茨（Hans Tietze）或奥托-卡里尔（Otto Kallir）等重要的支持者，却对支持战时政权的卡尔-莫尔（Carl Moll）大加赞赏。当一个众所周知的前纳粹分子被证明是理想的...
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Pub Date : 2024-06-04DOI: 10.1353/oas.2024.a929388
Ulrich Arnswald
Abstract:
To place Ludwig Wittgenstein’s early philosophy specifically in the context of the Great War, which we now call the First World War, is absolutely decisive for understanding his Tractatus Logico-Philosophicus. According to the motto “Fear in face of death is the best sign of a false, i.e. bad, life” found in a July 1916 entry in Wittgenstein’s Private Notebooks 1914–1916, only recently translated into English for the first time, Wittgenstein tried to clarify the question of the meaning of life for himself in the middle of the raging war. These thoughts also changed the nature of his Tractatus from an originally purely logical work to an ethical, religious, and mystical one, as the Notebooks show us in parallel with the creation of the Tractatus. The abysses of war, the mystical, ethical, religious, and logical insights recognized in it, and the self-knowledge gained in war allowed his treatise to mature through the existential intensification caused by war.
{"title":"\"A Test of Fire of One's Character\": Ludwig Wittgenstein's Self-Examination by Means of War in World War I","authors":"Ulrich Arnswald","doi":"10.1353/oas.2024.a929388","DOIUrl":"https://doi.org/10.1353/oas.2024.a929388","url":null,"abstract":"<p><p>Abstract:</p><p>To place Ludwig Wittgenstein’s early philosophy specifically in the context of the Great War, which we now call the First World War, is absolutely decisive for understanding his <i>Tractatus Logico-Philosophicus</i>. According to the motto “Fear in face of death is the best sign of a false, i.e. bad, life” found in a July 1916 entry in Wittgenstein’s <i>Private Notebooks 1914–1916</i>, only recently translated into English for the first time, Wittgenstein tried to clarify the question of the meaning of life for himself in the middle of the raging war. These thoughts also changed the nature of his Tractatus from an originally purely logical work to an ethical, religious, and mystical one, as the <i>Notebooks</i> show us in parallel with the creation of the <i>Tractatus</i>. The abysses of war, the mystical, ethical, religious, and logical insights recognized in it, and the self-knowledge gained in war allowed his treatise to mature through the existential intensification caused by war.</p></p>","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258818","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 : 2024-06-04DOI: 10.1353/oas.2024.a929390
Daniel Lawler
Abstract:
Aban Berg’s poem on the occasion of Adolf Loos’s sixtieth birthday has been translated numerous times. None of these translations, however, captures the form of the poem, rather than the content, which in this case is the key to understanding the work’s meaning. An introduction elaborates these ideas, followed by a new translation incorporating them.
{"title":"Alban Berg's contribution to the Adolf Loos Festschrift: A New Translation","authors":"Daniel Lawler","doi":"10.1353/oas.2024.a929390","DOIUrl":"https://doi.org/10.1353/oas.2024.a929390","url":null,"abstract":"<p><p>Abstract:</p><p>Aban Berg’s poem on the occasion of Adolf Loos’s sixtieth birthday has been translated numerous times. None of these translations, however, captures the form of the poem, rather than the content, which in this case is the key to understanding the work’s meaning. An introduction elaborates these ideas, followed by a new translation incorporating them.</p></p>","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"68 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258825","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 : 2024-06-04DOI: 10.1353/oas.2024.a929400
Vincent Kling
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>WSD*: Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren</em> ed. by Roland Innerhofer and Thomas Kohlwein <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Roland Innerhofer and Thomas Kohlwein, eds., <em>WSD*: Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren</em>. Klagenfurt: Wieser, 2022. 343 pp. <p>This unusual volume, in part an archival study listing the contents of the late Wendelin Schmidt-Dengler’s library, is as beguiling, wide-ranging, stimulating, and expansive as the subject himself, and it forms a worthy tribute to his erudition and his unique place in the history of German/Austrian studies.</p> <p>Inventorying libraries often yields insights into the creative or critical process not attainable in other ways. Such studies are by nature dutiful catalogues, though readers sometimes find hunches verified, as when Michael Hamburger documented, for example, in his “Hofmannsthals Bibliothek: Ein Bericht” (<em>Euphorion</em>, 1961), that the meeting between Octavian and Sophie in Act II of <em>Der Rosenkavalier</em> was in fact directly inspired by the chapters on conversion in <em>The Varieties of Religious Experience</em> by William James. Most such studies are in essence neutral listings, which does not diminish their importance.</p> <p>But anyone who ever knew WSD could never call him or anything about him neutral, and while personal reminiscence is not often a proper tool for a reviewer, the exceptional nature of this book may be best illustrated by a précis of my experience with a scholar of astonishing verve, erudition, and independence, since my encounters mirror those of dozens or even hundreds of others.</p> <p>Applying for a fellowship to the University of Vienna involved letters of <strong>[End Page 149]</strong> recommendation; at my request—email was quite new—WSD immediately wrote one, even though we had never met. When I visited him in his office hours to thank him, he knew without any prompting who I was and what I had written and translated; he at once put all the resources of his library at my disposal and gave me copies of his books. He nurtured me and every student of mine he later met by inviting them to seminars involving contemporary writers, who were often themselves present. The soul of cordiality, generosity, and affability, he was also a fearlessly intrepid critic who rejected ideologies, academic fads, and all of the “smelly little orthodoxies,” to use Orwell’s brilliant phrase.</p> <p>This volume documents his original, unconventional thinking, which always found insights and aspects seldom noticed by others. First, though, a description of how this handsome volume is constituted. The bare listing of 6,371 books, from Abels, Norbert, to Zymner, Rüdiger, provides publication data as recorded in the catalogue of the University Library
以下是内容的简要摘录，以代替摘要：审稿人： WSD*：Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren ed. by Roland Innerhofer and Thomas Kohlwein Vincent Kling Roland Innerhofer and Thomas Kohlwein, eds., WSD*：Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren.克拉根福：Wieser，2022 年。343 页。这本不寻常的书，部分内容是对已故文德林-施密特-登格勒图书馆内容的档案研究，其内容就像主人公本人一样引人入胜、内容广泛、令人振奋、博大精深，是对他的博学和他在德国/奥地利研究史上的独特地位的最好褒奖。对图书馆进行清点，往往能深入了解创作或批评过程，这是其他方式无法实现的。此类研究本质上是尽职尽责的编目，尽管读者有时会发现直觉得到了验证，例如迈克尔-汉布格在他的《霍夫曼斯塔尔图书馆》（Hofmannsthals Bibliothek：Ein Bericht"（Euphorion，1961 年）中记载，《罗森卡瓦利尔》第二幕中屋大维与索菲的会面，其实是直接受到威廉-詹姆斯《宗教经验的多样性》中关于皈依的章节的启发。大多数此类研究本质上都是中性的罗列，这并不会降低它们的重要性。虽然个人回忆往往不是评论家的适当工具，但通过简要介绍我与这位具有惊人勇气、博学和独立性的学者相处的经历，也许最能说明本书的特殊性，因为我的遭遇与其他数十位甚至数百位学者的遭遇如出一辙。申请维也纳大学的奖学金需要推荐信 [第 149 页完]；应我的请求--当时电子邮件还是个新鲜事物--WSD 立即写了一封推荐信，尽管我们从未谋面。当我在他的办公时间去拜访他并向他表示感谢时，他不用任何提示就知道我是谁，我写了什么，翻译了什么。他培养了我和他后来遇到的我的每一位学生，邀请他们参加有当代作家参加的研讨会，而当代作家本人往往也在场。他是亲切、慷慨、和蔼可亲的灵魂人物，同时也是一位无畏无惧的评论家，用奥威尔的精辟措辞来说，他拒绝意识形态、学术时尚和所有 "臭烘烘的小正统"。这本书记录了他独创的、非传统的思想，总能发现别人很少注意到的见解和方面。首先，介绍一下这本精美的书卷是如何构成的。从阿贝尔斯（Abels）、诺贝尔特（Norbert）到齐姆纳（Zymner）、吕迪格（Rüdiger）的 6371 本图书的清单，提供了维也纳大学图书馆目录中记录的出版数据，WSD 的图书馆现在已向任何感兴趣的读者开放。目录中穿插了诗歌（如弗朗茨-约瑟夫-切尔宁，"Obst-und jetzt keine Illusionen"，94 页）、图表（科妮莉娅-席勒，"Ordnung-Gegenordnung"，315 页）、照片（安德烈亚-海卡，"Hütteldorfer Lokalaugenschein"，70-72 页，歌颂了 WSD 对 Rapid 足球队的热爱），但最重要的是，根据 WSD 在他的书中留下的少量注释和页码指示（现在都已扫描），无一例外地提供了丰富的评论。这些注释确实太少了，以至于有些评论者根据如此寥寥无几的注释提出如此笼统的结论似乎有些鲁莽，但这些学者都非常了解 WSD；他是一位值得信赖的导师，也是这里大多数撰稿人的论文指导老师。他们熟悉他的思想脉络和见解轮廓，因此他们可以审慎地进行跳跃，总是引用注释、名字和页码来证实。编辑们解释了选择和处理的原则--"文德林-施密特-登格勒图书馆中的书目"（9-11）--他们还告诉我们，文德林-施密特-登格勒的个人图书馆是他的遗孀玛丽亚-施密特-登格勒赠送的。他们还告诉我们，施密特-登格勒的个人图书馆是他的遗孀玛丽亚-施密特-登格勒赠送的。"每看一眼，每读一次，都会有新的发现"（11），这句话表明，这本书邀请读者自己去图书馆中寻找线索，并提出自己的进一步见解。在数十篇文章中，我们可以看到 WSD 多年前对女性作为客体的理解几乎是孤陋寡闻。法蒂玛-纳克维（"WDS fährt [End Page 150] Schuss：Zu Elfriede Jelinek," 167-68...
{"title":"WSD*: Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren ed. by Roland Innerhofer and Thomas Kohlwein (review)","authors":"Vincent Kling","doi":"10.1353/oas.2024.a929400","DOIUrl":"https://doi.org/10.1353/oas.2024.a929400","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>WSD*: Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren</em> ed. by Roland Innerhofer and Thomas Kohlwein <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Roland Innerhofer and Thomas Kohlwein, eds., <em>WSD*: Die Bibliothek Wendelin Schmidt-Dengler und ihre Lesespuren</em>. Klagenfurt: Wieser, 2022. 343 pp. <p>This unusual volume, in part an archival study listing the contents of the late Wendelin Schmidt-Dengler’s library, is as beguiling, wide-ranging, stimulating, and expansive as the subject himself, and it forms a worthy tribute to his erudition and his unique place in the history of German/Austrian studies.</p> <p>Inventorying libraries often yields insights into the creative or critical process not attainable in other ways. Such studies are by nature dutiful catalogues, though readers sometimes find hunches verified, as when Michael Hamburger documented, for example, in his “Hofmannsthals Bibliothek: Ein Bericht” (<em>Euphorion</em>, 1961), that the meeting between Octavian and Sophie in Act II of <em>Der Rosenkavalier</em> was in fact directly inspired by the chapters on conversion in <em>The Varieties of Religious Experience</em> by William James. Most such studies are in essence neutral listings, which does not diminish their importance.</p> <p>But anyone who ever knew WSD could never call him or anything about him neutral, and while personal reminiscence is not often a proper tool for a reviewer, the exceptional nature of this book may be best illustrated by a précis of my experience with a scholar of astonishing verve, erudition, and independence, since my encounters mirror those of dozens or even hundreds of others.</p> <p>Applying for a fellowship to the University of Vienna involved letters of <strong>[End Page 149]</strong> recommendation; at my request—email was quite new—WSD immediately wrote one, even though we had never met. When I visited him in his office hours to thank him, he knew without any prompting who I was and what I had written and translated; he at once put all the resources of his library at my disposal and gave me copies of his books. He nurtured me and every student of mine he later met by inviting them to seminars involving contemporary writers, who were often themselves present. The soul of cordiality, generosity, and affability, he was also a fearlessly intrepid critic who rejected ideologies, academic fads, and all of the “smelly little orthodoxies,” to use Orwell’s brilliant phrase.</p> <p>This volume documents his original, unconventional thinking, which always found insights and aspects seldom noticed by others. First, though, a description of how this handsome volume is constituted. The bare listing of 6,371 books, from Abels, Norbert, to Zymner, Rüdiger, provides publication data as recorded in the catalogue of the University Library ","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141258537","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 : 2024-06-04DOI: 10.1353/oas.2024.a929386
Ambika Natarajan
Abstract:
The evolution of the legal status of servants in Europe is a sparsely researched field. Concentrating on the case of the Habsburg Empire since the sixteenth century, this article emphasizes the importance of considering the evolution of servant laws in discussions about protective legislation for servants. This article argues that the issue of granting rights and protections to servants has always pivoted on the definition of their status in society. Since servants occupied an intermediary position on the freedom scale, the control of people who occupied this position—not slave, yet not entirely free—has been a point of concern for several centuries. Research on how servant laws have historically contributed to the survival of paternalistic attitudes that cripple the rights and freedoms of servants is essential to understanding the more complex parameters of race, gender, and class that govern the lives of this category of predominantly migrant, minority, and female labor.
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