Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921901
JAS Editors, Angelika Reitzer
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Von November bis März (ABSTECHEN)<span>A Prose Poem by Angelika Reitzer and an Interview with the Author</span> <!-- /html_title --></li> <li> JAS Editors and Angelika Reitzer </li> </ul> <h2>Introduction</h2> <p>Angelika Reitzer is a contemporary Austrian writer and playwright who is making her mark on the international literary landscape. She was born in Graz in 1971 and subsequently studied literature and history in Salzburg and Berlin. Since 2001 she has made Vienna her permanent residence. Her many publications include novels such as <em>Taghelle Gegend</em> (2007), <em>unter uns</em> (2010), <em>Wir Erben</em> (2014), and <em>Obwohl es kalt ist draußen</em> (2018); a short story collection, <em>Frauen in Vasen</em> (2008); the libretto for the opera <em>Regina—einFest!</em> (2022); and numerous other works, including mini- dramas and texts for a film trilogy. Her play <em>Ein Kind seiner Zeit</em>, inspired by Hieronymus Bosch’s painting <em>Christ Child with a Walking Frame</em>, was performed in the Kunsthistorisches Museum in Vienna. Her work has received numerous awards, including the 2009 Förderungspreis der Stadt Wien, the 2012 Otto Stoessl- Preis, the 2014 Literaturpreis des Landes Steiermark, and the 2016 Outstanding Artist Award for Literature. Reitzer has also been writer- in- residence at Bowling Green State University in 2012 and at Grinnell College in 2023. More information about Angelika Reitzer and her previous and upcoming work can be found on her website https://angelikareitzer.eu.</p> <p>The following is a short, previously unpublished piece by Reitzer, followed by an interview about this text and her oeuvre. <strong>[End Page 97]</strong></p> <h2>Von November bis März (ABSTECHEN)</h2> <p>Die Großeltern von Alois waren Knecht und Magd, sie konnten heiraten und einen kleinen Bauernhof mit dem Vulgonamen »Niachtn« erwerben. Niachtn heißt Nichts.</p> <p>Es war ein Aufstieg: Gerade noch Leibeigene, dann Kleinbauern mit Stall, einigen Hektar Ackergrund und ein Flecken Wald.</p> <p>Alois ist achtzehn, als sein Vater stirbt und er den Hof übernimmt, auf dem neben seiner Mutter und drei jüngeren Geschwistern noch einige Verwandte leben, alt, pflegebedürftig, einer mit Kropf. Diese rund zehnköpfige Familie versorgt er mit ein paar Kühen, Schweinen und Hühnern und dem, was auf den wenigen Feldern rund um das Haus wächst.</p> <p>Tierarzt, wie er es sich als junger Mann vorgenommen hat, wird er nicht.</p> <p>Alois hat bei seinem Onkel Kajetan, der Fleischhacker in Raaba war, gelernt, Schweine zu schlachten. Lange Zeit geht er von November bis März auf die Bauernhöfe in der Umgebung abstechen.</p> <p>Mit einem Bolzenschuss, auf oder durch die Schädeldecke, wird das Schwein betäubt, bevor es durch einen Halsbruststich getötet wird. Dabei setzt man das Stechmesser drei Finger breit vor dem Brustbein an und sticht sch
安杰利卡-雷策的散文诗及作者访谈 JAS 编辑和安杰利卡-雷策简介 安杰利卡-雷策是奥地利当代作家和剧作家，正在国际文学界崭露头角。她于 1971 年出生于格拉茨，随后在萨尔茨堡和柏林学习文学和历史。自 2001 年以来，她一直居住在维也纳。她的作品包括小说《Taghelle Gegend》（2007 年）、《unter uns》（2010 年）、《Wir Erben》（2014 年）和《Obwohl es kalt ist draußen》（2018 年）；短篇小说集《Frauen in Vasen》（2008 年）；歌剧《Regina-einFest！(2022 年）的剧本，以及许多其他作品，包括微型戏剧和电影三部曲的文本。她的剧本《Ein Kind seiner Zeit》的灵感来源于希罗尼穆斯-博什（Hieronymus Bosch）的画作《带着行走框架的基督儿童》，曾在维也纳艺术史博物馆上演。她的作品曾多次获奖，包括 2009 年维也纳市文学奖（Förderungspreis der Stadt Wien）、2012 年奥托-斯托埃塞尔奖（Otto Stoessl-Preis）、2014 年施泰尔马克州文学奖（Literaturpreis des Landes Steiermark）和 2016 年杰出艺术家文学奖。雷策还曾于 2012 年和 2023 年分别在鲍林格林州立大学和格林奈尔学院担任驻校作家。 关于安杰利卡-雷策及其之前和即将发表的作品的更多信息，请访问她的网站 https://angelikareitzer.eu。以下是 Reitzer 此前未发表的一篇短文，随后是关于这篇短文及其作品的采访。[从十一月到三月（ABSTECHEN），阿洛伊斯的祖父母一直是农夫和女仆，他们结婚后获得了一个小农场，名字很俗，叫 "Niachtn"。Niachtn 并不意味着什么。这是一个上升的过程：先是农奴，然后是拥有一个马厩、几公顷农田和一片森林的小农场主。阿洛伊斯十八岁那年，父亲去世，他接手了农场，农场里有他的母亲、三个弟弟妹妹和其他几个亲戚，他们都年事已高，需要照顾，其中一个还患有甲状腺肿大。他用几头牛、几头猪、几只鸡和房子周围几块田地里长出的任何东西养活这个十来口人的家庭。他没有像年轻时计划的那样成为一名兽医。阿洛伊斯从在拉巴（Raaba）当屠夫的叔叔卡耶坦（Kajetan）那里学会了杀猪。在很长一段时间里，他每年 11 月到次年 3 月都会去附近的农场。在杀猪之前，先在猪的头骨上或头骨顶上打一枪，把猪震晕，然后再用刀刺猪的脖子。刺刀放在胸骨前三指宽的地方，向后斜刺倒立的猪的心脏和尾部，以刺中后面的血管。我们这些孩子搅动收集的血液，以免形成肿块。如今，麻醉通常是用电进行的。阿洛伊斯在 20 世纪 60 年代结婚后，将自己的农场改建成了蔬菜种植园。他实现了现代化。家族企业引入了人工肥料和新的销售渠道。现在，牛奶不再通过所谓的 Holder 运到格拉茨直接销售，而是成百上千箱的莴苣被送到连锁超市，而这些超市并不总是履行采购承诺并随意改变价格。这种依赖性让阿洛伊斯很难受，但他也只能接受。他把自己农场里的牛和鸡都赶走了，只养了几头猪，长期供自己使用。他还在家里加工猪肉。他喜欢这样做。猪肉被加工成香肠、蹄膀和肉酱，后来还被冷冻起来，还有猪油，在切猪肉的那一天，还能吃到猪血蛋糕（一种用新鲜猪血做成的蛋糕）、鸡蛋猪脑（我们孩子特别喜欢吃），还有大人帮工做的烤肺肉（被称为 "Fischerl"）。[每到除夕夜，还要吃煮猪头。这种习俗尤其受到城市客人的喜爱。他们觉得这很奇怪：就像过去一样。阿洛伊斯在其他农户的农场里割猪肉，报酬很少，甚至没有报酬，通常是实物，这与............
{"title":"Von November bis März (ABSTECHEN): A Prose Poem by Angelika Reitzer and an Interview with the Author","authors":"JAS Editors, Angelika Reitzer","doi":"10.1353/oas.2024.a921901","DOIUrl":"https://doi.org/10.1353/oas.2024.a921901","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Von November bis März (ABSTECHEN)<span>A Prose Poem by Angelika Reitzer and an Interview with the Author</span> <!-- /html_title --></li> <li> JAS Editors and Angelika Reitzer </li> </ul> <h2>Introduction</h2> <p>Angelika Reitzer is a contemporary Austrian writer and playwright who is making her mark on the international literary landscape. She was born in Graz in 1971 and subsequently studied literature and history in Salzburg and Berlin. Since 2001 she has made Vienna her permanent residence. Her many publications include novels such as <em>Taghelle Gegend</em> (2007), <em>unter uns</em> (2010), <em>Wir Erben</em> (2014), and <em>Obwohl es kalt ist draußen</em> (2018); a short story collection, <em>Frauen in Vasen</em> (2008); the libretto for the opera <em>Regina—einFest!</em> (2022); and numerous other works, including mini- dramas and texts for a film trilogy. Her play <em>Ein Kind seiner Zeit</em>, inspired by Hieronymus Bosch’s painting <em>Christ Child with a Walking Frame</em>, was performed in the Kunsthistorisches Museum in Vienna. Her work has received numerous awards, including the 2009 Förderungspreis der Stadt Wien, the 2012 Otto Stoessl- Preis, the 2014 Literaturpreis des Landes Steiermark, and the 2016 Outstanding Artist Award for Literature. Reitzer has also been writer- in- residence at Bowling Green State University in 2012 and at Grinnell College in 2023. More information about Angelika Reitzer and her previous and upcoming work can be found on her website https://angelikareitzer.eu.</p> <p>The following is a short, previously unpublished piece by Reitzer, followed by an interview about this text and her oeuvre. <strong>[End Page 97]</strong></p> <h2>Von November bis März (ABSTECHEN)</h2> <p>Die Großeltern von Alois waren Knecht und Magd, sie konnten heiraten und einen kleinen Bauernhof mit dem Vulgonamen »Niachtn« erwerben. Niachtn heißt Nichts.</p> <p>Es war ein Aufstieg: Gerade noch Leibeigene, dann Kleinbauern mit Stall, einigen Hektar Ackergrund und ein Flecken Wald.</p> <p>Alois ist achtzehn, als sein Vater stirbt und er den Hof übernimmt, auf dem neben seiner Mutter und drei jüngeren Geschwistern noch einige Verwandte leben, alt, pflegebedürftig, einer mit Kropf. Diese rund zehnköpfige Familie versorgt er mit ein paar Kühen, Schweinen und Hühnern und dem, was auf den wenigen Feldern rund um das Haus wächst.</p> <p>Tierarzt, wie er es sich als junger Mann vorgenommen hat, wird er nicht.</p> <p>Alois hat bei seinem Onkel Kajetan, der Fleischhacker in Raaba war, gelernt, Schweine zu schlachten. Lange Zeit geht er von November bis März auf die Bauernhöfe in der Umgebung abstechen.</p> <p>Mit einem Bolzenschuss, auf oder durch die Schädeldecke, wird das Schwein betäubt, bevor es durch einen Halsbruststich getötet wird. Dabei setzt man das Stechmesser drei Finger breit vor dem Brustbein an und sticht sch","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140070254","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 : 2024-03-08DOI: 10.1353/oas.2024.a921906
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> In Memoriam<span>Robert Dassanowsky</span> <!-- /html_title --></li> </ul> <p><em>From the Editors</em>: In October 2023, the Austrian Studies Association lost one of its most beloved and influential members, Robert Dassanowsky. Robert’s contributions to the Association and to the field of Austrian Studies were legion. To honor his memory we offer here a few brief tributes, first from ASA President Teresa Kovacs on behalf of the Association, and then from several colleagues who knew Robert well.</p> <h2>________</h2> <p>Dear Members of the Austrian Studies Association,</p> <p>It is difficult for me to write this small text in memory of Robert Dassanowsky, who passed away on October 10, 2023. Not because there is nothing to say about Robert, but on the contrary, because there is so much to say about him while I am still struggling to find the right words after his death has come so unexpectedly for most of us and leaves a great void.</p> <p>Robert was an excellent scholar with singular expertise in Austrian film, literature, and Austrofascism, which is evident not only in his numerous publications in this field but also in the film studies program he established at the University of Colorado at Colorado Springs, which was his home institution since 1993. Next to his academic work, he was dedicated to supporting young and promising directors, which is visible in his work as a producer and head of Belvedere Film, which promotes innovative cinematic works from Austria. <strong>[End Page xi]</strong></p> <p>Robert has been a pillar of the Austrian Studies Association for many years and, frankly, it is hard to imagine our association without him. Robert has supported the ASA in various capacities: as President, as Board Member at large, and most recently as PR and Fundraising Board Member. Robert has always been concerned with the well-being of the ASA. He has consistently worked to make our organization visible and has been a driving force in expanding its network. This not only means that he constantly reminded us that the ASA must go beyond literature and literary studies, but also that he knew how to challenge the narrow boundaries of the purely academic field and connect the ASA with various cultural institutions and artists.</p> <p>Robert had good foresight and he was committed to the constant expansion and internationalization of the ASA until the very end. I am infinitely grateful to him for this constant inspiration. This foresight is also reflected in the fact that he went above and beyond to support young scholars. I have experienced this myself, as it was Robert who motivated me to join the ASA Board in countless conversations when I was still a doctoral student at the University of Vienna. And I have heard from so many others in recent weeks whom Robert supported in a similar way, which has reminded me once again of th
{"title":"In Memoriam: Robert Dassanowsky","authors":"","doi":"10.1353/oas.2024.a921906","DOIUrl":"https://doi.org/10.1353/oas.2024.a921906","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> In Memoriam<span>Robert Dassanowsky</span> <!-- /html_title --></li> </ul> <p><em>From the Editors</em>: In October 2023, the Austrian Studies Association lost one of its most beloved and influential members, Robert Dassanowsky. Robert’s contributions to the Association and to the field of Austrian Studies were legion. To honor his memory we offer here a few brief tributes, first from ASA President Teresa Kovacs on behalf of the Association, and then from several colleagues who knew Robert well.</p> <h2>________</h2> <p>Dear Members of the Austrian Studies Association,</p> <p>It is difficult for me to write this small text in memory of Robert Dassanowsky, who passed away on October 10, 2023. Not because there is nothing to say about Robert, but on the contrary, because there is so much to say about him while I am still struggling to find the right words after his death has come so unexpectedly for most of us and leaves a great void.</p> <p>Robert was an excellent scholar with singular expertise in Austrian film, literature, and Austrofascism, which is evident not only in his numerous publications in this field but also in the film studies program he established at the University of Colorado at Colorado Springs, which was his home institution since 1993. Next to his academic work, he was dedicated to supporting young and promising directors, which is visible in his work as a producer and head of Belvedere Film, which promotes innovative cinematic works from Austria. <strong>[End Page xi]</strong></p> <p>Robert has been a pillar of the Austrian Studies Association for many years and, frankly, it is hard to imagine our association without him. Robert has supported the ASA in various capacities: as President, as Board Member at large, and most recently as PR and Fundraising Board Member. Robert has always been concerned with the well-being of the ASA. He has consistently worked to make our organization visible and has been a driving force in expanding its network. This not only means that he constantly reminded us that the ASA must go beyond literature and literary studies, but also that he knew how to challenge the narrow boundaries of the purely academic field and connect the ASA with various cultural institutions and artists.</p> <p>Robert had good foresight and he was committed to the constant expansion and internationalization of the ASA until the very end. I am infinitely grateful to him for this constant inspiration. This foresight is also reflected in the fact that he went above and beyond to support young scholars. I have experienced this myself, as it was Robert who motivated me to join the ASA Board in countless conversations when I was still a doctoral student at the University of Vienna. And I have heard from so many others in recent weeks whom Robert supported in a similar way, which has reminded me once again of th","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"100 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140076744","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 : 2024-03-08DOI: 10.1353/oas.2024.a921902
Andrew Behrendt
<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>Empty Signs, Historical Imaginaries: The Entangled Nationalization of Names and Naming in a Late Habsburg Borderland</em> by Ágoston Berecz <!-- /html_title --></li> <li> Andrew Behrendt </li> </ul> Ágoston Berecz, <em>Empty Signs, Historical Imaginaries: The Entangled Nationalization of Names and Naming in a Late Habsburg Borderland</em>. New York and Oxford: Berghahn Books, 2020. 350 pp. <p>Erudite and ingenious, Ágoston Berecz’s <em>Empty Signs, Historical Imaginaries</em> lends new vigor to the historiography of nationalism in East Central Europe. It takes hold of a frustratingly understudied subject, “nationality policies and national conflicts” in Hungary between 1867 and 1914; adds another that is notoriously difficult to source, namely ground- level responses to nationalist activism, especially among peasants; and jointly explores both through the methodological innovation of applying linguistic analysis—particularly onomastics, the study of proper names. The “borderland” of the subtitle refers to Transylvania and the Banat, where an ascendant, assimilationist Magyar elite pursued various means of undermining its rival Romanian and Saxon/pan-German nationalisms. Berecz draws our attention to the importance of personal, familial, and geographic names in this uneven three-way competition whereby they became “sites of memory” in nationalist metanarratives and “projection screens for visions of national history” (8–9). The result is a rich, multifaceted book whose prismatic examination sheds light on countless details of nationalization as a fluid process more than it delivers wholesale revelations of some settled outcome.</p> <p>Berecz sets out with an exceptionally compelling introduction, which, in conjunction with the largely summative conclusion, readers may find useful as a kind of conceptual atlas as they make their way through this dense text. Of particular note is Berecz’s critique of the modernist school of nationalism studies (to which I confess myself a disciple), as it not only offers a reasonably persuasive case for the ethno- nationalist school but is also simply a more substantive discussion of applied theory than is typical for the field.</p> <p>The book is split into three parts, each corresponding to what Berecz dubs a “level of analysis” (19) and each containing three chapters that are <strong>[End Page 107]</strong> thematically mirrored by a chapter in the other parts. The first section, “Peasants,” dedicates three chapters to the conventions of that social class when assigning first names to their children, defining or changing their family names, and understanding the place- names and etymologies of their home communities. Using the ELITES08 and Historical Population Database of Transylvania datasets as well as Frigyes Pesty’s 1864 toponymical survey, Berecz finds that
{"title":"Empty Signs, Historical Imaginaries: The Entangled Nationalization of Names and Naming in a Late Habsburg Borderland by Ágoston Berecz (review)","authors":"Andrew Behrendt","doi":"10.1353/oas.2024.a921902","DOIUrl":"https://doi.org/10.1353/oas.2024.a921902","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>Empty Signs, Historical Imaginaries: The Entangled Nationalization of Names and Naming in a Late Habsburg Borderland</em> by Ágoston Berecz <!-- /html_title --></li> <li> Andrew Behrendt </li> </ul> Ágoston Berecz, <em>Empty Signs, Historical Imaginaries: The Entangled Nationalization of Names and Naming in a Late Habsburg Borderland</em>. New York and Oxford: Berghahn Books, 2020. 350 pp. <p>Erudite and ingenious, Ágoston Berecz’s <em>Empty Signs, Historical Imaginaries</em> lends new vigor to the historiography of nationalism in East Central Europe. It takes hold of a frustratingly understudied subject, “nationality policies and national conflicts” in Hungary between 1867 and 1914; adds another that is notoriously difficult to source, namely ground- level responses to nationalist activism, especially among peasants; and jointly explores both through the methodological innovation of applying linguistic analysis—particularly onomastics, the study of proper names. The “borderland” of the subtitle refers to Transylvania and the Banat, where an ascendant, assimilationist Magyar elite pursued various means of undermining its rival Romanian and Saxon/pan-German nationalisms. Berecz draws our attention to the importance of personal, familial, and geographic names in this uneven three-way competition whereby they became “sites of memory” in nationalist metanarratives and “projection screens for visions of national history” (8–9). The result is a rich, multifaceted book whose prismatic examination sheds light on countless details of nationalization as a fluid process more than it delivers wholesale revelations of some settled outcome.</p> <p>Berecz sets out with an exceptionally compelling introduction, which, in conjunction with the largely summative conclusion, readers may find useful as a kind of conceptual atlas as they make their way through this dense text. Of particular note is Berecz’s critique of the modernist school of nationalism studies (to which I confess myself a disciple), as it not only offers a reasonably persuasive case for the ethno- nationalist school but is also simply a more substantive discussion of applied theory than is typical for the field.</p> <p>The book is split into three parts, each corresponding to what Berecz dubs a “level of analysis” (19) and each containing three chapters that are <strong>[End Page 107]</strong> thematically mirrored by a chapter in the other parts. The first section, “Peasants,” dedicates three chapters to the conventions of that social class when assigning first names to their children, defining or changing their family names, and understanding the place- names and etymologies of their home communities. Using the ELITES08 and Historical Population Database of Transylvania datasets as well as Frigyes Pesty’s 1864 toponymical survey, Berecz finds that","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"44 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140070245","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 : 2024-03-08DOI: 10.1353/oas.2024.a921910
Birger Vanwesenbeeck
<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>Stefan Zweig und Jakob Wassermann: Eine Lebensbekanntschaft im Licht ihrer Korrespondenz (1908–1933)</em> by Marlen Eckl and Jeffrey B. Berlin <!-- /html_title --></li> <li> Birger Vanwesenbeeck </li> </ul> Marlen Eckl and Jeffrey B. Berlin, <em>Stefan Zweig und Jakob Wassermann: Eine Lebensbekanntschaft im Licht ihrer Korrespondenz (1908–1933)</em>. Schriftenreihe des Stefan Zweig Zentrum Salzburg 16. Würzburg: Königshausen & Neumann, 2023. 218 pp. <p>Marlen Eckl and Jeffrey B. Berlin’s <em>Stefan Zweig und Jakob Wassermann</em>, the sixteenth volume in the Schriftenreihe series of the Stefan Zweig Zentrum Salzburg, marks the latest addition to the ongoing “Jewish turn” in Zweig studies. Composed of the previously unpublished letters and postcards from Wassermann to Zweig (Zweig’s correspondence to Wassermann has unfortunately not been recovered) and duly contextualized by Eckl and Berlin with cross-references to diary entries as well as to other correspondences, <em>Stefan Zweig und Jakob Wassermann</em> sheds new light on two popular early twentieth-century writers—one German, the other Austrian—for whom the <strong>[End Page 123]</strong> question of Jewish identity constituted a recurring topic across the quarter-century of their correspondence. “Lebensbekanntschaft” is an accurate term to describe Zweig and Wassermann’s relationship for, even though it never quite developed into an intimate friendship (as Eckl and Berlin point out, in only two letters does Wassermann address Zweig by his first name), their shared stake in the literary enterprise (both had the same German publisher for many years) as well as their lived experiences of the specter of antisemitism meant that they often turned to each other in moments of crisis.</p> <p>This is not to say that Zweig and Wassermann agreed on all matters Jewish, nor is it to disregard the stark contrast in their respective economic backgrounds. Indeed, as Eckl and Berlin make clear from the start, the poverty in which Wassermann grew up made for a rather more laborious path toward literary success than did the trajectory of Zweig, who, coming from an upper middle-class Viennese family, was, as Wassermann put it in one of his letters to him, “ein Kind des Luxus” (7). Part, then, of what makes <em>Stefan Zweig und Jakob Wassermann</em> such a fascinating and rewarding read is that it puts fully on display the heterogeneity of German-language Jewish intellectuals (among the other Jewish writers that make frequent appearances in the volume are Martin Buber, Raoul Auernheimer, and Arthur Schnitzler) and their various positions regarding the ruling political questions of the day. Thus, although Zweig and Wassermann were united in their critique of Zionism, they rejected it on different grounds. Whereas the former celebrated a Jewish cosmopolitanism
以下是内容的简要摘录，以代替摘要：评论者： Stefan Zweig und Jakob Wassermann: Eine Lebensbekanntschaft im Licht ihrer Korrespondenz (1908-1933) by Marlen Eckl and Jeffrey B. Berlin Birger Vanwesenbeeck Marlen Eckl and Jeffrey B. Berlin, Stefan Zweig und Jakob Wassermann: Eine Lebensbekanntschaft im Licht ihrer Korrespondenz (1908-1933).Schriftenreihe des Stefan Zweig Zentrum Salzburg 16.维尔茨堡：Königshausen & Neumann, 2023。218 pp.马伦-埃克尔（Marlen Eckl）和杰弗里-B-柏林（Jeffrey B. Berlin）的《斯特凡-茨威格与雅各布-瓦塞尔曼》（Stefan Zweig und Jakob Wassermann）是萨尔茨堡斯特凡-茨威格中心 Schriftenreihe 系列的第 16 卷，标志着茨威格研究中正在进行的 "犹太转向 "的最新进展。斯特凡-茨威格与雅各布-瓦瑟曼》由瓦瑟曼写给茨威格的信件和明信片组成（遗憾的是，茨威格写给瓦瑟曼的信件尚未找到），埃克尔和柏林通过与日记和其他信件的交叉引用，对这两封信的来龙去脉进行了适当的梳理，为我们揭示了二十世纪早期两位广受欢迎的作家--一位是德国作家，另一位是奥地利作家--的新情况，在他们长达四分之一世纪的通信中，犹太身份问题是一个反复出现的话题。用 "Lebensbekanntschaft "来形容茨威格和瓦瑟曼的关系是准确的，因为尽管他们的关系从未发展成亲密的友谊（正如埃克尔和柏林指出的那样，瓦瑟曼只在两封信中用自己的名字称呼茨威格），但他们在文学事业中的共同利益（两人多年来一直拥有同一个德国出版商）以及他们在反犹太主义阴影下的亲身经历意味着他们经常在危机时刻求助于对方。这并不是说茨威格和瓦瑟曼在所有犹太问题上的观点都是一致的，也不是无视他们各自经济背景的鲜明对比。事实上，正如埃克尔和柏林从一开始就明确指出的那样，与茨威格的成长轨迹相比，瓦瑟曼的贫穷使其在文学上取得成功的道路更为艰辛，而茨威格出身于维也纳的中上层家庭，正如瓦瑟曼在给他的一封信中所说的那样，他是 "ein Kind des Luxus"（7）。斯特凡-茨威格与雅各布-瓦塞尔曼》之所以如此引人入胜，读后令人受益匪浅，部分原因在于它充分展示了德语犹太知识分子的异质性（该书中经常出现的其他犹太作家包括马丁-布伯、拉乌尔-奥恩海默和阿瑟-施尼茨勒），以及他们对当时主要政治问题的不同立场。因此，尽管茨威格和瓦塞尔曼在批判犹太复国主义上是一致的，但他们拒绝犹太复国主义的理由却各不相同。前者颂扬犹太人的世界主义 "ohne Erde, nur durch Blut und Geist"（100），而后者则认为这种世界主义只会导致孤立和无根，转而拥护双重意识的民族主义，同时捍卫自己的德国和犹太身份。同样，瓦瑟曼最初认为第一次世界大战为像他这样的德国犹太人提供了一个展现爱国主义的机会，从而最终被视为正式的德国公民，而茨威格则持怀疑态度。他在给亚伯拉罕-施瓦德隆（Abraham Schwadron）的一封信中写道："Ich bin fest überzeugt, dass die Erbitterung [,] die jetzt schon schon latent ist, nach dem Kriege sich nicht gegen die Kriegshetzer, die Reichspost-Partie, sondern gegen die Juden entladen wird" (84)。这一分歧导致了瓦瑟曼和茨威格之间暂时的无线电沉默，这在他们的整个生命历程中屈指可数，因此，尽管跨越了四分之一个世纪，瓦瑟曼与茨威格之间的通信量仍然相对较少：总共只有 13 封书信和 34 张明信片。然而，埃克尔和柏林在对这两位作家的研究中提供了大量的背景资料，包括一个内容广泛的 "前言 "部分，完整地再现了茨威格发表的三篇关于瓦瑟曼作品的文章，从而巧妙地 [第124页完] 抵消了原始资料的匮乏。在这些评论中，茨威格称赞瓦瑟曼是德语巴尔扎克，他的作品具有史诗般的规模，与托马斯-曼的作品一样，是德国文学中为数不多的真正称得上世界文学的作品：他的作品与托马斯-曼的作品一起，成为德国文学中少数几个真正称得上世界文学的作品："在他身上，我们看到了德国人融入世界文学的希望"（181）。该书分为 11 个章节，以 "世界文学 "为标题。
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921911
Martin A. Hainz
<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>Hermann Broch und die österreichische Moderne. Literatur, Kunst und Wissenschaftsphilosophie</em> Hrsg., Paul Michael Lützeler und Thomas Borgard <!-- /html_title --></li> <li> Martin A. Hainz </li> </ul> Paul Michael Lützeler und Thomas Borgard, Hrsg., <em>Hermann Broch und die österreichische Moderne. Literatur, Kunst und Wissenschaftsphilosophie</em>. Paderborn: Brill Fink, 2023. 282 S. <p>Hermann Broch ist ein paradigmatischer Moderner in einem zuweilen geradezu paradigmatisch unmodernen Land gewesen. Vielleicht auch darum bringt Österreich diese Moderne hervor: Die Mobilität—und dann noch die “Mobilität der Erde” (7)—ist ein wesentliches Motiv dessen, was hier nicht immer gedieh und gedeiht. Gegen den bloßen Zerfall des Überkommenen zu <strong>[End Page 125]</strong> Schlimmerem stellt er eine “Systemtheorie” (7), deren Kontexte und Inspirationen oder Voraussetzungen wie auch Hemmnisse der vorliegende Band beleuchtet, den Paul Michael Lützeler und Thomas Bogard basierend auf einem Wiener Symposion nun vorlegen.</p> <p>Es geht um eine Umwälzung, revolutionär, aber auch diese beobachtend. Broch schreibt modern und von der nicht nur “ästhetischen Revolution”, etwa in Gestalt der “Durchbrechung und Überholung der Poetik-Konvention” (11) gegeben, die er an unter anderem James Joyce wahrnimmt. Lützeler beschreibt eben dies in seinem wunderbaren Beitrag, der die Paradoxie der Irritation einfängt—auch Broch mag “langsam das Organ für das Neue verliere(n)” (15), wenn er auf Canetti mit “skeptischer Anerkennung” (15) reagiert; und diese (darum: Selbst-)Beobachtung ist eine, die Lützeler aus der Korrespondenz Brochs wörtlich <em>zitiert</em>.</p> <p>Barbara Mahlmann-Bauer beschreibt die Entdeckung der Dissonanz an Broch und Schönberg. Dieser Kontakt impliziert schon die Erweiterung zu Alban Berg, aber auch Karl Kraus, dessen “Eloquenz” (30) die Leserschaft die Relevanz des Ausdrucks für das zu Sagende entdecken lasse—Gegenmodell zum niemals so scharfen Kitsch, den diese “Konzessionslosigkeit” (31) nicht auszeichnen kann. Hieraus ergibt sich die ethische und ästhetische Allianz, rund um die <em>Schlafwandler</em> Brochs dargelegt: “Die Musik ist Sprache” (41), wie Anton Webern hierzu schließlich zitiert wird.</p> <p>Broch und Hofmannsthal porträtiert Mathias Mayer. Auch hier ist es der Zerfall, teils aufgrund der Analyse nicht nur sichtbar, sondern eingeleitet, der ein klareres Denken ermöglicht und zugleich als notwendig darlegt. Angesichts der zugleich großen Differenzen ist es eine Nähe “wider Willen”, “Broch muss [. . .] mehr Gefallen gefunden haben an vielen Texten dieses von ihm gleichwohl aus großem Abstand gesehenen Autors” (54), als ihm lieb gewesen sein mag. Die Lektüren Brochs sind intensiv, aber nicht überall belegt, insbesondere den <em>Schwierigen</em> betreffend, wo sonst die “Ethik-Konze
以下是内容的简要摘录，以代替摘要：《赫尔曼-布洛赫与奥地利现代主义》（Hermann Broch and Austrian Modernism）： Hermann Broch and Austrian Modernism.文学、艺术和科学哲学》，保罗-迈克尔-吕策勒和托马斯-博加德编 马丁-A.Hainz Paul Michael Lützeler and Thomas Borgard, eds, Hermann Broch und die österreichische Moderne.文学、艺术与科学哲学》。282 pp.赫尔曼-布洛赫是一个典型的现代主义者，而这个国家有时几乎是典型的不合时宜。也许这就是奥地利产生这种现代性的原因：流动性--然后是 "大地的流动性"(7)--是这里并不总是繁荣昌盛的事物的基本主题。保罗-迈克尔-吕策勒和托马斯-博加德在维也纳研讨会的基础上出版了这本《系统理论》，他提出了一种 "系统理论"(7) ，阐明了其背景、灵感或先决条件以及障碍。这本书讲述的是一场革命性的动荡，同时也是对这场动荡的观察。布罗赫以现代的方式写道，"美学革命 "不仅仅是 "美学革命"，例如他在詹姆斯-乔伊斯等人身上看到的 "对诗歌传统的突破和彻底改革"（11）。Lützeler 在他的精彩撰文中恰恰描述了这一点，他捕捉到了恼怒的悖论--当布洛赫以 "怀疑的认可"（15）对卡内蒂做出反应时，他可能也在 "慢慢失去新的器官"（15）；Lützeler 从布洛赫的书信中逐字引述了这一观察（因此：自我观察）。Barbara Mahlmann-Bauer 描述了在布罗赫和勋伯格身上发现的不和谐。这种接触已经意味着延伸到阿尔班-伯格以及卡尔-克劳斯（Karl Kraus），后者的 "雄辩"(30) 让读者发现了表达与所要表达的内容的相关性--这是对从未如此尖锐的媚俗的一种反拨，而媚俗的特点并不在于 "缺乏让步"(31)。这就产生了围绕布洛赫梦游者的伦理和美学联盟："音乐即语言"（41），正如安东-韦伯恩最后被引用的那句话。马蒂亚斯-迈尔描绘了布洛赫和霍夫曼斯塔尔。在这里，同样是解体，在一定程度上不仅是可见的，而且是由分析引发的，这种解体使思维更加清晰，同时也将其视为必要。考虑到巨大的差异，这是一种 "违背其意愿 "的亲近，"布罗赫一定[......]在这位作者的许多文本中发现了比他所希望的更多的青睐，但他还是从很远的距离看到了他"（54）。布罗赫的阅读很深入，但并非处处有据可查，尤其是在《困难者》一书中，否则 "就必须将伦理概念联系起来"（55）。塞巴斯蒂安-基尔希描述了文本中的对话：无罪的人组成了一个合唱团，在这种对峙中记录了恶魔。最终，这形成了一个与汉娜-阿伦特的《艾希曼》一文相关联的星座；她对泽琳和她畸形狡诈的傀儡们的热情并非毫无道理。纳赛尔-谢切罗维奇（Naser Šečerović）也分析了这些分析，然后批判了布罗赫的政治性反现代主义；"理性-非理性复调"[尾页 126] (95)是失败的原因，也是反现代主义继续失败的原因，反现代主义不是分析，而是致力于 "伪狂喜"(109)。维尔纳-温特施泰纳（Werner Wintersteiner）提到了和平研究，布洛赫的世界性存在和计划使他与 "从西格蒙德-弗洛伊德（Sigmund Freud）[......]到京特-安德斯（Günther Anders）或罗伯特-容克（Robert Jungk）"的传统一脉相承，他们都 "在奥地利或尽管在奥地利--鉴于该国的'纠葛'（128）--展开了他们的和平主义和社会批判工作"。在下半部分的文章中，本卷从美学转向了认识论。博加德研究了集合论，同时指出了 "文学-美学文化与科学-技术文化 "之间的 "鸿沟"（147）。爱丽丝-斯塔什科娃（Alice Stašková）介绍了汉斯-韦兴格（Hans Vaihinger）的《奥卜》（Als Ob），她的反思一如既往地清晰，将韦兴格（尽管是康德的 "共鸣 "现象(192)，也涉及其哲学著作《奥卜》（Als Ob）及其通俗版的接受情况）与布罗赫联系在一起。斯塔什科娃认为，"元虚构"（194）允许一种乐观的现实主义，而布洛赫却 "越来越批判性地 "看待这种现实主义（197）："系统学 "恰恰不是韦兴格所允许的，而是他的追随者希望自己允许的。鲁道夫-卡尔纳普（Rudolf Carnap）的情况则不同，布洛赫有他的演讲记录；马蒂亚斯-诺伊贝尔（Matthias Neuber）提供了一份来自档案馆的报告，其中附有卡尔纳普讲座的钥匙。
{"title":"Hermann Broch und die österreichische Moderne. Literatur, Kunst und Wissenschaftsphilosophie Hrsg., Paul Michael Lützeler und Thomas Borgard (review)","authors":"Martin A. Hainz","doi":"10.1353/oas.2024.a921911","DOIUrl":"https://doi.org/10.1353/oas.2024.a921911","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>Hermann Broch und die österreichische Moderne. Literatur, Kunst und Wissenschaftsphilosophie</em> Hrsg., Paul Michael Lützeler und Thomas Borgard <!-- /html_title --></li> <li> Martin A. Hainz </li> </ul> Paul Michael Lützeler und Thomas Borgard, Hrsg., <em>Hermann Broch und die österreichische Moderne. Literatur, Kunst und Wissenschaftsphilosophie</em>. Paderborn: Brill Fink, 2023. 282 S. <p>Hermann Broch ist ein paradigmatischer Moderner in einem zuweilen geradezu paradigmatisch unmodernen Land gewesen. Vielleicht auch darum bringt Österreich diese Moderne hervor: Die Mobilität—und dann noch die “Mobilität der Erde” (7)—ist ein wesentliches Motiv dessen, was hier nicht immer gedieh und gedeiht. Gegen den bloßen Zerfall des Überkommenen zu <strong>[End Page 125]</strong> Schlimmerem stellt er eine “Systemtheorie” (7), deren Kontexte und Inspirationen oder Voraussetzungen wie auch Hemmnisse der vorliegende Band beleuchtet, den Paul Michael Lützeler und Thomas Bogard basierend auf einem Wiener Symposion nun vorlegen.</p> <p>Es geht um eine Umwälzung, revolutionär, aber auch diese beobachtend. Broch schreibt modern und von der nicht nur “ästhetischen Revolution”, etwa in Gestalt der “Durchbrechung und Überholung der Poetik-Konvention” (11) gegeben, die er an unter anderem James Joyce wahrnimmt. Lützeler beschreibt eben dies in seinem wunderbaren Beitrag, der die Paradoxie der Irritation einfängt—auch Broch mag “langsam das Organ für das Neue verliere(n)” (15), wenn er auf Canetti mit “skeptischer Anerkennung” (15) reagiert; und diese (darum: Selbst-)Beobachtung ist eine, die Lützeler aus der Korrespondenz Brochs wörtlich <em>zitiert</em>.</p> <p>Barbara Mahlmann-Bauer beschreibt die Entdeckung der Dissonanz an Broch und Schönberg. Dieser Kontakt impliziert schon die Erweiterung zu Alban Berg, aber auch Karl Kraus, dessen “Eloquenz” (30) die Leserschaft die Relevanz des Ausdrucks für das zu Sagende entdecken lasse—Gegenmodell zum niemals so scharfen Kitsch, den diese “Konzessionslosigkeit” (31) nicht auszeichnen kann. Hieraus ergibt sich die ethische und ästhetische Allianz, rund um die <em>Schlafwandler</em> Brochs dargelegt: “Die Musik ist Sprache” (41), wie Anton Webern hierzu schließlich zitiert wird.</p> <p>Broch und Hofmannsthal porträtiert Mathias Mayer. Auch hier ist es der Zerfall, teils aufgrund der Analyse nicht nur sichtbar, sondern eingeleitet, der ein klareres Denken ermöglicht und zugleich als notwendig darlegt. Angesichts der zugleich großen Differenzen ist es eine Nähe “wider Willen”, “Broch muss [. . .] mehr Gefallen gefunden haben an vielen Texten dieses von ihm gleichwohl aus großem Abstand gesehenen Autors” (54), als ihm lieb gewesen sein mag. Die Lektüren Brochs sind intensiv, aber nicht überall belegt, insbesondere den <em>Schwierigen</em> betreffend, wo sonst die “Ethik-Konze","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140098469","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 : 2024-03-08DOI: 10.1353/oas.2024.a921915
Aaron Carpenter
<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>Passages: Crossings, Borders, Openings: In Conversation with Austrian Writers: The Austrian-American Podium Dialog</em> ed. by Margarete Lamb-Faffelberger and Gabriele Petricek <!-- /html_title --></li> <li> Aaron Carpenter </li> </ul> Margarete Lamb-Faffelberger and Gabriele Petricek, eds., <em>Passages: Crossings, Borders, Openings: In Conversation with Austrian Writers: The Austrian-American Podium Dialog</em>. Lausanne: Peter Lang, 2022. 404 pp. <p>The book <em>Passages: Crossings, Borders, Openings: In Conversation with Austrian Writers</em>, edited by Margarete Lamb-Faffelberger and Gabriele Petricek, came together as part of the Austrian-American Podium Dialog that brought writers from Austria to the Austrian Studies conference. It is a collection of short stories by contemporary Austrian writers, conversations with students, and academic essays.</p> <p>The first part of the book is a collection of short stories, essays, and excerpts of larger works from these authors both in the German original and English translations done by the editors and guest contributors. The Austrian writers showcased in this book are a diverse group: some are of migrant background, while others write about themes related to ecocriticism or make connections between Austrian history (especially World War II) and today.</p> <p>The second part of the book is a series of four interviews of several of the authors with Lamb-Faffelberger and several of her advanced German undergraduate students who took part in workshops with the authors. These interviews cover topics such as what inspires the authors and how they know when a work is finished. The students also posed several interesting questions to the writers about their perspectives when they write, such as <strong>[End Page 137]</strong> how Dimitré Dinev chose to write in the perspective of a child in his works or the alternative realities that Patricia Brooks uses in her novels. Lamb-Faffelberger’s comments on preparing her undergraduate students of different levels of German proficiency for the shop talk sessions with the writers are interesting but brief. I would be interested, perhaps in a future article, in hearing more about how she developed her course to read the authors’ works in class and about some of the challenges of working with students to prepare questions to ask the authors in the workshop.</p> <p>The third part of the book is a series of academic essays on several of the authors and works that were covered in the first part of the book. These essays are based on the writers presentation of their works and subsequent conversations with them during the dialogues. The comparisons with other authors from Austria help to place these modern Austrian authors in the context of Austrian literary history. Several scholars noted certain themes running across
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921900
Christian Schuetz
Abstract:
In detailing the cultural techniques required for his behavioral transition from ape to human following capture, Franz Kafka’s Rotpeter addresses not just physical but also cultural differences between apes and humans. The report can be interpreted as a satirical allegory of Jewish assimilation, a commentary that echoes Jay Geller’s notion of the “hierarchical differentiations that characterize antisemitism” (26). Although clothed, Rotpeter retains an ape’s body while exhibiting human behavior and thought patterns. The narrative implies that Rotpeter’s evolution entails cultural techniques of both domestication and hominization, rendering him neither wholly ape nor entirely human. This liminality leads Rotpeter to retroactively fetishize himself as a difference-embodying object while concurrently turning himself into a difference-encountering subject. The blurring of lines between the subject and object positions in Rotpeter’s subjectivity encapsulates the inherent ambiguity at the core of both abjection and Jewish assimilation.
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921916
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>The Austrian Riveter: Writing from Austria</em> ed. by Rosie Goldsmith et al <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Rosie Goldsmith et al., eds. <em>The Austrian Riveter: Writing from Austria</em>. Riveter Eleventh Edition, April 2023. 232 pp. <p>Education guides learners from the unknown to the known, an axiom teachers can forget for lack of challenging exercise. Most readers of this journal teach and so have probably been asked by interested colleagues outside our own specialty what they should read. If those asking know German, they can be directed to personal favorites as well as to various anthologies and histories or to critical discussions like Joanna Drynda and Marta Wimmer, eds., <em>Neue Stimmen aus Österreich: 11 Einblicke in die Literatur der Jahrtausendwende</em> or Hermann Korte, ed., <em>Österreichische Gegenwartsliteratur</em>, a special edition of <em>Text + Kritik</em>. But what about the interested but inexperienced reader—they still do exist—who does not read German but wants a fairly full picture of contemporary Austrian literature? Many specialists, precisely because they are that, might be at a loss for a reliable resource.</p> <p>Here is where the present volume is invaluable as a compendium, a one-stop anthology of translated excerpts, reviews, and brief critical articles that form a trustworthy guide for general readers. A good many excerpts are from works not yet fully translated, and a few of them are labeled as “Recommended for Translation.” There is in addition a QR code (231) linking to a bibliography, compiled by Lara Bulloch, of “Austrian fiction, non-fiction and poetry, translated and published in the UK and USA between 2013 and 2023.” The <em>Riveter</em> series, which is edited by Rosie Goldsmith—I confess it took me a moment to work out “Rosie the Riveter”—focuses on various contemporary literatures; this edition commemorates Austria’s status as guest of honor at the Leipzig Book Fair in April 2023. It was funded by the Austrian Cultural Forum London as an initiative of the European Literature Network. Among others, the editors include Goldsmith (“Riveter-in-Chief”), Sheridan Marshall, Tess Lewis, and Jamie Bulloch.</p> <p>The perennial question of what Austrian literature is arises once again in an interview between Goldsmith and Katja Gasser (5–7), and the volume includes sections on “Austrian History” (10–29), “Vienna” (32–51), “Stefan Zweig and Europe” (53–56), “Writing about Europe” (60–66), “Literature beyond Vienna” (67–77), “Austrian Jews” (78–99), “Austrian Publishing” (109–24), “Translation” (125–30), “Austrian Women” (131–57), “Austrian Poetry” (159–80), “Where Writing Emerges” (181–90), “Austrian Borderlands” (193–99), “Rural Life” (200–205), “Children and Young Adults” <strong>[End Page 139]</strong> (206–12), and “Austrian Crime
以下是内容的简要摘录，以代替摘要：评论者： The Austrian Riveter：Rosie Goldsmith et al Vincent Kling Rosie Goldsmith et al.奥地利铆工：来自奥地利的写作。铆工》第十一版，2023 年 4 月。232 pp.教育引导学习者从未知走向已知，教师可能会因为缺乏挑战性练习而忘记这一公理。本刊的大多数读者都从事教学工作，因此可能会有本专业以外的同行向他们询问应该读什么书。如果问者懂德语，我们可以引导他们阅读个人最喜爱的作品以及各种选集和史料，或者像乔安娜-德赖恩达（Joanna Drynda）和玛尔塔-维默（Marta Wimmer）主编的《奥地利新诗》（Neue Stimmen aus Österreich：11 Einblicke in die Literatur der Jahrtausendwende 或 Hermann Korte 编著的《Österreichische Gegenwartsliteratur》，《Text + Kritik》特刊。但是，对于那些有兴趣但缺乏经验的读者--他们仍然存在--他们不懂德语，却希望了解当代奥地利文学的全貌，怎么办呢？许多专家正因为如此，可能会对可靠的资料束手无策。在这方面，本卷作为一个汇编就显得弥足珍贵，它是一个一站式的选集，收录了翻译摘录、评论和简短的评论文章，为普通读者提供了一个值得信赖的指南。许多节选来自尚未完全翻译的作品，其中一些还标有 "推荐翻译 "字样。此外，书中还有一个二维码（231），可链接到由拉拉-布洛克（Lara Bulloch）编纂的书目，其中收录了 "2013 年至 2023 年间翻译并在英国和美国出版的奥地利小说、非小说和诗歌"。由罗茜-戈德史密斯（Rosie Goldsmith）编辑的 "铆工 "丛书--我承认我花了点时间才想出 "铆工罗茜"--侧重于各种当代文学作品；这一版本是为了纪念奥地利成为2023年4月莱比锡书展的主宾国。该书由伦敦奥地利文化论坛资助，是欧洲文学网络的一项倡议。编辑包括戈德史密斯（"铆工总管"）、谢里丹-马歇尔（Sheridan Marshall）、苔丝-刘易斯（Tess Lewis）和杰米-布洛克（Jamie Bulloch）。在戈德史密斯与卡蒂亚-加瑟的访谈（5-7）中，"什么是奥地利文学 "这一长期存在的问题再次出现，本卷还包括 "奥地利历史"（10-29）、"维也纳"（32-51）、"斯特凡-茨威格与欧洲"（53-56）、"关于欧洲的写作"（60-66）、"维也纳以外的文学"（67-77）、"奥地利犹太人"（78-99）等章节、"奥地利出版业"（109-24）、"翻译"（125-30）、"奥地利妇女"（131-57）、"奥地利诗歌"（159-80）、"写作出现的地方"（181-90）、"奥地利边疆"（193-99）、"农村生活"（200-205）、"儿童与青少年"[尾页 139]（206-12）和 "奥地利犯罪写作"（216-21），随后是撰稿人传记（222-31）。仅这些传记就确定了这一铆钉版的范围；虽然简短，但也占了九页（222-31）。这些主题的数量和范围乍看之下似乎都过于简略，可能会使本书看起来像是大杂烩或过于浅薄的杂记，但重要的是要认识到，印刷版的书是浓缩的。许多文章，例如对普希金出版社的亚当-弗罗伊登海姆的采访（53-54），都在网上继续发表，可在 ateurolitnetwork .com 上查阅。书中讨论了一些前辈作家（克里斯蒂娜-拉旺、弗里德里克-迈罗克、斯特凡-茨威格、伊尔莎-艾青格、海米托-冯-多德勒），奥地利国家图书馆文学博物馆馆长伯恩哈德-费茨概述了该机构的历史和档案功能（"赋予物品生命"，15-17 页），但《奥地利铆工》的主要关注点是当代作家及其作品，广泛涉及当代文学而非历史。随手翻开任何一页，都能找到--拉斐尔-埃德尔鲍尔、琳达-斯蒂夫特、劳拉-弗赖登塔勒、克莱门斯-J.-塞茨、特雷莎-普劳尔、莱因哈特-凯泽-米勒克、丹尼尔-维瑟，以及许多其他新近作家的作品，此外还有罗伯特-梅纳斯、拉乌尔-施罗特、克里斯托夫-兰斯迈尔、丹尼尔-凯尔曼和阿诺-盖格等历史悠久但（值得庆幸的是）依然活跃的作家的作品。奥地利出产的作家数量多得不成比例，这几乎是一个不争的事实，因此这本精美的书可能会有两倍的篇幅，但仍然不包括著名的作家。像彼得-卡罗希（Peter Karoshi）这样的年轻作家，最近被提名为欧盟...
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921904
Eric Grube
<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>Misfire: The Sarajevo Assassination and the Winding Road to World War I</em> by Paul Miller-Melamed <!-- /html_title --></li> <li> Eric Grube </li> </ul> Paul Miller-Melamed, <em>Misfire: The Sarajevo Assassination and the Winding Road to World War I</em>. New York: Oxford UP, 2022. 280 pp. <p>Paul Miller-Melamed’s <em>Misfire: The Sarajevo Assassination and the Winding Road to World War I</em> is an attempt at yet another monograph concerning the origins of the First World War. For his main thesis, Miller-Melamed asserts that the assassination in and of itself was not the “cause” of the later conflict, which he argues arose strictly due to the brinkmanship, bravado, miscalculations, and miscommunications of the statesmen of Austria-Hungary, and to a lesser extent Serbia, Russia, and Germany. To be sure, there’s hardly anything novel there, especially for historians familiar with the topic, which he himself states outright. Indeed, with the outbreak of World War I, there was plenty of blame to go around, and one can find it where-and whenever one decides to focus. Thus, the strength of this book lies not with this well-established thesis. Instead, this work shines because of the author’s more nuanced sub-claims, which stem from his coverage of the complex Balkan affairs in the decades before the war.</p> <p>More specifically, throughout the book Miller-Melamed adroitly dismisses a litany of popular myths that have arisen around the murders, ranging from the seemingly trivial to the deeply analytical. The most <strong>[End Page 111]</strong> intriguing claim here is when he dismantles presumptions of official Serbian condonation, complicity, and premeditated policy to help the Black Hand carry out this infamous deed. Indeed, he presents the Black Hand as not just a reductive, if fittingly ominous, misnomer but also as a red herring. He urges us to consider and recognize not some abstract, grandiose conspiracy but instead, the agency of each Bosnian individual who clumsily planned and carried out the assassination. As such, we get a deep, almost dossier-style profile of the young, militant activists, none of whom (he asserts) has any teleological connection to the terrorism that has haunted the twenty-first century. Thus does he shift the narrative to emphasize the motivations, lifestyles, and actions of this loosely fraternal Bosnian group rather than the nefarious Black Hand. But in so doing, he does not lose sight of nuance, being sure to address the ties of each Bosnian youth to certain agents in Serbia, many of whom had more prosaic, domestic political reasons for pushing for trouble abroad.</p> <p>To prove this point about the agency of these young Bosnian men, Miller-Melamed could stand to be more explicit in his use of sources. He pulls heavily from the trial proceedings of these Bosnian ag
以下是内容的简要摘录，以代替摘要：评论者： Misfire：萨拉热窝暗杀和通向第一次世界大战的曲折之路》，保罗-米勒-梅拉梅德著 Eric Grube Paul Miller-Melamed, Misfire：The Sarajevo Assassination and the Winding Road to World War I. New York：牛津大学出版社，2022 年。280 pp.保罗-米勒-梅拉梅德的《误射：萨拉热窝暗杀和通往第一次世界大战的曲折之路》是关于第一次世界大战起源的又一部专著。米勒-梅拉梅德的主要论点是，暗杀事件本身并不是后来冲突的 "起因"，他认为冲突的发生完全是由于奥匈帝国（其次是塞尔维亚、俄罗斯和德国）的政治家们的边缘政策、虚张声势、误判和沟通失误。可以肯定的是，这本书几乎没有什么新意，尤其是对于熟悉这一主题的历史学家来说，他自己也直言不讳地指出了这一点。事实上，随着第一次世界大战的爆发，人们已经有了大量的指责，而且无论何时何地，人们都可以找到这些指责的焦点。因此，本书的优势并不在于这个既定的论点。相反，这部作品的亮点在于作者更为细致入微的分论点，这些分论点源于他对战前几十年巴尔干复杂事务的报道。更具体地说，米勒-梅拉梅德在全书中巧妙地驳斥了围绕谋杀案产生的一连串流行神话，其中既有看似琐碎的，也有深入分析的。米勒-梅拉梅德最引人入胜之处在于，他推翻了关于塞尔维亚官方纵容、共谋和有预谋的政策以帮助 "黑手 "实施这一臭名昭著的行为的推断。事实上，他提出的 "黑手 "不仅是一个还原性的--如果恰当地说是不祥的--错误的名称，而且是一个 "障眼法"。他敦促我们思考和认识的不是某个抽象的、宏大的阴谋，而是笨拙地策划和实施暗杀的每个波斯尼亚人的能动性。因此，我们对这些年轻的激进分子有了一个深入的、近乎档案式的剖析，而这些人（他断言）都与困扰二十一世纪的恐怖主义没有任何目的论上的联系。因此，他改变了叙述方式，强调这个松散的兄弟般的波斯尼亚团体的动机、生活方式和行动，而不是邪恶的黑手组织。但在此过程中，他并没有忽略细微之处，而是肯定地谈到了每个波斯尼亚青年与塞尔维亚某些代理人之间的联系，其中许多人在国外制造事端是出于更朴素的国内政治原因。为了证明这些波斯尼亚青年的代理人身份，米勒-梅拉梅德在使用资料来源时可以更加明确。他从这些波斯尼亚特工的审判程序中提取了大量资料，但这些辩护提出了有问题的证据。暗杀者本应自杀，以避免审讯将他们与更广泛的圈子联系起来。但他们没有这么做。他声称，他们随后的证词证明了他们自己不受塞尔维亚影响的代理权，但这些证词可能是排练过的、照本宣科的，甚至是为了避免将他们与更广泛的跨境圈子联系起来而鹦鹉学舌。他们的回答肯定反映了一种精明的策略，因为他们是在一种明确的权力动态下做出的：作为俘虏对俘虏，判决几乎是注定的。我在这里的观点或许源于米勒-梅拉梅德（Miller-Melamed）所警告的那种偏执、阴谋论的思维，但这些资料值得我们从方法论的角度对如何阅读此类记录誊本并将其与其他资料相印证进行深入讨论。在结构上，米勒-梅拉梅德主要围绕刺客和受害者的双重传记来组织全书。这种方法有助于揭示他所追求的人性故事：1914 年 6 月 28 日，费迪南德和普林西普面对面时，个人的突发事件、各种偶然事件以及错误造成的整体悲剧。他出色地将这些错误表现为非常人性化的错误，以展示每一个 "意外 "都是可以完美解释的。但是，在将个人的生平故事与他所涵盖的更大的末世地缘政治背景进行缝合时，这种双传记的方法就开始出现问题。由此产生的叙事相当不连贯，[第112页完]经常出现跳跃、停顿、停顿和跳跃到其他地方的情况。
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921912
Walter Tschacher
<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>Stefan Zweig. Zwiesprache des Ich mit der Welt</em> hrsg. Eva Plank <!-- /html_title --></li> <li> Walter Tschacher </li> </ul> Eva Plank, Hrsg., <em>Stefan Zweig. Zwiesprache des Ich mit der Welt</em>. Schriften zu jüdischer Literatur, Kunst, Musik und Politik. Würzburg: Königshausen und Neumann, 2023. 575 S. <p>Der vorliegende Band enthält 170 Texte von Stefan Zweig, die vor allem seine publizistische Tätigkeit dokumentieren. Die zwischen 1900 und 1940 verfassten Texte erschienen, von wenigen Ausnahmen abgesehen, vorwiegend in Zeitungen und Zeitschriften, oder wurden bisher nicht veröffentlicht. Manche Beiträge erstrecken sich über mehrere Seiten, andere wiederum bestehen aus nur zwei oder drei Sätzen. Wie bereits im Buchtitel angedeutet, wurden die Artikel unter dem Gesichtspunkt jüdischer Themen ausgewählt. Im Anhang werden alle in den Texten genannten Personen mit biographischen Angaben aufgelistet. In den meisten Fällen existierte bisher nur der Text der Erstveröffentlichung, d.h. die hier wieder zugänglichen Arbeiten dürften den meisten heutigen Lesern und Leserinnen unbekannt sein. Das Buch besteht aus zwei Hauptabschnitten: 1. Literatur, Kunst, Musik, Sigmund Freud, Lyrik, Autobiographisches; und 2. Geschichte, Politik, Zeitgeschehen.</p> <p>Der umfangreichste Abschnitt ist der Literatur gewidmet. Es handelt sich hier um Rezensionen, Autorenporträts, Nachrufe, Einleitungen zu Werken, etc. Die einzelnen Autoren werden in alphabetischer Reihenfolge behandelt, wären sie dagegen chronologisch aufgelistet worden, hätte man eine kurze Literaturgeschichte meist jüdischer Autoren vor sich. Von einigen Ausnahmen abgesehen (z.B. Herzl, Joseph Roth, Rathenau, Döblin, Wassermann, Werfel) geht es um unbekannte und oft jüngere Schriftsteller, die Zweig einem größeren Publikum bekannt machen will. Umfangreichere Autorenporträts befassen sich mit Personen (z.B., Herzl Wassermann), die Zweig persönlich gut kannte und Einfluss auf seine Arbeit hatten.</p> <p>Ein separates Kapitel befasst sich ausschließlich mit Sigmund Freud. Beide Männer standen seit 1908 im Briefkontakt, der sich zu einer—wenn auch nicht immer ungetrübten—Freundschaft entwickelte, die bis zu Freuds <strong>[End Page 128]</strong> Tod 1939 dauerte. Zweig war fasziniert von Freuds psychoanalytischen Arbeiten und erkannte deren Bedeutung für seine Zeit: “[Die] Gedanken, die kühnen und oftmals genialen Deutungen, mit denen Sigmund Freud unsere Gegenwart beschenkt und herausgefordert hat, sind als Tat nicht mehr zu bestreiten und zu widerlegen. Sie sind lebendig und haben Leben erzeugt. Weit über Deutschland, über Europa, über unseren Kontinent hinaus gibt es kein psychologisches Denken mehr ohne oder gegen sie” (298). Zwar idealisiert Zweig sowohl die Psychoanalyse als auch Freud, die Person, aber er tritt andererseits auch nicht als unterw
以下是内容摘录，以代替摘要：审稿人：Stefan Zweig： Stefan Zweig.Zwiesprache des Ich mit der Welt ed. Eva Plank Walter Tschacher Eva Plank 编辑。我与世界的对话。关于犹太文学、艺术、音乐和政治的著作。维尔茨堡：Königshausen and Neumann，2023 年。575 页。本卷收录了斯特凡-茨威格的 170 篇文章，主要记录了他的新闻活动。这些文章写于 1900 年至 1940 年间，除少数例外，主要发表在报纸和杂志上，或尚未出版。有些文章长达数页，有些则只有两三句话。正如书名所示，这些文章都是以犹太人为主题选取的。附录中列出了文中提到的所有人物的详细履历。在大多数情况下，迄今为止只有首次出版的文本，也就是说，这里再次提供的作品可能不为今天的大多数读者所知。本书由两大部分组成：1.文学、艺术、音乐、西格蒙德-弗洛伊德、诗歌、自传；2.历史、政治、时事。内容最丰富的部分是文学。其中包括评论、作家肖像、讣告、作品简介等。单个作家按字母顺序排列，而如果按时间顺序排列，我们将看到一部主要是犹太作家的简短文学史。除了少数例外（如赫茨尔、约瑟夫-罗斯、拉特瑙、多布林、瓦塞曼、韦费尔），本书的重点是不知名的作家，而且往往是茨威格希望让更多读者了解的年轻作家。更多的作家肖像则涉及茨威格本人熟知并对其创作产生过影响的人（如赫茨尔-瓦瑟曼）。另有一章专门介绍西格蒙德-弗洛伊德。两人从1908年开始通信，后来发展成为友谊--尽管并不总是毫无遮掩--一直持续到1939年弗洛伊德[第128页完]去世。茨威格对弗洛伊德的精神分析著作非常着迷，并认识到其对他所处时代的意义："弗洛伊德的思想、大胆且往往独创性的诠释给我们带来了天赋，并对我们的时代提出了挑战，这些思想、大胆且往往独创性的诠释再也没有争议或反驳。它们是有生命的，并且已经产生了生命。在德国之外，在欧洲之外，在我们的大陆之外，不再有任何没有或反对它们的心理学思想"（298）。尽管茨威格将精神分析和弗洛伊德个人都理想化了，但他并不是弗洛伊德的顺从追随者，而是仍然能够保持批判的距离。弗洛伊德是一个榜样，"我们可以通过他来塑造和完善自己"（335）。现在，茨威格将弗洛伊德对他人表现出的开诚布公运用到了他与弗洛伊德及其精神分析的交往中。例如，他批评了弗洛伊德对所谓 "非专业分析 "的看法，即允许 "非专业医生 "进行精神分析。"正如诗歌技巧的知识不能造就一个诗人一样，最勤奋地研究心理技巧也不能造就一个真正的心理学家，只有他，天生的、富有同情心的灵魂探索者，才能被允许介入这个最微妙、最细腻、最敏感的器官"（310）。从这里开始，只需要很短的一步，就可以断言一个人必须生来就是心理分析师--就像艺术家一样。他从事的是一门无法学习的手艺。在这些文字中，茨威格对精神分析的批评仍然相当笼统。更多实质性的批评可以在其他出版物中找到，当然这里无法讨论。在这里收集的文章中，茨威格的目的是提供有关弗洛伊德和精神分析的科普信息。关于艺术和音乐的章节非常简短，一方面是对特雷莎-费奥多罗娜-里斯、埃弗拉伊姆-摩西-里连和斯坦纳-普拉格的讴歌，另一方面是对马勒、布鲁诺-瓦尔特和托斯卡尼尼的讴歌。该书最后较长的部分涉及政治和历史主题。茨威格的和平主义信念之一就是反对战争，但 "绝不反对德国。我从不反对一个国家。我不加区分"（405）。然而，作为一名和平主义者，他并不是政治事件的被动观察者。他很早就意识到犹太人在战争中的危险。
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