Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921897
Monika Szczepaniak
Abstract:
This article looks at the literary and visual legacies of the development of weapons technologies and the prospect of aerial warfare in the early twentieth century, analyzing the literary and iconographic discourse on air warfare in the context of the First World War, as a development from “flight dream” to “air murder.” Even if Austria-Hungary represented a “remote province of international aerial activity” (F. P. Ingold), the rapid development of aerial technology in the form of aerodynamic airships and motorized flying machines did not go unnoticed there. Airspace acquires power as a political and military factor that is increasingly mobilized for national and imperial purposes. The article shows how these developments found their way into Austrian debates, literary production, and iconographic representation with reliance on the critical reading of texts and cartoons that announce something evil “in the air,” as if portending the use of air power in bombing civilian populations.
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Pub Date : 2024-03-08DOI: 10.1353/oas.2024.a921903
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>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes (1775–1875)</em> by Ion Lihaciu <!-- /html_title --></li> <li> Joseph W. Moser </li> </ul> Ion Lihaciu, <em>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes (1775–1875). Bukowinastudien IV</em>. Kaiserslautern and Mehlingen: Parthenon Verlag, 2022. 276 pp. <p>Czernowitz became a part of the Habsburg Empire in 1775, and over the course of the next 139 years until the outbreak of World War I in 1914, Czernowitz’s development as Austria’s easternmost outpost was a remarkable part of the empire’s history. Ion Lihaciu’s <em>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes(1775–1875)</em>—the fourth volume in the Bukowinastudien series— <strong>[End Page 109]</strong> sheds light on the first hundred years, in which Czernowitz and the Bukovina transformed from being a part of the Ottoman Empire to a province within Austria’s crown land Galicia to then formally becoming a separate crown land in 1861. This book features a variety of primary sources, as testimonies of the area’s transition to becoming Austrian and German-speaking.</p> <p>The book contains a Vorwort and eighteen primary texts numbered in Roman numerals, arranged chronologically from 1777 to 1875. These German-language texts not only show the development of the area; they also demonstrate how Austria transitioned from the Enlightenment through the Napoleonic era and then from the repressive Biedermeier to 1848, finally becoming a constitutional monarchy in 1867. In the same period, the Industrial Revolution brought railways to Austria, and the once-remote town of Czernowitz, which had been reachable only by a long postal coach ride, grew closer to Vienna, while the people in Vienna became progressively more aware of Czernowitz and the Bukovina as well.</p> <p>The first text in the collection from 1777 is entitled: “Der Wald Bukowina, in der Moldau, oder vielmehr ein ansehnlicher Strich Landes, auf welchen dieser Nahme ausgedehnt worden, und den man auch die Bukreine nennet [. . .]” (27–29), which describes a bucolic but underdeveloped part of Eastern Europe. Text XXVI from 1874 is entitled “Universität Czernowitz” (243–51) and is about the founding of the university. Czernowitz actually competed with Salzburg and Trieste in the Reichsrat in Vienna for the privilege of opening a university, and it is quite remarkable that Czernowitz was awarded the right to found a university in preference to these two other Western cities. These two texts demonstrate exactly how much had changed in less than a hundred years.</p> <p>Of course, much had happened in the interim. In addition to several <em>Reiseberichte</em>, w
{"title":"Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes (1775–1875) by Ion Lihaciu (review)","authors":"Joseph W. Moser","doi":"10.1353/oas.2024.a921903","DOIUrl":"https://doi.org/10.1353/oas.2024.a921903","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>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes (1775–1875)</em> by Ion Lihaciu <!-- /html_title --></li> <li> Joseph W. Moser </li> </ul> Ion Lihaciu, <em>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes (1775–1875). Bukowinastudien IV</em>. Kaiserslautern and Mehlingen: Parthenon Verlag, 2022. 276 pp. <p>Czernowitz became a part of the Habsburg Empire in 1775, and over the course of the next 139 years until the outbreak of World War I in 1914, Czernowitz’s development as Austria’s easternmost outpost was a remarkable part of the empire’s history. Ion Lihaciu’s <em>Czernowitz und die Bukowina in frühen Dokumenten und Reiseberichten: Vom Werden eines habsburgischen Kronlandes(1775–1875)</em>—the fourth volume in the Bukowinastudien series— <strong>[End Page 109]</strong> sheds light on the first hundred years, in which Czernowitz and the Bukovina transformed from being a part of the Ottoman Empire to a province within Austria’s crown land Galicia to then formally becoming a separate crown land in 1861. This book features a variety of primary sources, as testimonies of the area’s transition to becoming Austrian and German-speaking.</p> <p>The book contains a Vorwort and eighteen primary texts numbered in Roman numerals, arranged chronologically from 1777 to 1875. These German-language texts not only show the development of the area; they also demonstrate how Austria transitioned from the Enlightenment through the Napoleonic era and then from the repressive Biedermeier to 1848, finally becoming a constitutional monarchy in 1867. In the same period, the Industrial Revolution brought railways to Austria, and the once-remote town of Czernowitz, which had been reachable only by a long postal coach ride, grew closer to Vienna, while the people in Vienna became progressively more aware of Czernowitz and the Bukovina as well.</p> <p>The first text in the collection from 1777 is entitled: “Der Wald Bukowina, in der Moldau, oder vielmehr ein ansehnlicher Strich Landes, auf welchen dieser Nahme ausgedehnt worden, und den man auch die Bukreine nennet [. . .]” (27–29), which describes a bucolic but underdeveloped part of Eastern Europe. Text XXVI from 1874 is entitled “Universität Czernowitz” (243–51) and is about the founding of the university. Czernowitz actually competed with Salzburg and Trieste in the Reichsrat in Vienna for the privilege of opening a university, and it is quite remarkable that Czernowitz was awarded the right to found a university in preference to these two other Western cities. These two texts demonstrate exactly how much had changed in less than a hundred years.</p> <p>Of course, much had happened in the interim. In addition to several <em>Reiseberichte</em>, w","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":"140098216","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 : 2023-12-15DOI: 10.1353/oas.2023.a914890
Laura A. Detre
<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>Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna</em> ed. by Noah Isenberg <!-- /html_title --></li> <li> Laura A. Detre </li> </ul> Noah Isenberg, ed., <em>Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna</em>. Princeton, NJ: Princeton UP, 2021. 212 pp. <p>If one were to list the most prominent American filmmakers of the twentieth century, Billy Wilder's name would undoubtedly have to be included. The director of such films as <em>Sabrina</em> and <em>The Apartment</em>, Wilder became closely associated with witty dialog and topics that, while perhaps deeply serious, could be approached with a mixture of pathos and levity. Wilder's connection to fellow filmmaker Ernst Lubitsch is well known, and the younger director often credited Lubitsch for forming his style, but Wilder had a career as a writer that predated his work on the Lubitsch film <em>Ninotchka</em>. Noah Isenberg's volume <em>Billy Wilder on Assignment</em> offers a deeper dive into that part of Wilder's career and is a fascinating look at the evolving style of this remarkable writer.</p> <p>This book is a collection of Wilder's journalistic writings, divided into three categories: feuilletons on life in Central Europe, essays on famous individuals, and theatrical reviews. The introduction explains that the purpose of the book is to give the reader insights into Wilder's life and interests before he became a famous American movie director. Isenberg worked closely with translator Shelley Frisch to bring Wilder's writing to life for an Englishreading audience. As Frisch says in her translator's notes, "Wilder's prose is, well, … wilder than I usually get to render in my translations" (194). Frisch hits on the most important aspect of their work in this quotation, which is that they have worked hard to choose texts that show the reader who Billy Wilder was as a journalist and to retain the character of Wilder's writing in their translations. This was a big challenge, but Isenberg and Frisch have been largely successful in this task.</p> <p>One of the most evocative essays that Isenberg and Frisch included in their book is entitled "When It's Eighty-four Degrees," a vignette of life on <strong>[End Page 131]</strong> a sultry summer day in Berlin. While we may balk at the idea that eighty-four degrees is a temperature that would induce the kinds of feelings Wilder documented, anyone who has spent a summer in Central Europe will recognize it from his description. His description of the oppressive heat, eventually broken by an evening thunderstorm, is detailed and humorous, and it is not a huge stretch of the imagination to envision this whole brief essay as a scene from one of Wilder's American films. We see here the writer who will eventually put similar words in the mouths of Will
以下是内容的简要摘录，以代替摘要：评论者： Billy Wilder on Assignment：诺亚-伊森伯格（Noah Isenberg）编著，《比利-怀尔德的任务：魏玛柏林和战时维也纳的见闻》（Dispatches from Weimar Berlin and Interwar Vienna），劳拉-A-德特雷（Laura A. Detre Noah Isenberg）编著：Dispatches from Weimar Berlin and Interwar Vienna.新泽西州普林斯顿：普林斯顿大学出版社，2021 年。212 pp.如果要列举 20 世纪最杰出的美国电影制作人，比利-怀尔德的名字无疑会名列其中。作为《萨布丽娜》和《公寓》等影片的导演，怀尔德与诙谐的对话和严肃的话题紧密联系在一起。怀尔德与同为电影人的恩斯特-卢比茨的关系众所周知，这位年轻导演经常将自己风格的形成归功于卢比茨，但怀尔德在卢比茨的电影《妮诺契卡》之前就已经开始了自己的编剧生涯。诺亚-伊森伯格（Noah Isenberg）撰写的《比利-怀尔德的任务》一书深入探讨了怀尔德职业生涯的这一部分，对这位杰出作家不断演变的风格进行了引人入胜的解读。本书收集了怀尔德的新闻作品，分为三类：关于中欧生活的长篇小说、关于名人的散文以及戏剧评论。导言解释说，本书的目的是让读者了解怀尔德在成为美国著名电影导演之前的生活和兴趣。伊森伯格与译者谢莉-弗里施（Shelley Frisch）密切合作，将怀尔德的作品呈现给英语读者。正如弗里施在她的译者注中所说，"怀尔德的散文，嗯，......比我通常翻译的要狂野"（194）。弗里施在这段话中指出了他们工作中最重要的一点，即他们努力选择文本，向读者展示比利-怀尔德作为记者的形象，并在译文中保留怀尔德的写作特色。这是一项巨大的挑战，但伊森伯格和弗里施基本上成功地完成了这项任务。伊森伯格和弗里施在他们的书中收录了一篇最令人回味的文章，题为《当温度达到 84 度时》，这是柏林[第 131 页完]一个闷热夏日的生活小插曲。虽然我们可能会对八十四度的气温会引起怀尔德所记录的那种感觉表示怀疑，但任何一个在中欧度过夏天的人都会从他的描述中认识到这一点。他对酷热的描述细致而幽默，最终被傍晚的一场雷雨所打破，把整篇短文想象成怀尔德的一部美国电影中的场景并不夸张。我们在这里看到了这位作家，他最终将在威廉-霍尔登（William Holden）和杰克-莱蒙（Jack Lemmon）的口中说出类似的话。同样，怀尔德在 1929 年为德国艺术杂志《Der Querschnitt》撰写了一篇名为《斯特罗海姆，我们爱恨交加的人》的文章。这篇短文解释了埃里希-冯-斯特罗海姆是如何进入电影业工作的，并嘲笑了他拍摄昂贵、有点深奥的电影的名声。这篇文章并没有刻意去奉承斯特罗海姆，而是以不那么含蓄的方式暗示这位著名导演可能被高估了。今天的读者应该不会忘记，斯特罗海姆在怀尔德最受欢迎、最经久不衰的影片之一《日落大道》中出演了重要角色，这无疑是一种讽刺。毫无疑问，这种反差正是伊森伯格和弗里施选择将这篇特别的文章收录到他们的文集中的原因，而阅读怀尔德早期对这位著名电影人的看法也是一件有趣的事情。本书第三章中的文章一般都很短，是二十世纪早期版本的大拇指向上/向下类型的评论，但由于这是电影业发展的一个非凡时期，怀尔德评论的许多电影至今仍令人难忘。这本影集收录了他对斯特罗海姆的电影《贪婪》的评论，怀尔德认为这部电影难以观看，但他认为这部电影制作精良，值得一看，因为它的主题非常重要。怀尔德还评论了舞台剧，包括正在剧院上演的《三联剧》（The Threepenny Opera）...
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Pub Date : 2023-12-15DOI: 10.1353/oas.2023.a914871
Ingeborg Zechner
Abstract:
The article investigates how national artistic ideologies of German-ness and Austrian-ness were incorporated in Hollywood film music of the 1930s and 1940s and in the general discourse in the American press. It argues that these stereotypes were indeed important in Hollywood's marketing strategies toward the middlebrow, which emerged as a wealthy branch in America's society at the time. Among these strategies was the promotion of film music as a 'serious' art form that was historiographically grounded in a 'German' art music tradition, in contrast to 'Austrian' light musical entertainment.
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Pub Date : 2023-12-15DOI: 10.1353/oas.2023.a914884
Raymond L. Burt
<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>Arthur Schnitzler und die bildende Kunst</em> ed. by Achim Aurnhammer and Dieter Martin <!-- /html_title --></li> <li> Raymond L. Burt </li> </ul> Achim Aurnhammer and Dieter Martin, eds., <em>Arthur Schnitzler und die bildende Kunst</em>. Baden-Baden: Ergon Verlag, 2021. 433 pp. <p>In 2010 Achim Aurnhammer and his co-editors released volume 15 in the <em>Klassische Moderne</em> series titled <em>Arthur Schnitzler und der Film</em>. In 2014 together with Dieter Martin and another colleague, he edited an essay collection <em>Arthur Schnitzler und die Musik</em> as the 20<sup>th</sup> volume of the series. This current volume, the 45<sup>th</sup>, turns its sights on what the editors perceive as a gap in Schnitzler research, namely his relationship to the fine arts. The studies in this volume are a byproduct of a conference organized in March 2020 by Aurnhammer and Dieter Martin, both Fellows of the Freiburg Institute for Advanced Studies, the venue of the conference. According to the editors, the fourteen studies fall under four sections. The first explores Schnitzler as the subject of artistic portraits and photographs and highlights how he participated in their production. In the opening essay, Reinhard Urbach analyzes drawings, paintings, etchings, and sculptures that portray the writer at different stages of his life and career. Schnitzler never took the initiative to have non-photographic portraits made and rarely sat as model. Urbach cites journal entries and correspondence showing that Schnitzler preferred representations of his social standing, especially those showing him as a member of the upper bourgeoisie. More often than not, his impetus to pose came at the urging of trusted friends or lovers. Schnitzler, whose writings tended toward Realism, also expected visual artists to lean in this direction. Julia Ilgner's essay covers his relationship to photography, and in this medium the depictions, especially those taken in his early years, show him as a bohemian writer. Studio photography became a strategic tool of the Jung-Wien writers in promoting their careers. Also examined are the photographs in Schnitzler's possession, mentions of photography in his writings, and detailed analyses of how, in career-oriented studio photographs, he placed himself in relationship to Gerhard Hauptmann.</p> <p>The second group focuses on works of art from the past as well as the art of his contemporaries, both in Schnitzler's private possession and in the museums and galleries he visited. Of particular interest is how these may have influenced him aesthetically. Ilgner joins Martin Anton Müller in a meticulous study of art shown in photographs taken in Schnitzler's various residences or mentioned in his journals and correspondence. Based on placement, the <strong>[End Page 115]</strong> history of the piec
以下是内容的简要摘录，以代替摘要：评论者 Arthur Schnitzler und die bildende Kunst ed. by Achim Aurnhammer and Dieter Martin Raymond L. Burt Achim Aurnhammer and Dieter Martin, eds.巴登巴登：Ergon Verlag，2021 年。433 pp.2010 年，阿希姆-奥纳默和他的合作编者推出了 Klassische Moderne 系列的第 15 卷，名为《阿瑟-施尼茨勒与电影》。2014 年，他与迪特尔-马丁（Dieter Martin）和另一位同事共同编辑了论文集《阿瑟-施尼茨勒与音乐》（Arthur Schnitzler und die Musik），作为该系列的第 20 卷。本卷是第45卷，将目光转向了编者认为施尼茨勒研究中的空白，即他与美术的关系。本卷中的研究是奥纳默和迪特尔-马丁于 2020 年 3 月组织的一次会议的副产品，奥纳默和迪特尔-马丁都是会议举办地弗莱堡高等研究院的研究员。据编者介绍，这十四篇研究报告分为四个部分。第一部分探讨了作为艺术肖像和照片主题的施尼茨勒，并重点介绍了他如何参与这些作品的制作。在开篇文章中，莱因哈特-乌尔巴赫分析了描绘作家不同生活和职业阶段的素描、绘画、蚀刻版画和雕塑作品。施尼茨勒从不主动拍摄非摄影肖像，也很少担任模特。乌尔巴克引用了一些日记和信件，显示施尼茨勒更喜欢表现他的社会地位，尤其是那些表现他作为上层资产阶级成员的肖像。更多时候，他是在值得信赖的朋友或恋人的怂恿下才摆出造型的。施尼茨勒的著作倾向于现实主义，他也希望视觉艺术家也能朝着这个方向发展。朱莉娅-伊尔格纳（Julia Ilgner）的文章介绍了他与摄影的关系，其中的描述，尤其是他早年的作品，展现了他作为波希米亚作家的形象。工作室摄影成为了荣维恩作家宣传自己事业的战略工具。此外，还研究了施尼茨勒所拥有的照片、他的著作中提到的摄影作品，并详细分析了在以职业为导向的工作室照片中，他如何将自己与格哈德-豪普特曼（Gerhard Hauptmann）联系在一起。第二组侧重于过去的艺术作品以及他同时代的艺术作品，既有施尼茨勒私人拥有的作品，也有他参观过的博物馆和美术馆中的作品。这些作品对施尼茨勒的美学影响尤为重要。伊尔格纳与马丁-安东-穆勒一起，对施尼茨勒在不同住所拍摄的照片中或在他的日记和信件中提到的艺术作品进行了细致的研究。根据作品的摆放位置、[第115页完]历史以及其他各种证据，作者推测了一些著名作品的吸引力，例如格尔奇诺（Guercino）的《亚伯拉罕赶走夏甲和伊斯玛尔》和达-芬奇的《蒙娜丽莎》的复制品，以及它们对施尼茨勒可能具有的意义。奥纳默与拉尔夫-冯-登-霍夫（Ralf von den Hof）共同阐述了施尼茨勒对古代艺术的接受，以及他在 1898 年至 1902 年间的作品中所反映出的自然主义的转变。安东-保罗-胡贝尔 (Anton Paul Huber) 1902 年拍摄的施尼茨勒在书房中被古典古代作品环绕的照片阐明了这种 "美学上的Umorientierung"。本文对其中六幅作品进行了详细讨论。伊娃-赫夫林-格雷特（Eva Höfflin-Grether）通过深入研究施尼茨勒的日记和信件，寻找他在国际旅行和在维也纳参观过的美术馆和博物馆，试图发现施尼茨勒的审美趣味。虽然证据很少（施尼茨勒很少提及单件艺术作品），但她的研究通过将这些访问与他的浪漫生活以及他与古斯塔夫-克里姆特和卡尔-莫尔等艺术家的交往交织在一起，揭示了施尼茨勒的个人生活。尼古拉斯-伊梅尔从 Der Schleier der Beatrice 一书中追溯了瑞士历史学家雅各布-布克哈特对施尼茨勒理解文艺复兴的影响。第三部分重点研究了施尼茨勒的散文和戏剧中对艺术作品的引用，包括实际的和想象的。Barbara Beßlich和Judith Becher将《Die griechische Tänzerin》、《Die Fremde》和《Frau Bertha Garlan》中的传记事件和审查丑闻联系起来，增强了艺术作品的情感象征意义。在他的文章中，京特...
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Pub Date : 2023-12-15DOI: 10.1353/oas.2023.a914886
David L. Smith
<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>"Meine geistige Heimat": Stefan Zweig im heutigen Europa</em> ed. by François Genton et al. <!-- /html_title --></li> <li> David L. Smith </li> </ul> François Genton, Herta Louise Ott, Matjaž Birk, and Thomas Nicklas, eds., <em>"Meine geistige Heimat": Stefan Zweig im heutigen Europa</em>. Schriftenreihe des Stefan Zweig Zentrum Salzburg 13. Würzburg: Königshausen & Neumann, 2022. 223 pp. <p>No one can dispute that Stefan Zweig's advocacy for a shared European identity at a time of increasing nationalism and fascist oppression continues to resonate in and outside academia. In addition to a robust number of journalistic retrospectives commemorating the seventy-fifth anniversary of his death, not to mention recent translations of his works and scholarly publications such as the <em>Stefan-Zweig-Handbuch</em> (2018), two recent building dedications warrant mention: first, the 2018 opening of a university student dormitory in Grenoble, France, in his honor, and second, the European Parliament's renaming of the Atrium building after him in Brussels in 2019. The editors cite both public recognitions as part of the impetus for convening an international conference in December 2020 to discuss Zweig's conception of Europe and its current relevance, a meeting that took place in virtual space because of the COVID-19 pandemic but led to the publication of the present volume.</p> <p>Though not demarcated as such in the table of contents, the volume's chapters contribute to a fourfold focus. The first four literature-based studies analyze Zweig's conception of Europe through his writings on Freud; Nietzsche; the dissolution of the Austro-Hungarian monarchy; and historical figures such as Erasmus, Mary Stuart, and Sebastian Castellio. The ensuing four articles investigate Zweig's understanding of politics and its relation to a shared European cultural history. Next, three contributions examine the evolution of Zweig's conception of European identity after the Nazis seized power in 1933 and his short layover in Galicia in 1936 during the early days of the Spanish Civil War. The final two chapters ponder the timeliness of Zweig's writings for today's Europe more specifically, though this implied question informs the entire volume; the first does so by examining the depictions of Europe and Europeans in two comics-based adaptations of <em>Schachnovelle</em> and the second highlights correlations between Zweig's ideas for intercultural exchange and current European Union initiatives such as the Erasmus program.</p> <p>Ideally, the chapter on <em>Schachnovelle</em> would be bolstered by additional analyses of film, graphic novel, or other adaptations of his works, especially <strong>[End Page 121]</strong> for the commentary they might provide regarding notions of European identity in the decades since the end o
以下是内容的简要摘录，以代替摘要：评论者： "我的故乡》：弗朗索瓦-根顿等编著：《我的故乡》：斯蒂芬-茨威格的故乡--欧洲》。 David L. Smith François Genton、Herta Louise Ott、Matjaž Birk 和 Thomas Nicklas 编著：《我的故乡》：斯蒂芬-茨威格的故乡--欧洲》：Stefan Zweig im heutigen Europa.Schriftenreihe des Stefan Zweig Zentrum Salzburg 13.维尔茨堡：Königshausen & Neumann, 2022。223 pp.在民族主义和法西斯压迫日益猖獗的时代，斯蒂芬-茨威格倡导共同的欧洲身份认同，这一点在学术界内外继续引起共鸣，这一点没有人会质疑。除了纪念他逝世七十五周年的大量新闻回顾文章，更不用说最近对他作品的翻译和学术出版物，如《斯特凡-茨威格手稿》（2018），最近有两座建筑的落成值得一提：第一座是2018年在法国格勒诺布尔为纪念他而落成的大学学生宿舍，第二座是2019年欧洲议会以他的名字重新命名布鲁塞尔的中庭大楼。编者认为，这两次公开表彰是 2020 年 12 月召开国际会议讨论茨威格的欧洲概念及其现实意义的动力之一，这次会议因 COVID-19 大流行而在虚拟空间举行，但促成了本卷的出版。尽管在目录中没有标明，但本卷各章的重点有四个方面。前四篇基于文献的研究通过茨威格关于弗洛伊德、尼采、奥匈帝国解体以及伊拉斯谟、玛丽-斯图亚特和塞巴斯蒂安-卡斯特里奥等历史人物的著作分析了茨威格的欧洲概念。接下来的四篇文章探讨了茨威格对政治的理解及其与欧洲共同文化史的关系。接下来，三篇文章探讨了茨威格在1933年纳粹夺取政权后欧洲身份概念的演变，以及1936年西班牙内战初期他在加利西亚的短暂停留。最后两章更具体地探讨了茨威格的著作对当今欧洲的适时性，尽管这一隐含的问题贯穿了整本书；第一章通过研究两部以漫画为基础改编的《沙赫诺维尔》中对欧洲和欧洲人的描写来探讨这一问题，第二章强调了茨威格的跨文化交流思想与当前欧盟倡议（如伊拉斯谟计划）之间的关联。理想的情况是，对其作品改编的电影、漫画小说或其他作品进行更多的分析，尤其是[第121页完]在冷战结束后的几十年里，这些作品可能会对欧洲身份的概念进行评述，从而加强有关沙赫诺夫勒的章节。我们认识到，会议论文集受限于人们能够提供的主题范围，尤其是在全球健康危机期间；但这种批评不应影响本论文集对茨威格作品进行细致入微、互为补充的讨论这一事实，因为并非所有作品都能在此讨论，而且本论文集在这样做的同时，也承认了人们对茨威格的批评，即鉴于茨威格活跃于文学界的那个充满危机的时代，他在政治上冷漠，过于理想主义。以《西方世界》（Die Welt von Gestern）为例，马克-H-盖尔伯（Mark H. Gelber）通过解读茨威格1936年未发表的对弗洛伊德《自述》（Selbstdarstellung）的评论，阐明了茨威格作为自传的思考的局限性。茨威格的这本小册子与弗洛伊德的作品类似，都是通过回忆来关注精神分析的发展，茨威格的这本小册子可以被解读为一本回忆录，旨在推进他自己的 "原则"，即通过承认共同的 "欧洲精神 "来实现 "欧洲的统一......或统一"（"dieses Prinzip [ist] die Einheit Europas ..., oder die Vereinigung Europas, im Sinne der Vereinigung des europäischen Geistes," 21）。茨威格将哈布斯堡君主制视为一个多元文化的社会，在这个社会中，种族和民族利益并不扮演重要角色。然而，除了尊重宽容和支持艺术之外，茨威格是如何构想这种欧洲 "精神 "的？Zsuzsa Bognár认为，茨威格选择性地强调尼采生活的方方面面，将他描绘成一个超国家的人，为我们提供了深刻的见解。
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Pub Date : 2023-12-15DOI: 10.1353/oas.2023.a914889
Peter Höyng
<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>Faschismus? Zur Beliebigkeit eines politischen Begriffs</em> by Anton Pelinka <!-- /html_title --></li> <li> Peter Höyng </li> </ul> Anton Pelinka, <em>Faschismus? Zur Beliebigkeit eines politischen Begriffs</em>. Wien: Böhlau, 2022. 273 S. <p>Dem renommierten Politikwissenschaftler Anton Pelinka treiben gleich zwei Sorgen um. Als passionierter Bekenner demokratischer Grundwerte, denen "eine maximale Inklusion aller von politischen Entscheidungen Betroffenen" eignet (260), bestürzt ihn die zu beobachtende Gefahr faschistischer Repressionen, indem sie den besagten politischen Pluralismus einer Demokratie bekämpfen. Doch nicht weniger alarmiert Pelinka der Antifaschismus, insofern unter seinem Banner als politische Ziele "nationaler Sozialismus und die Freiheit von Postkolonialismus oder das Diktat von weltumspannenden Konzernen" ausgerufen wird (260). Während Pelinka also demokratische Grundvorstellungen sowohl von rechtem wie auch linkem Gedankengut, und von Parteien und der ihr jeweils behafteten Politik als Gefahr verortet, irritiert ihn die Unschärfe der im Alltag beliebig verwendeten Begriffe Faschismus und Antifaschismus, die "gebraucht und missbraucht werden" (10 und 22). <strong>[End Page 128]</strong></p> <p>Um dieser Beliebigkeit der Begriffe zu entgegnen, bietet Pelinka eine erhellend kontrastive Lesart von fünf historischen Spielarten des Faschismus an: Der real existierende Faschismus in Italien (1922–1943), der Nationalsozialismus in Deutschland mit dem Holocaust als Alleinstellungsmerkmal (1933–1945), der Faschismus als autoritäres Konstrukt in Österreich (1933–1938), die japanische (1937–1945) sowie die spanische Militärdiktatur unter Franco (1939–1975). Insofern jedweder Terminus beabsichtigt, Vielfalt als eine Einheit zu begreifen, zeigen Pelinkas historische Analysen der fünf faschistischen Regime, dass es <em>den</em> Faschismus nicht gab. Vielmehr verdeutlicht er überzeugend, wie heterogen und teilweise diametral entgegengesetzt die besagten diktatorischen Ausformungen in den unterschiedlichen Ländern waren und sie keineswegs eine politische Einheit bildeten, wenn beispielsweise Franco sich weigerte, Hitlers Deutschland 1939 militärisch zu unterstützen oder die japanische heterogen agierende Militärdiktatur Hitlers paranoider Antisemitismus nicht nachzuvollziehen im Stande war.</p> <p>Pelinka schickt diesen historischen Ausführungen allgemeinere politischhistorische Überlegungen voran, um zu klären, was man unter Faschismus verstehen solle, ohne es als nichtssagende Leerformel gebrauchen zu müssen. Dabei nimmt er später dargelegte Beobachtungen historischer Einzelfälle sowie ihre Einschätzungen oftmals vorweg. Und im Anschluss seiner historischen Aufarbeitung der fünf faschistischen Systeme unternimmt der Autor denselben Versuch einer genaueren Begriffsbestimmung bezüglich des
{"title":"Faschismus? Zur Beliebigkeit eines politischen Begriffs by Anton Pelinka (review)","authors":"Peter Höyng","doi":"10.1353/oas.2023.a914889","DOIUrl":"https://doi.org/10.1353/oas.2023.a914889","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>Faschismus? Zur Beliebigkeit eines politischen Begriffs</em> by Anton Pelinka <!-- /html_title --></li> <li> Peter Höyng </li> </ul> Anton Pelinka, <em>Faschismus? Zur Beliebigkeit eines politischen Begriffs</em>. Wien: Böhlau, 2022. 273 S. <p>Dem renommierten Politikwissenschaftler Anton Pelinka treiben gleich zwei Sorgen um. Als passionierter Bekenner demokratischer Grundwerte, denen \"eine maximale Inklusion aller von politischen Entscheidungen Betroffenen\" eignet (260), bestürzt ihn die zu beobachtende Gefahr faschistischer Repressionen, indem sie den besagten politischen Pluralismus einer Demokratie bekämpfen. Doch nicht weniger alarmiert Pelinka der Antifaschismus, insofern unter seinem Banner als politische Ziele \"nationaler Sozialismus und die Freiheit von Postkolonialismus oder das Diktat von weltumspannenden Konzernen\" ausgerufen wird (260). Während Pelinka also demokratische Grundvorstellungen sowohl von rechtem wie auch linkem Gedankengut, und von Parteien und der ihr jeweils behafteten Politik als Gefahr verortet, irritiert ihn die Unschärfe der im Alltag beliebig verwendeten Begriffe Faschismus und Antifaschismus, die \"gebraucht und missbraucht werden\" (10 und 22). <strong>[End Page 128]</strong></p> <p>Um dieser Beliebigkeit der Begriffe zu entgegnen, bietet Pelinka eine erhellend kontrastive Lesart von fünf historischen Spielarten des Faschismus an: Der real existierende Faschismus in Italien (1922–1943), der Nationalsozialismus in Deutschland mit dem Holocaust als Alleinstellungsmerkmal (1933–1945), der Faschismus als autoritäres Konstrukt in Österreich (1933–1938), die japanische (1937–1945) sowie die spanische Militärdiktatur unter Franco (1939–1975). Insofern jedweder Terminus beabsichtigt, Vielfalt als eine Einheit zu begreifen, zeigen Pelinkas historische Analysen der fünf faschistischen Regime, dass es <em>den</em> Faschismus nicht gab. Vielmehr verdeutlicht er überzeugend, wie heterogen und teilweise diametral entgegengesetzt die besagten diktatorischen Ausformungen in den unterschiedlichen Ländern waren und sie keineswegs eine politische Einheit bildeten, wenn beispielsweise Franco sich weigerte, Hitlers Deutschland 1939 militärisch zu unterstützen oder die japanische heterogen agierende Militärdiktatur Hitlers paranoider Antisemitismus nicht nachzuvollziehen im Stande war.</p> <p>Pelinka schickt diesen historischen Ausführungen allgemeinere politischhistorische Überlegungen voran, um zu klären, was man unter Faschismus verstehen solle, ohne es als nichtssagende Leerformel gebrauchen zu müssen. Dabei nimmt er später dargelegte Beobachtungen historischer Einzelfälle sowie ihre Einschätzungen oftmals vorweg. Und im Anschluss seiner historischen Aufarbeitung der fünf faschistischen Systeme unternimmt der Autor denselben Versuch einer genaueren Begriffsbestimmung bezüglich des","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692484","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 : 2023-12-15DOI: 10.1353/oas.2023.a914892
Jakub Gortat
<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>Picturing Austrian Cinema: 99 Films/100 Comments</em> ed. by Katharina Müller and Claus Philipp <!-- /html_title --></li> <li> Jakub Gortat </li> </ul> Katharina Müller and Claus Philipp, eds., <em>Picturing Austrian Cinema: 99 Films/100 Comments</em>. Leipzig: Spector Books, 2022. 250 pp. <p>This book is a game—one hundred writers and journalists from the fields of media, film theory, literature, and science were asked to choose one frame from one postwar Austrian film and to express their feelings about what in the selected image should be regarded as particularly Austrian. However, as the <strong>[End Page 137]</strong> editors explain in a short introduction, the book is "full of broken rules" (ii) with some texts too short, others too long, and one even addressing a British film, Carol Reed's <em>The Third Man</em>. Actually, there are even more cases of non-adherence to the rules—some authors refer to films made before 1945: <em>Wellen schlagen gegen die Küste, beobachtet von einer Frau</em>, made between 1914 and 1918 (9–10); <em>Liebelei</em>, made in 1933, which is in fact a German production inspired by nineteenth-century Vienna (181–82); one author even writes about the music video of Falco's "Rock Me Amadeus" (15–16). The book thus has a heterogeneous quality; as mentioned, the length of the texts varies, and the excerpt about <em>The Third Man</em> resembles an appendix planted in the middle of the book, printed in a different font size and on a different type of paper, with handwritten text in German, unlike all of the other contributions, which have been translated from German into English. Therefore, this invitation to learn more about Austrian cinema takes on the appearance of a game, an experiment, a collage, and a stream of thoughts from numerous intellectuals who share their opinion on what can be regarded as "Austrian."</p> <p>A common element of Austrian film, to cite the book's editors, is its creative function: it "creates identity through critical discourse, diversity through a democratic-pluralist reflection of society, and excellence through courage and an unwillingness to compromise" (v). Various contributors' thoughts lead to the conclusion that contemporary Austrian cinema is to be understood mostly in postmodern terms. Films, scenes, and frames discussed here offer an image of a type of film that is deeply engaged in criticizing politics and society and that addresses the problems of people on society's margins, excluded individuals, and other abjects. These issues include international trafficking of illegal female migrants in Austria, as in <em>Kurz davor ist es passiert</em>, explored by Birgit Kohler (93–94); women working in the sex and pornography industry, as in the case of <em>Revanche</em>, described by Thomas Mießgang (111–12), <em>Die Praxis der Liebe</em
以下是内容的简要摘录，以代替摘要：评论者 Picturing Austrian Cinema: 99 Films/100 Comments ed. by Katharina Müller and Claus Philipp Jakub Gortat Katharina Müller and Claus Philipp, eds., Picturing Austrian Cinema: 99 Films/100 Comments.莱比锡：Spector Books，2022 年。250 pp。本书是一个游戏--来自媒体、电影理论、文学和科学领域的 100 名作家和记者被要求从一部战后奥地利电影中选择一个画面，并就所选画面中哪些地方应被视为特别的奥地利风格表达自己的感受。然而，正如 [完 137 页] 编者在简短的导言中解释的那样，这本书 "充满了破坏规则的内容"(ii)，有些文章太短，有些文章太长，甚至有一篇文章涉及的是一部英国电影，即卡罗尔-里德的《第三个人》。实际上，不遵守规则的情况甚至更多--一些作者提到了 1945 年之前拍摄的电影：如《Wellen schlagen gegen die Küste，beobachtet von einer Frau》，制作于 1914 年至 1918 年（9-10）；《Liebelei》，制作于 1933 年，实际上是一部受 19 世纪维也纳启发的德国作品（181-82）；一位作者甚至还写到了法尔科的音乐录影带《Rock Me Amadeus》（15-16）。因此，该书的质量参差不齐；如前所述，文章的篇幅长短不一，关于《第三个人》的节选就像放在书中间的附录，用不同的字体大小和不同的纸张印刷，用德语手写，与所有其他从德语翻译成英语的文章不同。因此，这本关于进一步了解奥地利电影的邀请函就像是一场游戏、一次实验、一幅拼贴画，也是众多知识分子的思想流泉，他们分享了自己对 "奥地利 "的看法。本书编者认为，奥地利电影的一个共同要素是其创造性功能：它 "通过批判性话语创造身份认同，通过对社会的民主多元化反映创造多样性，通过勇气和不妥协精神创造卓越"（v）。从不同作者的观点中可以得出这样的结论：当代奥地利电影主要应从后现代的角度来理解。这里讨论的电影、场景和画面提供了一种电影类型的形象，这种类型的电影深入参与了对政治和社会的批判，并解决了社会边缘人、被排斥者和其他卑贱者的问题。这些问题包括奥地利非法女性移民的国际贩运，如 Birgit Kohler（93-94）探讨的《Kurz davor ist es passiert》；从事色情行业的女性，如 Thomas Mießgang（111-12）描述的《Revanche》、Esther Buss（43-44）评论的《Die Praxis der Liebe》和 Teresa Präauer （165-66）介绍的《Joy》；以及移民在奥地利的融入，正如 David Perrin 对《Bewegungen eines nahen Bergs》的评论，该片讲述了一名尼日利亚机械师在奥地利阿尔卑斯山施蒂里亚州某地工作的故事（85-86）。德维卡-吉里什（Devika Girish）写道："Unsere Afrikareise"（35-36），克里斯蒂娜-舍赫尔（Christine Scheucher）评论道："Angelo"（145-46），索尼娅-甘格尔（Sonja Gangl）和罗伯特-沃尔夫尔（Robert Woelfl）关注道："达尔文的噩梦"（153-54）。[毫无疑问，20 世纪 70 年代新奥地利电影的出现改变了人们对奥地利电影的普遍印象，以前人们对奥地利电影的印象一直是辉煌的哈布斯堡君主制、纯净的阿尔卑斯山风景和友好好客的人们居住的村庄。Picturing Austrian Cinema》一书中讨论的大多数影片都涉及奥地利的当代问题，其背景不是风景如画、令人赏心悦目的乡村或城市，而是 "非场所 "的背景，正如罗伯特-达萨诺夫斯基（Robert Dassanowsky）和奥利弗-斯派克（Oliver Speck）在其标准的《新奥地利电影选集》中所论述的那样，"非场所 "在新奥地利电影中有许多实例。在这方面，只有少数文本提到了奥地利流行的商标和显著标志（如《Indien》中的Wiener Schnitzel，59-60），或专门介绍了与歌剧、音乐或帝国传统有关的电影，如《Sissi, die junge Kaiserin》。
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Pub Date : 2023-12-15DOI: 10.1353/oas.2023.a914881
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>Hofmannsthal Jahrbuch: Zur europäischen Moderne</em> ed. by Maximilian Bergengruen, Alexander Honold, Gerhard Neumann <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Maximilian Bergengruen, Alexander Honold, Gerhard Neumann et al., eds., <em>Hofmannsthal Jahrbuch: Zur europäischen Moderne</em> 30. Baden-Baden: Rombach, 2022. <p>The range and scope of many specialized annual publications can be surprising. Their stated focus on one writer, theme, or period seems to pinpoint them, and while that is so, they often include primary documentation and archival research not easily accommodated in quarterly journals. This current volume of the <em>Hofmannsthal Jahrbuch</em> contains pieces on Hofmannsthal, to be sure, but much else of interest from various perspectives.</p> <p>The right place to begin is with the contributions on Hofmannsthal, two on <em>Jedermann</em> and one on <em>Der Turm</em>. In his finely argued essay "Wer ist Jedermann? Das Drama zwischen Botschaft und Adressat" (145–69), Alexander Honold points to Hofmannsthal's own account of his diverse sources (150)—the English play <em>Everyman</em> from about 1490, Hans Sachs's "Comedi vom sterbend reichen Menschen," a poem by Albrecht Dürer, and a collection of lyrics by <em>Minnesänger</em> from the thirteenth century. Honold argues that Hofmannsthal was so conscientious about informing his audience through a series of essays about his sources because the stylized and allegorical flavor of the work required an adjustment on the part of his audience. Once the play moved from a theater in Berlin to the cathedral square in Salzburg, it found its true locus and meaning:</p> <blockquote> <p>Statt des geschlossenen Theatersaals … sah sich nun eine ganze Stadt mit ihren Bergen und Burgen, Kirchen und Plätzen zur Bühne … für das "Jedermann"-Stück umfunktioniert, und das von liturgischzeremoniellen Elementen gesättigte Werk war damit … tatsächlich zu einem, wie Hofmannsthal es fasste, "Spiel vor der Menge" geworden.</p> (152) </blockquote> <p>As if in answer to Honold, Heinz Rölleke points out in "Hugo von Hofmannsthal: Der Librettist auf Abwegen" (171–74) a considerable blemish in <em>Jedermann</em>, especially notable because the great artist who had just created the incomparably skilled and subtle language for <em>Der Rosenkavalier</em> interpolated into this new play poems from an anthology that are clumsy and ineffectual (172). Rölleke notes the time pressure Hofmannsthal was working under and attributes this misstep to haste. He compares the poor quality of <strong>[End Page 108]</strong> the poems and their "wenig inspiriete Vertonung" by Einar Nilson to the magnificent musical settings by Frank Martin in 1943 (174).</p> <p>Hans Richard Brittnacher's article, "Der traumatisierte Heros: Das Desaster des Ersten Weltkriegs in Hofmannst
以下是内容的简要摘录，以代替摘要：评论者： Hofmannsthal Jahrbuch：Maximilian Bergengruen、Alexander Honold、Gerhard Neumann Vincent Kling 编著的《Hofmannsthal Jahrbuch：Zur europäischen Moderne》：Zur europäischen Moderne 30.Baden-Baden：Rombach, 2022。许多专业年度出版物的范围和涉及面可能令人惊讶。它们所宣称的对某一作家、主题或时期的关注似乎是对它们的精确定位，尽管如此，它们往往包含季刊难以容纳的原始文献和档案研究。本期的《霍夫曼斯塔尔年鉴》固然收录了关于霍夫曼斯塔尔的作品，但也从不同角度收录了许多其他值得关注的内容。我们可以从关于霍夫曼斯塔尔的文章开始，其中两篇是关于耶德尔曼的，一篇是关于德-图尔姆的。他的文章 "Wer ist Jedermann?Drama zwischen Botschaft und Adressat"(145-69)一文中，亚历山大-霍诺德指出霍夫曼斯塔尔自己对其不同来源的描述(150)--约 1490 年的英国戏剧《常人》、汉斯-萨克斯的 "Comedi vom sterbend reichen Menschen"、阿尔布雷希特-丢勒的一首诗，以及 13 世纪明尼桑格的歌词集。霍诺德认为，霍夫曼斯塔尔之所以如此认真地通过一系列文章向观众介绍他的资料来源，是因为这部作品的风格化和寓言色彩需要观众进行调整。该剧从柏林的剧院搬到萨尔茨堡的大教堂广场后，便找到了它真正的位置和意义： Statt des geschlossenen Theatersaals ... sah sich nun eine ganze Stadt mit ihren Bergen und Burgen, Kirchen und Plätzen zur Bühne ... für das "Jedermann"-Stück umfunktioniert, and das das von liturgischzeremoniellen Elementen gesättigte Werk war damit ... tatsächlich zu einem, wie Hofmannsthal es fasste, "Spiel vor der Menge" geworden.(152)海因茨-罗莱克（Heinz Rölleke）在 "雨果-冯-霍夫曼斯塔尔：一位弃笔从戎的作曲家"（Hugo von Hofmannsthal: Der Librettist auf Abwegen）一文（171-74）中指出了《耶德尔曼》的一个相当大的瑕疵，尤其值得注意的是，这位伟大的艺术家刚刚为《罗森卡瓦利埃》创作了无比娴熟和精妙的语言，却在这部新剧作中插进了选自诗集的诗歌，既笨拙又无效（172）。Rölleke 注意到霍夫曼斯塔尔当时的工作时间压力，并将这一失误归咎于仓促。他将艾纳-尼尔森 (Einar Nilson) "wenig inspiriete Vertonung" 的劣质诗歌和弗兰克-马丁 (Frank Martin) 于 1943 年创作的华丽音乐布景进行了比较 (174)。Hans Richard Brittnacher 的文章 "Der traumatisierte Heros：Das Desaster des Ersten Weltkriegs in Hofmannsthals Der Turm (1924/25/26)"(175-95)一文是在非常深入的研究基础上撰写的；详尽的注释从 Roland Innerhofer 的论点 "Hofmannsthals Turm is nur von der Folie der politischen Situation in Österreich nach 1918 zu verstehen"(175)出发，引用了大量资料和论据。这一洞察力解释了该剧不同版本中绝望与希望、暴力与和解的不同程度，正如霍夫曼斯塔尔向约瑟夫-纳德勒（Josef Nadler）所说的那样，这些版本构成了霍夫曼斯塔尔的 "作品集"(176)。被汉斯-迈尔直截了当地评价为 "missglückt "的《图尔姆》之所以受到 "teilweise extravaganten Deutungen "的质疑，主要是因为其保守和悲观的文化特征。布里特纳赫尔从剧名中就清楚地表明，该剧与席勒的后期作品一样，是对当代政治统治模式的探索，是在卡尔德隆的《生活就是追求》（La vida es sueño）之上的叠印，与霍夫曼施塔尔沿着整个西方文化传统对主题进行调整的做法一致。布里特纳赫尔也不是第一个在《图尔姆》中发现 "德国历史上最伟大的作家卡斯帕-豪泽尔的形象 "的人，但布里特纳赫尔比其他评论家更深入地阐释了这种相似性（184-94）。关于施尼茨勒的两篇文章在目的和特点上截然不同。康斯坦丁-阿萨多夫斯基（Konstantin Asadowski）和马丁-安东-米勒（Martin Anton Müller）编辑并介绍了《阿瑟-施尼茨勒与伊莎贝拉和齐娜伊达-文格罗娃的通信》（Die Korrespondenz von Arthur Schnitzler mit Isabella und Zinaida Vengerova）（7-92）。这些信件的开头是齐娜伊达-文格罗娃（Zinaida Vengerova）请求演出一部新剧并出版她的俄语译本。
{"title":"Hofmannsthal Jahrbuch: Zur europäischen Moderne ed. by Maximilian Bergengruen, Alexander Honold, Gerhard Neumann (review)","authors":"Vincent Kling","doi":"10.1353/oas.2023.a914881","DOIUrl":"https://doi.org/10.1353/oas.2023.a914881","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>Hofmannsthal Jahrbuch: Zur europäischen Moderne</em> ed. by Maximilian Bergengruen, Alexander Honold, Gerhard Neumann <!-- /html_title --></li> <li> Vincent Kling </li> </ul> Maximilian Bergengruen, Alexander Honold, Gerhard Neumann et al., eds., <em>Hofmannsthal Jahrbuch: Zur europäischen Moderne</em> 30. Baden-Baden: Rombach, 2022. <p>The range and scope of many specialized annual publications can be surprising. Their stated focus on one writer, theme, or period seems to pinpoint them, and while that is so, they often include primary documentation and archival research not easily accommodated in quarterly journals. This current volume of the <em>Hofmannsthal Jahrbuch</em> contains pieces on Hofmannsthal, to be sure, but much else of interest from various perspectives.</p> <p>The right place to begin is with the contributions on Hofmannsthal, two on <em>Jedermann</em> and one on <em>Der Turm</em>. In his finely argued essay \"Wer ist Jedermann? Das Drama zwischen Botschaft und Adressat\" (145–69), Alexander Honold points to Hofmannsthal's own account of his diverse sources (150)—the English play <em>Everyman</em> from about 1490, Hans Sachs's \"Comedi vom sterbend reichen Menschen,\" a poem by Albrecht Dürer, and a collection of lyrics by <em>Minnesänger</em> from the thirteenth century. Honold argues that Hofmannsthal was so conscientious about informing his audience through a series of essays about his sources because the stylized and allegorical flavor of the work required an adjustment on the part of his audience. Once the play moved from a theater in Berlin to the cathedral square in Salzburg, it found its true locus and meaning:</p> <blockquote> <p>Statt des geschlossenen Theatersaals … sah sich nun eine ganze Stadt mit ihren Bergen und Burgen, Kirchen und Plätzen zur Bühne … für das \"Jedermann\"-Stück umfunktioniert, und das von liturgischzeremoniellen Elementen gesättigte Werk war damit … tatsächlich zu einem, wie Hofmannsthal es fasste, \"Spiel vor der Menge\" geworden.</p> (152) </blockquote> <p>As if in answer to Honold, Heinz Rölleke points out in \"Hugo von Hofmannsthal: Der Librettist auf Abwegen\" (171–74) a considerable blemish in <em>Jedermann</em>, especially notable because the great artist who had just created the incomparably skilled and subtle language for <em>Der Rosenkavalier</em> interpolated into this new play poems from an anthology that are clumsy and ineffectual (172). Rölleke notes the time pressure Hofmannsthal was working under and attributes this misstep to haste. He compares the poor quality of <strong>[End Page 108]</strong> the poems and their \"wenig inspiriete Vertonung\" by Einar Nilson to the magnificent musical settings by Frank Martin in 1943 (174).</p> <p>Hans Richard Brittnacher's article, \"Der traumatisierte Heros: Das Desaster des Ersten Weltkriegs in Hofmannst","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692337","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 : 2023-12-15DOI: 10.1353/oas.2023.a914872
Antonia Villinger
Abstract:
In his report Der Rauch verbindet Städte, which appeared in the Frankfurter Zeitung in 1926, Joseph Roth described how coal mining affected life, society, and work in the Ruhr Valley. The text demonstrates impressively and in metaphoric terms how the coal trade and its industrial use as a source of energy had a direct influence on everyday life and the economy. This article proceeds from coal as a source of energy to examine the connection between literature and energy, reading this text against the background of the field of Energy Humanities currently developing in the anglophone sphere. This research focus, which has to date hardly been pursued in the German-speaking world, provides a new and productive perspective within the field of Austrian Studies.
{"title":"Literatur und Energie in Joseph Roths Der Rauch verbindet Städte (1926)","authors":"Antonia Villinger","doi":"10.1353/oas.2023.a914872","DOIUrl":"https://doi.org/10.1353/oas.2023.a914872","url":null,"abstract":"<p><p>Abstract:</p><p>In his report Der Rauch <i>verbindet Städte</i>, which appeared in the <i>Frankfurter Zeitung</i> in 1926, Joseph Roth described how coal mining affected life, society, and work in the Ruhr Valley. The text demonstrates impressively and in metaphoric terms how the coal trade and its industrial use as a source of energy had a direct influence on everyday life and the economy. This article proceeds from coal as a source of energy to examine the connection between literature and energy, reading this text against the background of the field of Energy Humanities currently developing in the anglophone sphere. This research focus, which has to date hardly been pursued in the German-speaking world, provides a new and productive perspective within the field of Austrian Studies.</p></p>","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"27 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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