Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906961
Reviewed by: Archduke Ferdinand II of Austria: A Second-Born Son in Renaissance Europe ed. by Sylva Dobalová and Jaroslava Hausenblasová Robyn Dora Radway Sylva Dobalová and Jaroslava Hausenblasová, eds., Archduke Ferdinand II of Austria: A Second-Born Son in Renaissance Europe. Vienna: Austrian Academy of Sciences, 2021. 569 pp. Archduke Ferdinand II of Tyrol (d. 1595), known primarily for his exceptional Kunstkammer housed at Schloss Ambras, has been the subject of renewed interest in the past decade. Much of this research was supported by a generous grant from the Czech Science Foundation, which allowed an international team of scholars to join forces with the Institute for Art History of the Czech Academy of Sciences. This transnational project, which followed the archduke's career from Prague to Innsbruck and his visits to Speyer and Brussels, sought to overcome the national historiographies that had carved up previous research on his life into seemingly irreconcilable slices. Like most other Central European figures, our understanding of his activities had suffered from a fragmented research landscape divided by linguistic and political boundaries defined in the twentieth century. The grant project resulted in a major exhibition in 2017/2018, which was accompanied by two catalogues, one available in English and German and another expanded version available only in Czech. Archduke Ferdinand II of Austria: A Second-Born Son in Renaissance Europe builds on and complements these catalogues by offering the first significant series of scholarly studies of the archduke and his activities in the English language. It is composed of twenty-three essays bookended by an introduction and conclusion. The essays examine the archduke as a central figure in sixteenth-century Central European culture, highlighting the threads that connected his personal life and his objects across the continent and around the globe. [End Page 99] As a collector, creator, investor, and inventor, the archduke's activities were wide-ranging and extraordinarily well documented. The introduction provides a historiographical overview and brief summaries of each contribution. The first chapter ties the volume together by surveying the processes that shaped Archduke Ferdinand II of Tyrol's biography and his place between the Renaissance and the Baroque. The volume then offers an interdisciplinary set of case studies that engage with comparative methods while remaining deeply rooted in archival sources. The articles are grouped thematically: court culture, architecture, fine arts, humanism, and collections. Many contributions speak across these themes, often approaching the same sources (like inventories, payroll documents, travel narratives, correspondence, and broadsheets) to ask very different questions. For example, inventories are naturally at the core of Kuster's detailed study of inventory-taking processes following the Archduke's death and Sandbichler's and Bukovinská's essay
审校:奥地利斐迪南二世大公:文艺复兴时期欧洲的次子，作者:Sylva dobalov和jarosava hausenblasov，编辑:Robyn Dora Radway奥地利斐迪南二世大公:文艺复兴时期欧洲的次子。维也纳:奥地利科学院，2021。蒂罗尔的斐迪南二世大公(1595年在位)，主要以他在安布拉斯城堡(Schloss Ambras)收藏的杰出艺术作品而闻名，在过去十年中，他再次成为人们关注的主题。这项研究的大部分都得到了捷克科学基金会的慷慨资助，该基金会允许一个国际学者团队与捷克科学院艺术史研究所合作。这个跨国项目跟踪了大公的职业生涯，从布拉格到因斯布鲁克，并访问了施佩尔和布鲁塞尔，试图克服国家历史编纂，这些历史编纂将之前对他的生活的研究分割成看似不可调和的片段。像大多数其他中欧人物一样，我们对他的活动的理解受到了20世纪语言和政治界限界定的支离破碎的研究格局的影响。该资助项目于2017/2018年举办了一次大型展览，展览附有两份目录，一份以英语和德语提供，另一份仅以捷克语提供。《奥地利斐迪南二世大公:文艺复兴时期欧洲的次子》在这些目录的基础上进行了补充，提供了关于大公及其活动的第一个重要系列学术研究。它由23篇文章组成，以引言和结论结尾。这些文章将这位大公视为16世纪中欧文化的核心人物，强调了将他的个人生活和他在欧洲大陆乃至全球的物品联系起来的线索。作为一名收藏家、创造者、投资者和发明家，这位大公的活动范围很广，而且有非常详尽的记录。引言提供了一个史学的概述和每个贡献的简要总结。第一章通过调查塑造蒂罗尔的费迪南德二世大公传记的过程以及他在文艺复兴时期和巴洛克时期之间的地位，将卷联系在一起。然后，该卷提供了一套跨学科的案例研究，采用比较方法，同时深深植根于档案来源。文章按主题分组:宫廷文化、建筑、美术、人文主义和收藏。许多文章涉及这些主题，通常接近相同的来源(如库存、工资单文件、旅行叙述、通信和大报)，提出截然不同的问题。例如，库存自然是库斯特详细研究大公去世后的库存采集过程的核心，也是桑德比奇勒和布科夫斯基关于Kunstkammer重建及其使用数字工具重新分配的论文的核心。清单还有助于Hrbatý对布拉格宫廷军械库的研究，而Gschwend研究了通过意大利和伊比利亚半岛获得异国情调物品的网络，Seidl调查了宫殿墙壁内外(包括厨房)的植物品种，而Muchka分析了蒂罗尔大公爵费迪南德二世在他的住宅之外的建筑遗产。这种从多个角度深入接触资源并得到一系列附加文件的支持，是本书的一大优势。大公身边还有几个值得一提的人物。Lynch关于Bonifaz Wolmut的文章和Fučíková关于Hans Tirol的文章很好地考察了财政、个性和学术话语在建筑工作决策中的作用，这些决策导致了布拉格特色建筑风格的融合。这个主题是通过Uličný对大公执政期间在布拉格城堡进行的工程的仔细研究介绍的。作为一个整体，该卷代表了蒂罗尔的费迪南德二世大公作为一个多方面的赞助人，不仅是盔甲和宫殿，而且还有音乐，肖像，雕塑，喷泉，诗歌，玻璃工艺，医学科学和实验植物学。对于任何对中欧历史感兴趣的图书馆来说，这是一本必备品。一些文章也将有助于教学先进的学生在早期近代史。最后，我要赞扬奥地利科学院出版社……
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906962
Reviewed by: Finding Order in Diversity: Religious Toleration in the Habsburg Empire, 1792–1848 by Scott Berg Peter Höyng Scott Berg, Finding Order in Diversity: Religious Toleration in the Habsburg Empire, 1792–1848. Lafayette, IN: Purdue UP, 2022. 345 pp. Beginning to review Scott Berg's Finding Order in Diversity: Religious Toleration in the Habsburg Empire, 1792–1848 from its back end quickly indicates its forte: the thirty-page-long bibliography divides into six sections: archival sources in Austria and Hungary (1 page), published primary sources (4 pages), separated from a brief but pertinent list of consulted newspapers as printed material, unpublished dissertations (1.5 pages), articles (11 pages), and, at last, books (11 pages). In sum, Berg has accomplished an impressive scope of thorough research in both quantity and, given that he used archival material in German and Hungarian, quality. As a result of Berg's stupendous thoroughness, the accompanying and often detailed notes take close to 100 pages. Given this depth, Berg can authoritatively proclaim his central thesis, one that demystifies the premise that the Habsburgs relied throughout history on Catholicism as a political pillar. Instead, Berg demonstrates that the reigns of Francis II/I (r. 1792–1835) and his son Ferdinand (r. 1835–1848) "marked the only era" (203) when the Habsburgs actively pursued tolerance toward confessional diversity to maintain stability within their multiethnic empire. In fact, his research leads him to the bold thesis that "the idea of authoritarian or nondemocratic regimes, such as the Habsburg Empire, pioneering human rights is an uncomfortable one today but one that is rooted in historical reality" (14). Starting with Joseph II's enlightened policies, Berg guides the reader in six chapters through the institutionalization of toleration that took place in the "much-maligned regime (1792–1848) that followed Joseph II's brief, unsuccessful reign" (13). Yet Joseph II's decade-long reign was not as futile as Berg insinuates here. After all, he himself shows that, despite many opportunities to overturn Josephism "and to promote an alliance of throne and altar," [End Page 101] Francis "remained under the influence of his Josephist advisors" (37). While recognizing these limited attempts at Catholic revivalism in reaction to the French Revolution and the Enlightenment, therefore, Berg largely follows and supports Pieter Judson's line of argument in The Habsburg Empire: A New History (2016) that the Empire provided, thanks to Josephism, a common imperial citizenship that for stability's sake respected its multiethnic and religious diversity. In 1846, the monarchy counted 26.3 million Catholics, 6.8 million Orthodox Christians (Greek Catholic and non-united Orthodox), 3.3 million Protestants (Lutherans and Calvinists), and 729,000 Jews, "making non-Catholics nearly a third of the monarchy's population" (6). Despite the admiration that Berg shows for the conserva
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906965
Reviewed by: Erasures and Eradications in Modern Viennese Art, Architecture, and Design ed. by Megan Brandow-Faller and Laura Morowitz Alison Rose Megan Brandow-Faller and Laura Morowitz, eds., Erasures and Eradications in Modern Viennese Art, Architecture, and Design. New York: Routledge, 2023. 278 pp. Why are some artists included in the Vienna 1900 canon and others forgotten? How has the intense focus on Vienna 1900 led to the erasure of artists and artistic movements? These are some of the questions addressed in Megan Brandow-Faller and Laura Morowitz's Erasures and Eradications in Modern Viennese Art, Architecture and Design. While Viennese artists who sympathized with the Nazis looked down on the turn-of-the-century period as "Jewish" and degenerate, the reckoning with history in the 1980s focusing on Vienna 1900 sought to reclaim links to Jewish culture without acknowledging its destruction. The romanticizing of Vienna 1900 and the project to deflect attention from the Nazi period has led some scholars to dismiss interwar developments, obscure continuities, and erase many important artists and their work. Intersectionality also plays a role in the erasure of many artists as their overlapping identities "rendered them especially vulnerable to marginalization or later eradication" (12). The book includes sections on Jewish erasures, gendered erasures, erasures of understudied artists and movements, and an epilogue connecting past erasures to the present-day aims of the VBKÖ (Association of Austrian Wom*n Artists). Contributors rethink themes such as the Jews' relationship to visual arts, women's contributions to interwar decorative arts, modernists' [End Page 109] attraction to African tribal culture and folk art, and the Aryanization of the Secession movement in the 1930s. Part 1 addresses the erasure of Viennese modernism's links to Austrofascism and National Socialism and of Jewish artists and buildings associated with Jewish life. Elana Shapira shows that Austrian architect Josef Hoffmann, who was promoted by Jewish patrons like Berta Zuckerkandl, "turned against his Jewish colleagues' progressive idea of Austrianism," embraced Austrofascism, and collaborated with Nazi officials (61); Laura Morowitz looks at the troubled relationship between Viennese modernism and reactionary politics; and Frances Tanzer explores Jewish refugee art dealer Otto Kallir's impact on the nostalgic understanding of Viennese modernism. Nathan Timpano and Steven Beller focus on the erasure of Viennese Jewish art and architecture. Timpano argues that Max Oppenheimer's obscurity resulted from accusations of forgery made by Oskar Kokoschka and his identity as a gay Jewish man, while Beller documents and explains the de-Judaizing of postwar Vienna's streetscape. Destroyed Jewish properties and buildings were not restituted or rebuilt in part because government officials did not want Viennese Jews to return. Part 2 looks at forgotten women artists of the Secession an
{"title":"Erasures and Eradications in Modern Viennese Art, Architecture, and Design ed. by Megan Brandow-Faller and Laura Morowitz (review)","authors":"","doi":"10.1353/oas.2023.a906965","DOIUrl":"https://doi.org/10.1353/oas.2023.a906965","url":null,"abstract":"Reviewed by: Erasures and Eradications in Modern Viennese Art, Architecture, and Design ed. by Megan Brandow-Faller and Laura Morowitz Alison Rose Megan Brandow-Faller and Laura Morowitz, eds., Erasures and Eradications in Modern Viennese Art, Architecture, and Design. New York: Routledge, 2023. 278 pp. Why are some artists included in the Vienna 1900 canon and others forgotten? How has the intense focus on Vienna 1900 led to the erasure of artists and artistic movements? These are some of the questions addressed in Megan Brandow-Faller and Laura Morowitz's Erasures and Eradications in Modern Viennese Art, Architecture and Design. While Viennese artists who sympathized with the Nazis looked down on the turn-of-the-century period as \"Jewish\" and degenerate, the reckoning with history in the 1980s focusing on Vienna 1900 sought to reclaim links to Jewish culture without acknowledging its destruction. The romanticizing of Vienna 1900 and the project to deflect attention from the Nazi period has led some scholars to dismiss interwar developments, obscure continuities, and erase many important artists and their work. Intersectionality also plays a role in the erasure of many artists as their overlapping identities \"rendered them especially vulnerable to marginalization or later eradication\" (12). The book includes sections on Jewish erasures, gendered erasures, erasures of understudied artists and movements, and an epilogue connecting past erasures to the present-day aims of the VBKÖ (Association of Austrian Wom*n Artists). Contributors rethink themes such as the Jews' relationship to visual arts, women's contributions to interwar decorative arts, modernists' [End Page 109] attraction to African tribal culture and folk art, and the Aryanization of the Secession movement in the 1930s. Part 1 addresses the erasure of Viennese modernism's links to Austrofascism and National Socialism and of Jewish artists and buildings associated with Jewish life. Elana Shapira shows that Austrian architect Josef Hoffmann, who was promoted by Jewish patrons like Berta Zuckerkandl, \"turned against his Jewish colleagues' progressive idea of Austrianism,\" embraced Austrofascism, and collaborated with Nazi officials (61); Laura Morowitz looks at the troubled relationship between Viennese modernism and reactionary politics; and Frances Tanzer explores Jewish refugee art dealer Otto Kallir's impact on the nostalgic understanding of Viennese modernism. Nathan Timpano and Steven Beller focus on the erasure of Viennese Jewish art and architecture. Timpano argues that Max Oppenheimer's obscurity resulted from accusations of forgery made by Oskar Kokoschka and his identity as a gay Jewish man, while Beller documents and explains the de-Judaizing of postwar Vienna's streetscape. Destroyed Jewish properties and buildings were not restituted or rebuilt in part because government officials did not want Viennese Jews to return. Part 2 looks at forgotten women artists of the Secession an","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640163","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 : 2023-09-01DOI: 10.1353/oas.2023.a906957
Adrian Baez-Ortega
Abstract: Mozart's final opera, Die Zauberflöte , wields visual and musical metaphor to deliver possibly the most effective allegory of Enlightenment themes ever achieved in Austrian art. Supported by a systematic tonal analysis, this article reviews, integrates and expands upon decades of scholarly research on this opera, with a strict focus on the thematic symbolism of its harmonic elements. By unifying disparate sources and providing an independent overview of tonality throughout the two acts of Die Zauberflöte , this study aims to foment subtler appreciation of Mozart's application of harmonic contrasts. Special attention is devoted to the manner in which the symbolic meaning of such contrasts evolves together with the opera's dominant themes, to build a formidable musico-dramatic metaphor of a fundamental narrative of European Enlightenment—the philosophical struggle of reason against ignorance.
{"title":"From Night to Light: Harmony as Allegory in Die Zauberflöte","authors":"Adrian Baez-Ortega","doi":"10.1353/oas.2023.a906957","DOIUrl":"https://doi.org/10.1353/oas.2023.a906957","url":null,"abstract":"Abstract: Mozart's final opera, Die Zauberflöte , wields visual and musical metaphor to deliver possibly the most effective allegory of Enlightenment themes ever achieved in Austrian art. Supported by a systematic tonal analysis, this article reviews, integrates and expands upon decades of scholarly research on this opera, with a strict focus on the thematic symbolism of its harmonic elements. By unifying disparate sources and providing an independent overview of tonality throughout the two acts of Die Zauberflöte , this study aims to foment subtler appreciation of Mozart's application of harmonic contrasts. Special attention is devoted to the manner in which the symbolic meaning of such contrasts evolves together with the opera's dominant themes, to build a formidable musico-dramatic metaphor of a fundamental narrative of European Enlightenment—the philosophical struggle of reason against ignorance.","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640171","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 : 2023-09-01DOI: 10.1353/oas.2023.a906969
Reviewed by: H. C. Artmann & Berlin ed. by Sonja Kaar and Marc-Oliver Schuster Paul Buchholz Sonja Kaar and Marc-Oliver Schuster, eds., H. C. Artmann & Berlin. Würzburg: Königshausen & Neumann, 2021. 294 pp. Academic literary-critical discourse on H. C. Artmann has tended to be sporadic and eclectic, and one reason for this is that his writings rarely if ever lend themselves to hermeneutic readings. Artmann's works are ludic, as the author himself pointed out, in a way that stringently adheres to Johan Huizinga's idea of play as a free act with no social function and no meaning outside itself. For this reason, the most fruitful scholarly work on H. C. Artmann is not based in hermeneutic close readings but rather seeks to capture the social and cultural world in which he wrote, performed, collaborated, and socialized. Sonja Kaar and Marc-Oliver Schuster's edited [End Page 119] volume H. C. Artmann & Berlin is, in this regard, an essential scholarly publication, valuable both to literary historians of the postwar era and to general Artmann enthusiasts. The book collects the proceedings of a 2019 conference of the same name, held in the Wien-Bibliothek in the Vienna Rathaus. Its title is, at any rate, a bit reductive: while the book indeed gives diverse accounts of the author's stays in Berlin in 1962, 1965–66, and 1967–68, it also delves into an array of other fascinating topics. Indeed, this book seems somewhat like a prelude to the Artmann biography being published in 2023, co-written by Schuster with Veronika Premer. H. C. Artmann und Berlin shows how the author's enthusiastic and sociable relationship to Berlin yielded some of the most iconic works of his career, including his story "dracula dracula" and its iterations across media (performative happening, printed text, and woodcut print). While in Berlin, Artmann became a social node for younger Austrian writers for whom he was an iconoclastic role model and interlocutor, such as Peter Chotjewitz and Wolfgang Bauer. Finally, the book provides a clearer sense of how Artmann—who scrupulously avoided political commentary in his works, taking a very different postwar path than the Gruppe 47—in his own way was deeply embedded in the political-cultural landscape of the 1960s: his dislike of the militant leftist language that flooded the cultural scene of West Berlin in the later sixties, his (apocryphal) claim to having been present at the 1967 West Berlin student demonstration against the Shah of Iran, his cordial encounters with RAF terrorist Gudrun Ensslin, and time spent socializing with Peter Weiss. These stories, presented in biographical, historical, and analytic chapters as well as interviews, are by no means only raw anecdotes; they have the cumulative purpose of showing how Artmann's highly eccentric path was taken deliberately and in lively dialogue with his literary contemporaries. The book is divided into four sections, each of which is in itself eclectic in terms of genre. Marc-Oliver
评审:H. C. Artmann & Berlin主编，Sonja Kaar和Marc-Oliver Schuster。， H. C. Artmann & Berlin。w rzburg: Königshausen & Neumann, 2021。学术文学批评对h.c.阿尔特曼的论述往往是零星的和折衷的，其中一个原因是他的作品很少(如果有的话)适合解释学的阅读。正如作者自己指出的那样，Artmann的作品是滑稽的，在某种程度上严格遵循Johan Huizinga的观点，即游戏是一种自由的行为，没有社会功能，也没有外在的意义。出于这个原因，关于h.c. Artmann最有成果的学术工作不是基于解释学的仔细阅读，而是试图捕捉他写作、表演、合作和社交的社会和文化世界。在这方面，索尼娅·卡尔和马克·奥利弗·舒斯特编辑的《h·c·阿尔特曼与柏林》是一本重要的学术出版物，对战后时期的文学史学家和一般的阿尔特曼爱好者都很有价值。这本书收集了2019年在维也纳市政厅的维也纳图书馆举行的同名会议的记录。不管怎么说，这本书的标题还是有点精简:虽然这本书确实对作者在1962年、1965年至1966年和1967年至1968年在柏林的生活进行了不同的描述，但它也深入探讨了一系列其他有趣的话题。事实上，这本书似乎有点像2023年出版的阿尔特曼传记的前奏，由舒斯特尔与维罗妮卡·普雷梅尔共同撰写。H. C. Artmann und Berlin展示了作者与柏林的热情和社交关系如何产生了他职业生涯中一些最具代表性的作品，包括他的故事“德古拉·德古拉”及其在媒体上的迭代(表演发生，印刷文本和木刻版画)。在柏林期间，阿尔特曼成为年轻奥地利作家的社交节点，对他们来说，他是一个打破传统的榜样和对话者，比如彼得·乔杰维茨和沃尔夫冈·鲍尔。最后，这本书提供了一个更清晰的感觉，即阿尔特曼是如何以自己的方式深深植根于20世纪60年代的政治文化景观的。阿尔特曼在他的作品中小心翼翼地避免了政治评论，走了一条与47集团截然不同的战后道路。他不喜欢60年代后期充斥西柏林文化圈的激进左派语言，他声称自己参加了1967年西柏林学生反对伊朗国王的示威活动(这是杜传的)，他与英国皇家空军恐怖分子古德伦·恩斯林的亲切接触，以及他与彼得·韦斯的交往。这些故事，以传记、历史和分析章节以及访谈的形式呈现，绝不仅仅是原始的轶事;它们的累积目的是展示阿尔特曼的高度古怪的道路是如何故意采取的，并与他的文学同时代人进行了生动的对话。这本书分为四个部分，每个部分本身就流派而言都是折衷的。马克·奥利弗·舒斯特(Marc-Oliver Schuster)在第一本《Überblick und Annäherungen》(Überblick und Annäherungen)的开头，详细介绍了阿尔特曼在(西)柏林的生活——也就是说，他从未在那里住过很长一段时间，但他经常广泛访问这座城市，在1968年的动荡之前，这座城市对作者来说有着特殊的地位，它是一座充满创意可能性和文化自由的城市。马克-奥利弗·舒斯特(Marc-Oliver Schuster)对阿尔特曼与柏林市近一生的关系进行了全面的概述，彼得·帕比什(Peter Pabisch)介绍了作为阿尔特曼在柏林文学存在的重要节点的柏林文学讨论会(LCB)机构的历史。赫尔曼Schlösser对20世纪60年代复兴开发银行(BRD)的小村庄对阿尔特曼的接受情况的研究，对于理解阿尔特曼在西德文学文化中是如何被看待(甚至被异国情调化)的，特别有帮助。本部分的其他亮点包括2019年对格哈德·雷姆的采访，以及Friederike Mayröcker、Rosa Pock、Uwe Bremer和Oswald Wiener之间的一段曲折但最终具有启发性的对话。本书的第二部分，“Spezielle Zugänge”，聚焦于阿尔特曼与……的关系和相似之处。
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906966
Reviewed by: Das Ich in Anderer Gestalt: Weiblichkeit und Männlichkeit in Robert Musils Roman Der Mann ohne Eigenschaften by Vladimira Valkova Pamela S. Saur Vladimira Valkova, Das Ich in Anderer Gestalt: Weiblichkeit und Männlichkeit in Robert Musils Roman Der Mann ohne Eigenschaften. Würzburg: Königshausen & Neumann, 2022. 415 pp. In her 2022 book, Das Ich in Anderer Gestalt, author Vladimira Valkova offers considerable discussion of literary theory and history as context for her central aim, namely, analysis of masculine and feminine identities in Robert Musil's lengthy and important but unfinished Austrian novel, Der Mann ohne Eigenschaften (1930, 1931). The subtitle of Valkova's book is "Weiblichkeit und Männlichkeit in Robert Musils Roman Der Mann ohne Eigenschaften." She refers in the text several times to this book project as her "dissertation." However, the book hardly seems like a fledgling foray into scholarly work. The complex and extensively researched volume is over 400 pages long; it incorporates references to numerous developments in literary theory, from nineteenth-century trends to postmodernism, poststructuralism, and feminism, as well as such theorists as Freud, Weininger, Lacan, Irigaray, Kristeva, and Foucault. Even strict professors who do not allow their students to quote dissertations in their term papers ought to accept this volume's scholarly stature; after all, it has recently been published by Königshausen & Neumann. Moreover, the author has several other scholarly publications to her credit, including other studies on Musil. If one does search for features reminiscent of the classroom, one might note an overly zealous impulse toward comprehensiveness and exhaustive detail, particularly in the three opening chapters providing literary and historical background. Indeed, the passages defining literary movements in sequence resemble classroom notes. Some of the lists or brief mentions of literary movements, ideas, and theories or theorists are too long to be easily comprehended or give the impression that the writer is rushing forward, combining disparate items or leaving names or analytical points unexplained. Examples of such bewildering combinations are "Rousseau, Schopenhauer, Nietzsche, Wedeking, Kraft-Ebing, Hirschfeld und Freud" (39) and "Dekadenz, Jugendstil, Ästhetizismus, Expressionismus und Lebensphilosophie" (40). The novel Der Mann ohne Eigenschaften is discussed to some degree in early chapters but does not take center stage until the fourth chapter, beginning on page 159. The three opening chapters are titled "Das Geschlecht in [End Page 112] der Musil-Forschung," "Theoretisch—methodologische Grundlagen," and "Über die Konstruktion von modernen Geschlechteridentitäten." Following a passage on the development of modernism, the third chapter emphasizes relationships between Musil's philosophy and creative work and the ideas of Freud, Weininger, and Musil's own professor, Georg Simmel. Valkova asserts that Mu
修改:我的形象不是我:在罗伯特·音乐剧的小说中描述的女性的本质和男士的风范。2022年柯尼斯豪森与诺伊曼415 pp工作.我都在这里2022年图书中的其他人物author Vladimira Valkova offers considerable (# literary爆炸与人》历史as单亲for来中央,namely,分析》和《masculine女性identities在Robert Musil lengthy吗and important但unfinished Austrian一样,没有素质的人(1930、1931年).Valkova书的字里行间是“Robert musi经典男主角她把这本书的内容写成了论文However，书中艰苦的样子就像变成了一个非常痛苦的工作。新游戏和接发的新游戏超越了400页的闲人它是由时间轴介绍数量发展的文学理论虽然可能的，但继续的，包括恢复的学生等一下，它的名字是默利弗父子殿下除了故事外还有另外一个故事或许就像是为了被回忆起来而作的杀人游戏有时书本中有些字，也可能是文学创作的来信、理想或理论都很久久不能真正地总结书写者是落后的走向你知道有多吗?野性人物酗酒在早饭开始但没有道德直到第四章开始期中三人期中有"音乐研究的期中女性期中"，其中有发展现代性别身份的期中《推理与创新》第三篇文章写道:瓦科娃发表了这首音乐，关于统一语言的左边问题的问题的问题。However，探讨那些小学主题的问题的问题，当妇女挑战一个对象的挑战他们的身份的问题的时候。在书的封面中，这个词和“女人的阴茎”是同一个词和“女人的阴茎”放在一起书籍合并成一体的妇女角色。飞机上有香槟作为经典之作《the politics of the politics》有一本《性别生活》的序言但是Valkova穿越了思想、情感和情欲最强烈的童年和伤害伤害伤害Clarisse的单曲《悔改和恳求精神病院》的附栏里显示:“关押前”和“拘留后”。诊断精神病学前相似曲调很明显弗洛伊德的一个经典评价就是“思蒂”:“弗洛伊德认为认为自己是一种可以抵御阉割威胁的情人，同时可以取代女性阴茎的迷恋”(223)。那么心理学和精神病学也适用于其他类型的书
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906974
Reviewed by: Die hellen Jahre über dem Atlantik: Leben zwischen Deutschland und Amerika by Frank Trommler Joseph W. Moser Frank Trommler, Die hellen Jahre über dem Atlantik: Leben zwischen Deutschland und Amerika. Cologne: Böhlau, 2022. 384 pp. After 1945, the study of German literature and culture had to redefine itself in the United States, and this was largely accomplished by exile scholars who had escaped from Nazi Germany and Austria, such as Adolf Klarmann at the University of Pennsylvania and Egon Schwarz at Washington University in St. Louis. Then starting in the 1970s, the first generation of postwar Germans started to modernize and shape the study of German in the United States, which also contributed to the creation of German Studies and the German Studies Association. Frank Trommler, as a professor of German at the University of Pennsylvania from 1970 to 2007, assumed a leadership role in the development of German Studies in the United States; his primary contribution was to redefine the field at the end of the twentieth century and into the twenty-first. His autobiography, Die hellen Jahre über dem Atlantik: Leben zwischen Deutschland und Amerika, is a fascinating read and gives testimony to the Zeitgeschichte of German-American relations. It is written for a German audience but is nonetheless of great interest to German Studies scholars in the United States. This rich book is much more than a history of American German Studies, however. Trommler also redefined the role of Austrian literature within the German-language literary canon of the 1960s and 1970s, thus assuring that Austria would not be overlooked or subsumed into a general German narrative. His groundbreaking monograph Roman und Wirklichkeit: Eine Ortsbestimmung am Beispiel von Musil, Broch, Roth, Doderer und Gütersloh (Kohlhammer Verlag, 1966) actually demonstrates that some of the greatest German-language narrators of the twentieth century were in fact Austrian, and that the significance of Vienna as a center of German-language thought cannot be overlooked, even if the immediate post–World War II Second Republic of Austria was a somewhat less culturally diverse place than it [End Page 132] had been before 1938 (or than it is today). In his subchapter "Als Piefke auf Österreich-Mission," Trommler describes how he was received in Vienna in 1966, even if Hilde Spiel reminded him that Austrian literature did not end with Doderer—Handke had just debuted that same year. Trommler contributed to a rethinking of Austria as a multicultural and quintessentially European space within the German-language narrative. Trommler's work emerged parallel to that of Claudio Magris. As a member of the first postwar generation, he understood that Austrian literature needed to examine the Nazi period in order to become significant again—something that the generation of writers around Doderer had avoided doing. But of course Thomas Bernhard along with Peter Handke, Ingeborg Bachmann, and Ilse Ai
《大西洋彼岸:德国与美国》作者:Frank Trommler，《大西洋彼岸:德国与美国》作者:Joseph W. Moser Frank Trommler。科隆:Böhlau, 2022年。1945年后，对德国文学和文化的研究不得不在美国重新定义自己，这在很大程度上是由逃离纳粹德国和奥地利的流亡学者完成的，比如宾夕法尼亚大学的阿道夫·克拉曼和圣路易斯华盛顿大学的埃贡·施瓦茨。然后从20世纪70年代开始，第一代战后德国人开始在美国进行现代化和塑造德语研究，这也促成了德国研究和德国研究协会的创立。弗兰克·特罗姆勒(Frank Trommler)， 1970年至2007年在宾夕法尼亚大学担任德语教授，在德国研究在美国的发展中发挥了领导作用;他的主要贡献是在二十世纪末和二十一世纪重新定义了这个领域。他的自传《大西洋彼岸的希腊人:德国和美国的黎巴嫩人》是一本引人入胜的读物，它见证了德美关系的时代。它是为德国读者写的，但仍然引起了美国德国研究学者的极大兴趣。然而，这本内容丰富的书远不只是一部美国德国研究史。特罗姆勒还重新定义了奥地利文学在20世纪60年代和70年代德语文学经典中的角色，从而确保奥地利不会被忽视或被纳入一般的德语叙事。他开创性的专著《罗马与艺术》:《穆希尔、布洛赫、罗斯、多德勒和格特斯洛的故事》(Kohlhammer Verlag, 1966)实际上表明，20世纪一些最伟大的德语叙述者实际上是奥地利人，维也纳作为德语思想中心的重要性不容忽视。即使第二次世界大战后的奥地利第二共和国在文化多样性方面不如1938年之前(或今天)。在他的小章节“Als Piefke auf Österreich-Mission”中，特罗姆勒描述了1966年他在维也纳受到的接待，尽管希尔德·斯皮尔提醒他，奥地利文学并没有随着多德勒-汉德克同年的处女作而结束。Trommler在德语叙事中将奥地利重新思考为一个多元文化和典型的欧洲空间。Trommler的作品与Claudio Magris的作品并行。作为战后第一代作家的一员，他明白奥地利文学需要审视纳粹时期，以便再次变得重要——这是多德勒周围那一代作家所避免做的事情。当然，Thomas Bernhard, Peter Handke, Ingeborg Bachmann和Ilse Aichinger只是开始了这一过程，这一过程将在20世纪80年代达到高潮并进一步发展。特罗姆勒在美国推进奥地利研究方面的成就不容低估。他的自传当然远远超出了奥地利。他对奥地利文化的欣赏来自于这样一个事实:1939年，他出生在萨克森州Zwönitz，父亲是当时著名的Trommler童鞋品牌的老板，他觉得自己在战后的西德流离失所。战后，他的家人不能留在苏区。这种转移似乎激发了他对旅行的兴趣，并看到了阿登纳西德之外的世界。20世纪50年代末，他在维也纳学习，当时德国学生还很少见。在西德人发现战后的芬威之前，他走遍了欧洲和世界各地。作为一名记者，他能够访问南美，并通过苏联前往阿富汗(早在苏联入侵阿富汗之前)。他来到美国更多的是一个巧合;先是在哈佛大学(Harvard)，然后是宾夕法尼亚大学(University of Pennsylvania)找到了一份德语教授的工作，这太好了，让人无法忽视，但它本身就像是一种职业转变。德国的世界旅行家就这样变成了一个生活在美国的德国人。
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906975
Reviewed by: Bambi, Or Life in the Forest by Felix Salten Monica Strauss Felix Salten, Bambi, Or Life in the Forest. Translated by Damion Searls, with an afterword by Paul Reitter. New York: The New York Review of Books, 2022. 146 pp. Thanks to the enduring appeal of Walt Disney's animation, "Bambi" has become a household name. When the copyright on the 1928 English version of Felix Salten's 1923 novel recently lapsed, it was inevitable that a new English translation would be in the offing. Surprisingly, not one but two new translations were published one after the other in 2022. Princeton University Press was the first off the mark with Jack Zipes's contribution, titled The "Original" Bambi, The Story of a Life in the Forest, published in February. The hardcover volume includes a lengthy introduction by Zipes and illustrations by Alenka Sottler (see my review in JAS 56.1, Spring 2023). In September 2022, the New York Review of Books came out with their own version. A plainer presentation in paperback—one that even does without chapter numbers—is translated by Damion Searls, with a brief afterword by Paul Reitter. In 2015, Professor Reitter had published a book with the provocative title Bambi's Jewish Roots and Other Essays on German-Jewish Culture (Bloomsbury Press). In his essay on Salten, he points out that, unlike most of the other Jewish members of the Jung Wien group, Salten had been sympathetic to Theodor Herzl's Zionist vision. Taking this into account, Reitter suggests that Bambi could be read as a parable of the persecution of the Jews with the wise Old Prince, Bambi's father and mentor, as a stand-in for Herzl. Though Reitter touches on this theme in his afterword to the new translation (which [End Page 134] he urged Damion Searls to take on), he is more convincing when he reminds the reader that Salten's primary intention was to "humanize animals" and evoke sympathy for the way they were treated. A challenge for the translator, Bambi is an ambitious novel going far beyond a tale of a young deer's life from birth to maturity. What Salten conveys in a variety of tonalities is the struggle for survival of all the animals in the forest. He illuminates the physical demands of the changing seasons, the shifts from plenitude to famine, and the overarching fear of the deadly incursions of man. Salten's animals speak—each in a version of their own tongue. A chattering chorus of commentary by birds, smaller beasts, and occasionally insects accompanies the action throughout. Bambi's own inner life moves the narrative forward. His is a bewildered voice confused by new experiences and the instincts that propel him. Clarity comes from his father, the Old Prince of the forest, who helps decipher Bambi's drives and discoveries for him. Although Searls's translation maintains the narrative flow of the German, there are three particular problems throughout the text. These are omissions of key words, infelicities of usage, and rare but crucial misinter
《小鹿斑比，还是森林里的生活》作者:菲利克斯·索尔滕莫妮卡·施特劳斯作者:Damion Searls，后记:Paul Reitter。纽约:纽约书评，2022。由于迪斯尼动画经久不衰的吸引力，“小鹿斑比”已经成为家喻户晓的名字。菲利克斯·萨尔滕(Felix Salten) 1923年出版的小说1928年的英文版最近版权失效，因此不可避免地会出现新的英文译本。令人惊讶的是，在2022年，不是一个，而是两个新译本相继出版。普林斯顿大学出版社率先推出了杰克·齐普斯的《小鹿斑比:森林生活的故事》，并于今年2月出版。这本精装书包括Zipes的长篇介绍和Alenka Sottler的插图(参见我在JAS 56.1, Spring 2023)。2022年9月，《纽约书评》(New York Review of Books)推出了自己的版本。一本平装书更简单明了——甚至连章节编号都没有——由达米安·塞尔斯翻译，保罗·瑞特作了简短的后记。2015年，瑞特教授出版了一本书，书名颇具挑衅性，名为《小鹿斑比的犹太根源和其他关于德国犹太文化的文章》(布卢姆斯伯里出版社)。在他关于萨尔滕的文章中，他指出，与荣格·维恩小组的大多数其他犹太成员不同，萨尔滕一直同情西奥多·赫茨尔的犹太复国主义愿景。考虑到这一点，瑞特建议，小鹿斑比可以被解读为一个犹太人受迫害的寓言，而聪明的老王子，小鹿斑比的父亲和导师，则可以代替赫茨尔。尽管瑞特在新译本的后记中提到了这个主题(他敦促达米恩·塞尔斯(Damion Searls)承担这个主题)，但他提醒读者，萨尔滕的主要意图是“使动物人性化”，并唤起对它们被对待方式的同情，这一点更有说服力。《小鹿斑比》是一部雄心勃勃的小说，对译者来说是一个挑战，它远远超出了一只小鹿从出生到成熟的故事。Salten用不同的音调传达的是森林中所有动物为生存而进行的斗争。他阐明了季节变化对身体的需求，从丰饶到饥荒的转变，以及对人类致命入侵的压倒一切的恐惧。萨尔滕的动物们都在用自己的语言说话。一群叽叽喳喳的小鸟、小野兽，偶尔还有昆虫，在整个过程中都伴随着他们的评论。小鹿斑比自己的内心生活推动了故事的发展。他的声音被新的经历和驱使他的本能所迷惑。他的父亲——森林里的老王子——帮助他破译了小鹿斑比的动力和发现。虽然西尔斯的翻译保持了德语的叙事流畅性，但在整个文本中存在三个特别的问题。这些是关键词的遗漏，用法的错误，以及罕见但重要的误解，这些误解改变了作者的意图。前两个问题在第一章中已经很明显了，当爱管闲事的喜鹊忍不住问小鹿斑比疲惫不堪的妈妈关于她新生儿的问题时。索尔滕:所以，我想说的是，在德国，我们的世界是美好的，我们的世界是美好的。我发现他很好。[…]康恩是什么意思?塞尔斯:只是一个刚出生的婴儿，已经用自己的腿站起来了。我认为它很棒。他也能跑吗?如果没有那种合格的“高兴”(已经)，幽默就会降低一个档次。小鹿斑比的妈妈告诉喜鹊，她太忙了，没有听小鹿斑比在说什么。他飞走了。萨尔滕:埃尔斯特鞭笞达文。“愚蠢的人，”公爵夫人说，“愚蠢的人。”穆特先生说:“我知道了。”Sie fuhr fort das Neugeborene eifrig zu waschen。这是一项伟大的发明，它是由祖格发明的，它是一项伟大的发明，KÖRPERPFLEGE。Wärmende按摩和李伯成。喜鹊飞走了。愚蠢的家伙，她想。很好，但还是很愚蠢!母鹿几乎没有注意到她……
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906968
Reviewed by: "Glück, das mir verblieb": Ein Erich Wolfgang Korngold-Lesebuch ed. by Heide Stockinger Vincent Kling Heide Stockinger, ed., "Glück, das mir verblieb": Ein Erich Wolfgang Korngold-Lesebuch. Vienna: Böhlau, 2022. 232 pp. Heide Stockinger's edited collection "Glück, das mir verblieb": Ein Erich Wolfgang Korngold-Lesebuch, titled after "Marietta's Song" in Die tote Stadt, joins two biographies published in the 1990s, a recent concert review, and occasional other publications to reassess the life and work of a composer by turns extolled and scorned. The distance between the highs and lows of Korngold's reception calls for some background to contextualize the book under review. [End Page 116] Korngold's precocious compositional talent evoked serious comparisons to none other than Mozart. Major works in several demanding genres flowed with seeming ease from the adolescent composer's pen. His father Julius, Vienna's most influential music critic, injected himself harmfully, championing his son's talent with damaging aggressiveness. The senior Korngold was already mistrusted as a "Parteigänger statt Journalist," to quote the Wiener Zeitung (13 October 2020); "Die Schützenhilfe des Vaters war so massiv, dass die Familie ins Satirevisier von Karl Kraus geriet." Kraus's opinions were revered enough to cast a long shadow, admiration for the composer now tainted by his father's distasteful, even unethical pushiness. Kraus's condemnation was so crucial in shaping the Korngolds' reputation, at least in Vienna, that its omission in this book leaves a gap in understanding reception history. Nor did the younger Korngold's esteem increas when he became a Hollywood composer after his forced emigration at a time when writing "movie music" disqualified any composer from being taken seriously. Reviewing a performance of his violin concerto in those years, critic Irving Kolodin coined the glib tagline "more corn than gold." In his memoirs (Im Atem der Zeit), fellow composer Ernst Krenek pillories the father for turning his son into "ein gebrochener, desillusionierter Mann, der nichts aufweisen konnte als eine Anzahl unbedeutender, längst vergessener Filmmusiken." Accordingly, Korngold's large-scale Symphony in F-Sharp, completed in 1952, could not find performance in his lifetime and was long dismissed—although Dmitri Mitropoulos and Bruno Walter admired it (144)—as an overblown hodgepodge of recycled themes from his film scores. Until just recently, that is: the symphony was several times hailed as a masterpiece on a recent American tour by the Berlin Philharmonic under Kirill Petrenko, culminating in an ecstatic review by Alex Ross in The New Yorker (30 November 2022). Korngold's story is not one of an abrupt upgrading or sudden rescue from complete obscurity, however. As Kurt Arrer points out in "Eine gefeierte (Wieder)-Entdeckung," "Von einem völligen Vergessensein […] konnte eigentlich ohnehin nie die Rede sein" (161), as he traces the continuity in pe
由Heide Stockinger编辑的“gl ck, das mir verblieb”:Ein Erich Wolfgang Korngold-Lesebuch审查。维也纳:Böhlau, 2022。Heide Stockinger编辑的合集《glck, das mir verblieb》:Ein Erich Wolfgang Korngold-Lesebuch，以《城市之歌》(Die tote Stadt)中的“玛丽埃塔之歌”命名，加入了20世纪90年代出版的两本传记，最近的一篇音乐会评论，以及偶尔出版的其他出版物，以重新评估一位作曲家的生活和工作，时而受到赞扬，时而受到蔑视。人们对科恩戈尔德的评价有高有低，这就需要一些背景来将这本书置于书评中。科恩戈尔德早熟的作曲天赋让人不禁将其与莫扎特相提并论。几部要求很高的流派的主要作品似乎轻松地从这位青少年作曲家的笔下流出。他的父亲朱利叶斯(Julius)是维也纳最有影响力的音乐评论家，他给自己注射了有害的药物，以破坏性的侵略性来捍卫儿子的才能。引用《维也纳报》(Wiener Zeitung, 2020年10月13日)的话，老科恩戈尔德已经不被信任为“Parteigänger官方记者”;“德国战争如此大规模，德国家庭在讽刺德国卡尔·克劳斯。”克劳斯的观点给作曲家蒙上了一层长长的阴影，人们对他的钦佩现在被他父亲令人厌恶的、甚至是不道德的咄咄逼人所玷污。克劳斯的谴责对塑造科恩戈尔德一家的声誉至关重要，至少在维也纳是如此，以至于本书中遗漏了这一点，在理解接受史上留下了一个空白。在那个创作“电影音乐”使任何作曲家都不被重视的年代，小科恩戈尔德被迫移民后成为好莱坞作曲家，他的声望也没有增加。评论家欧文·科洛丁(Irving Kolodin)在回顾那些年他的小提琴协奏曲的演出时，创造了一句油腔滑调的口号:“玉米多于黄金。”在他的回忆录(Im Atem der Zeit)中，作曲家恩斯特·克伦克(Ernst Krenek)嘲笑父亲把儿子变成了“ein gebrochener, disusioniter Mann, der night aufweisen konnte als eine Anzahl unbedeuutender, längst vergessener Filmmusiken”。因此，科恩戈尔德于1952年完成的f调大型交响曲，在他的有生之年都没有被演奏过，并且长期被忽视——尽管德米特里·米特罗普洛斯和布鲁诺·沃尔特都很欣赏它(144)——因为它是他电影配乐中重复使用的主题的大杂烩。直到最近，在基里尔·佩特连科(Kirill Petrenko)领导下的柏林爱乐乐团最近的美国巡演中，这部交响曲多次被誉为杰作，并在亚历克斯·罗斯(Alex Ross)于《纽约客》(2022年11月30日)发表的一篇欣喜若狂的评论中达到高潮。然而，科恩戈尔德的故事并不是突然升级或突然从完全默默无闻中拯救出来的。正如库尔特·阿勒在《Eine gefeierte (Wieder)-Entdeckung》中指出的那样，“Von einem völligen Vergessensein[…]konnte eigentlich ohnehin nie die Rede sein”(161)，他追溯了几十年来科恩戈尔德作品的连续性，尽管“die Muskigeschichte[…]verlief anders[…]als der enttäuschte, ja ber die Nachkriegsentwicklung erbitterte Komponist im kalfornischen Exil gemeint hatte”(160)。科恩戈尔德的歌剧《城市之死》(Die tote Stadt)自1920年首演以来几乎一直在舞台上上演，毕竟，但一次引人注目的重新发现可能要追溯到2004年，当时萨尔茨堡艺术节在其“Österreichischer Exilkomponisten”系列中上演了一部新作品，并呈现了他其他一些很少听到的作品(阿勒160-69)。除了基于“增大化现实”技术的文章,在这本书中所做的贡献,根据封底文字,“legen不努尔死间的皮毛死Neubewertung冯Korngolds Kompositionen dar, sondern beziehen欧什盛帝国kulturelles Umfeld im ausgehenden Kaiserreich,死Aufbruchsstimmung去der Katastrophe des Ersten Weltkrieges和死立正judischer孔斯特勒1930年窝白尾海雕麻省理工学院静脉。”该合集以指挥小提琴协奏曲和《城市之歌》的指挥家西蒙娜·杨的欣赏开场，她表示很高兴科恩戈尔德的音乐“wieder einen festen Platz im Repertoire der internationalen Opern- und Konzerthäuser robert [hat]”(9)。编辑斯托金格在前言中概述了以下文章的内容，首先是科恩戈尔德的孙女凯瑟琳·哈伯德·科恩戈尔德的回忆(由伊迪丝·乌特卡翻译成德语)。一个专业的小提琴家和…
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Pub Date : 2023-09-01DOI: 10.1353/oas.2023.a906967
Reviewed by: Grete Meisel-Hess: The New Woman and the Sexual Crisis by Helga Thorson Scott Spector Helga Thorson, Grete Meisel-Hess: The New Woman and the Sexual Crisis. Women and Gender in German Studies 9. Rochester, NY: Camden House, 2022. 278 pp. In terms of the scope and originality of her contribution, Grete Meisel-Hess is a key figure in fin-de-siècle feminism, although she has hardly been recognized as such. One thing that Helga Thorson's new book, Grete Meisel-Hess: The New Woman and the Sexual Crisis, makes evident is how widely known Meisel-Hess was in her own lifetime and how much at the heartbeat of the shifting thinking of the period she remained in the first two decades of the twentieth century. A monograph in English dedicated specifically to her life and work was in this sense very much in order. The book is not chiefly a biography but a recounting of Meisel-Hess's varied cultural production (literary, scientific, and polemical) in the broad context of the movements, debates, and ambivalences of her time. One of this account's great strengths is the convincing [End Page 114] way it braids together these cultural contexts with Meisel-Hess's feminist and sociological thinking, her belletristic writing, and her life. In doing so, Thorson makes several strong and interlocking arguments. Meisel-Hess's intellectual disposition was strongly oriented toward the then rising idea of monism, or the unity of seemingly disparate things and refusal of essential binaries such as that of the ideal and the material; this was the ground of a potentially radical reconfiguration of gender relations. Like many others of her epoch, she was swept up in a sense that humanity was on the brink of an epic shift of ways of living to correspond with (or catch up to) new modes of understanding emergent in the last third of the previous century. Modernism (die Moderne was a term that encompassed this term as well as "modernity") promised to realize this potential; at the same time, the ways in which the social order was broken were seen to be a result of the rapid changes of modernity. Meisel-Hess's commitment to a major shift forward was an investment in the promise of the Moderne. In Thorson's reading, Meisel-Hess's Moderne, her feminism, and her Jewishness were of a piece. True to Meisel-Hess's own monist predilections, Thorson sees a breakdown of the boundary between author and work, such that the subject's own life is merged with her cultural contribution. The oft-discussed "New Woman" of the period is, in Thorson's book, both a discursive figure and an agent of change. Meisel-Hess, according to Thorson, represents and critically appraises the figure even as she fashions herself as a "fervent" New Woman with agency. In an equally provocative move, Thorson argues that the "sexual crisis" of Meisel-Hess's best-known title is not just an object of her analysis and critique, it comes to be the condition that entraps her and leads to her own demise. After a co
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