Pub Date : 2022-01-01DOI: 10.5699/austrianstudies.27.2019.0210
Imke K. Meyer
Abstract:In Schnitzler's narrative 'Die Toten schweigen' [The Dead Are Silent, 1897], the repeated mentioning of specific Viennese streets, landmarks, and what one might call the building blocks of urbanity stands out starkly in a narrative otherwise dominated by figural narrative situations. Schnitzler's story of doomed lovers is mapped onto the topography of an imperial city that mirrors the instability of an empire heading towards a crisis both accidental and inevitable. As it captures the anxieties of those who hasten through urban landscapes that have forfeited the stability of their temporal and material structures, Schnitzler's narrative seems to anticipate the end of empire and the dawning of the nation-state.
{"title":"Anxiety and the Imperial City: Arthur Schnitzler's 'Die Toten schweigen'","authors":"Imke K. Meyer","doi":"10.5699/austrianstudies.27.2019.0210","DOIUrl":"https://doi.org/10.5699/austrianstudies.27.2019.0210","url":null,"abstract":"Abstract:In Schnitzler's narrative 'Die Toten schweigen' [The Dead Are Silent, 1897], the repeated mentioning of specific Viennese streets, landmarks, and what one might call the building blocks of urbanity stands out starkly in a narrative otherwise dominated by figural narrative situations. Schnitzler's story of doomed lovers is mapped onto the topography of an imperial city that mirrors the instability of an empire heading towards a crisis both accidental and inevitable. As it captures the anxieties of those who hasten through urban landscapes that have forfeited the stability of their temporal and material structures, Schnitzler's narrative seems to anticipate the end of empire and the dawning of the nation-state.","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"27 1","pages":"210 - 223"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Generation, Gender and Identity in German-Jewish Literature after 1989 by Daphne Maria Seemann (review)","authors":"Maria Roca Lizarazu","doi":"10.1353/aus.2020.0024","DOIUrl":"https://doi.org/10.1353/aus.2020.0024","url":null,"abstract":"","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"28 1","pages":"218 - 220"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48669435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This paper examines the final period in the life of David Josef Bach: the eight years he spent in British exile from 1939 until 1947. Despite straitened circumstances and failing health, Bach participated wholeheartedly in the activities of the Austrian emigration in Britain: those of the Union of Austrian Journalists in Great Britain, the Austrian PEN-Club in Exile and, above all, the Austrian Labour Club, set up by exiled Austrian Socialists. After the war, Bach resumed contact with representatives of musical life in Austria and even made publication plans there. However, time was not on his side: he died in exile, an impoverished and relatively forgotten figure. Dieser Beitrag beschreibt die letzten Jahre (1939–1947) im Leben David Josef Bachs, die er im britischen Exil verbrachte. Trotz ärmlicher Verhältnisse und zunehmender Gesundheitsprobleme nahm Bach lebhaft an den Aktivitäten der österreichischen Emigration in Großbritannien teil: dazu gehörten die Union of Austrian Journalists in Great Britain, der österreichische PEN-Club im Exil und vor allem der von exilierten österreichischen Sozialisten gegründete Austrian Labour Clubs. Nach dem Krieg nahm Bach Kontakt mit Vertretern des österreichischen Musiklebens auf und plante sogar, seine Schriften in Österreich wieder veröffentlichen zu lassen. Aber dafür blieb ihm keine Zeit: er starb, verarmt und fast vergessen, im Exil.
摘要:本文考察了大卫·约瑟夫·巴赫生命的最后阶段:从1939年到1947年，他在英国流亡了八年。尽管境况窘迫，健康状况每况愈下，巴赫还是全心全意地参加了奥地利移民到英国的活动:在英国的奥地利记者联盟、奥地利流亡笔会，尤其是流亡的奥地利社会主义者建立的奥地利劳工俱乐部。战后，巴赫恢复了与奥地利音乐生活代表的联系，甚至在那里制定了出版计划。然而，时间并不站在他这边:他死于流亡，一个贫穷和相对被遗忘的人物。dier Beitrag beschreibt die letzten Jahre (1939-1947) in Leben David Josef bach, die er in british schen Exil verbrachte。Trotz ärmlicher Verhältnisse und zunehmender Gesundheitsprobleme nahm Bach lebhaft and den Aktivitäten der österreichischen在英国的奥地利记者联盟:dazu gehörten在英国的奥地利记者联盟，der österreichische PEN-Club im Exil und vor allem der von exilierten österreichischen奥地利劳工俱乐部。我不知道该怎么做，因为我不知道该怎么做，因为我不知道该怎么做，因为我不知道该怎么做。阿伯尔·达芙琳·齐泽尔:“我的心，我的心，我的心，我的心。”
{"title":"'Nach soviel Glanz': David Josef Bach in British Exile","authors":"Charmian Brinson","doi":"10.1353/aus.2006.0016","DOIUrl":"https://doi.org/10.1353/aus.2006.0016","url":null,"abstract":"Abstract:This paper examines the final period in the life of David Josef Bach: the eight years he spent in British exile from 1939 until 1947. Despite straitened circumstances and failing health, Bach participated wholeheartedly in the activities of the Austrian emigration in Britain: those of the Union of Austrian Journalists in Great Britain, the Austrian PEN-Club in Exile and, above all, the Austrian Labour Club, set up by exiled Austrian Socialists. After the war, Bach resumed contact with representatives of musical life in Austria and even made publication plans there. However, time was not on his side: he died in exile, an impoverished and relatively forgotten figure. Dieser Beitrag beschreibt die letzten Jahre (1939–1947) im Leben David Josef Bachs, die er im britischen Exil verbrachte. Trotz ärmlicher Verhältnisse und zunehmender Gesundheitsprobleme nahm Bach lebhaft an den Aktivitäten der österreichischen Emigration in Großbritannien teil: dazu gehörten die Union of Austrian Journalists in Great Britain, der österreichische PEN-Club im Exil und vor allem der von exilierten österreichischen Sozialisten gegründete Austrian Labour Clubs. Nach dem Krieg nahm Bach Kontakt mit Vertretern des österreichischen Musiklebens auf und plante sogar, seine Schriften in Österreich wieder veröffentlichen zu lassen. Aber dafür blieb ihm keine Zeit: er starb, verarmt und fast vergessen, im Exil.","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"14 1","pages":"311 - 325"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46166703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Austrian Cinema. A History by Robert von Dassanowsky (review)","authors":"Allyson Fiddler","doi":"10.1353/aus.2006.0023","DOIUrl":"https://doi.org/10.1353/aus.2006.0023","url":null,"abstract":"","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"14 1","pages":"377 - 379"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46734167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:To some readers, "The Man without Qualities" is self-evidently a satire on the society of late Habsburg Vienna and of its intellectual attitudes; for others its satirical features are subservient to other aspects. In recent decades, perceptions of the work in both the German- and the English-speaking world have become assimilated to conceptions of the 'postmodern', resulting in a downplaying of its sense of satirical and ethical purpose. This article reviews the significance of the satirical qualities in Musil's text, noting their affinity with the writings of Karl Kraus, and then proposes a basis for a critical assessment of the claim that "The Man without Qualities" is a 'postmodern' text. Die Frage, ob der Aspekt der Satire im "Mann ohne Eigenschaften" als Ober- oder Unterton zu gelten habe, hat bereits die frühe Musilforschung beschäftigt. Seit den 1980er Jahren wird die wissenschaftliche Wahrnehmung des Werkes dagegen — sowohl in der deutsch- als auch in der englischsprachigen Welt — weitgehend den Kategorien der 'Postmoderne' untergeordnet, was mitunter zu einer Herunterspielung von dessen satirischen und ethischen Belangen führte. In diesem Artikel wird — unter Hinweis auf die offenkundige Affinität zwischen Musil und Karl Kraus — die Bedeutung der satirischen Elemente im größeren Zusammenhang von Musils Text überprüft und eine theoretische Grundlage für die kritische Revision von dessen Einordnung als (proto) 'postmodernen' Text vorgeschlagen.
{"title":"Looking beyond Satire in Musil's \"Der Mann ohne Eigenschaften\"","authors":"David A. Midgley","doi":"10.1353/aus.2007.0017","DOIUrl":"https://doi.org/10.1353/aus.2007.0017","url":null,"abstract":"Abstract:To some readers, \"The Man without Qualities\" is self-evidently a satire on the society of late Habsburg Vienna and of its intellectual attitudes; for others its satirical features are subservient to other aspects. In recent decades, perceptions of the work in both the German- and the English-speaking world have become assimilated to conceptions of the 'postmodern', resulting in a downplaying of its sense of satirical and ethical purpose. This article reviews the significance of the satirical qualities in Musil's text, noting their affinity with the writings of Karl Kraus, and then proposes a basis for a critical assessment of the claim that \"The Man without Qualities\" is a 'postmodern' text. Die Frage, ob der Aspekt der Satire im \"Mann ohne Eigenschaften\" als Ober- oder Unterton zu gelten habe, hat bereits die frühe Musilforschung beschäftigt. Seit den 1980er Jahren wird die wissenschaftliche Wahrnehmung des Werkes dagegen — sowohl in der deutsch- als auch in der englischsprachigen Welt — weitgehend den Kategorien der 'Postmoderne' untergeordnet, was mitunter zu einer Herunterspielung von dessen satirischen und ethischen Belangen führte. In diesem Artikel wird — unter Hinweis auf die offenkundige Affinität zwischen Musil und Karl Kraus — die Bedeutung der satirischen Elemente im größeren Zusammenhang von Musils Text überprüft und eine theoretische Grundlage für die kritische Revision von dessen Einordnung als (proto) 'postmodernen' Text vorgeschlagen.","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"15 1","pages":"111 - 96"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47193830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Hugo von Hofmannsthal's indebtedness to English literature is well known and has received significant critical attention. His reception in England is a less familiar topic. This article sketches the history of translations of Hofmannsthal's works into English in Britain, examines unpublished correspondence with English writers and actors such as Arthur Symons, Harley Granville Barker and John Martin Harvey, and analyses early London performances of "Oedipus and the Sphinx" and "Everyman". It ends with a review of broadcasts of Hofmannsthal by the BBC Third Programme between 1955 and 1986 and of Michael Hamburger's role as champion of his works. Die englische Literatur hatte bekanntlich einen großen Einfluß auf die Werke Hugo von Hofmannsthals und bedeutende kritische Studien sind diesem Thema gewidmet worden. Seine Rezeption in England ist weniger bekannt. Dieser Artikel skizziert deshalb die Geschichte der britischen Übersetzungen von Hofmannsthals Werken ins Englische, untersucht unveröffentlichte Briefwechsel mit englischen Schriftstellern und Schauspielern wie Arthur Symons, Harley Granville Barker und John Martin Harvey, und analysiert frühe Londoner Aufführungen von "Ödipus und die Sphinx" und "Jedermann". Er schließt mit einem Bericht über Werke von Hofmannsthal, die zwischen 1955 und 1986 im 'Third Programme' des BBC-Rundfunks gesendet wurden und mit einer kurzen Einschätzung der Bedeutung von Michael Hamburger als Hofmannsthal-Beförderer in England.
{"title":"Hofmannsthal and England","authors":"R. Vilain","doi":"10.1353/aus.2007.0028","DOIUrl":"https://doi.org/10.1353/aus.2007.0028","url":null,"abstract":"Abstract:Hugo von Hofmannsthal's indebtedness to English literature is well known and has received significant critical attention. His reception in England is a less familiar topic. This article sketches the history of translations of Hofmannsthal's works into English in Britain, examines unpublished correspondence with English writers and actors such as Arthur Symons, Harley Granville Barker and John Martin Harvey, and analyses early London performances of \"Oedipus and the Sphinx\" and \"Everyman\". It ends with a review of broadcasts of Hofmannsthal by the BBC Third Programme between 1955 and 1986 and of Michael Hamburger's role as champion of his works. Die englische Literatur hatte bekanntlich einen großen Einfluß auf die Werke Hugo von Hofmannsthals und bedeutende kritische Studien sind diesem Thema gewidmet worden. Seine Rezeption in England ist weniger bekannt. Dieser Artikel skizziert deshalb die Geschichte der britischen Übersetzungen von Hofmannsthals Werken ins Englische, untersucht unveröffentlichte Briefwechsel mit englischen Schriftstellern und Schauspielern wie Arthur Symons, Harley Granville Barker und John Martin Harvey, und analysiert frühe Londoner Aufführungen von \"Ödipus und die Sphinx\" und \"Jedermann\". Er schließt mit einem Bericht über Werke von Hofmannsthal, die zwischen 1955 und 1986 im 'Third Programme' des BBC-Rundfunks gesendet wurden und mit einer kurzen Einschätzung der Bedeutung von Michael Hamburger als Hofmannsthal-Beförderer in England.","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"15 1","pages":"130 - 154"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47203544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his memoir Last Waltz in Vienna (1981), Austrian émigré George Clare describes his family’s apartments and furnishings almost as lovingly as he does his parents and relatives. In explaining his emotional attachment to the Viennese interiors of his youth, Clare notes that his urge to visit his grandmother’s apartment the day after the Anschluss ‘shows not only that the old lady meant quite a lot to me, but also that I saw in her and her surroundings a permanence more firmly established than that of our own home’.1 In describing the furnishings, Clare artfully elaborates upon them down to the last detail, including their ‘white wood with carved scrolls, flowers and bows’ and the ‘inlaid wood and ormolu-decorated drawers and corners, as well as a big reproduction of a side-board for the dining room’ and ‘a soft blue curtain with embroidered gold leaves’.2 After the Anschluss, Clare’s parents made considerable efforts to ship their household items to a warehouse in Paris. The couple found refuge in a small village in the south of France, while Clare secured a place in England. Though in immediate danger, his parents focused their energy on ensuring the ability of their son to reclaim the family furniture. In fitful, anguished letters, Clare’s mother pleaded with him to remember the warehouse number. In a poignantly recounted scene, Clare describes a note hastily scribbled by his father and thrown from the train as he was being deported, so desperately anxious was he to enable his son to retrieve the furnishings. The last written words Clare possesses from his father are: ‘I beg you to pay the depot rental of fr. 215 per month [. . .]. If possible I want to save everything for my son’.3
{"title":"Repossessing the Past? Property, Memory and Austrian Jewish Narrative Histories","authors":"Lisa S. Silverman","doi":"10.1353/aus.2003.0031","DOIUrl":"https://doi.org/10.1353/aus.2003.0031","url":null,"abstract":"In his memoir Last Waltz in Vienna (1981), Austrian émigré George Clare describes his family’s apartments and furnishings almost as lovingly as he does his parents and relatives. In explaining his emotional attachment to the Viennese interiors of his youth, Clare notes that his urge to visit his grandmother’s apartment the day after the Anschluss ‘shows not only that the old lady meant quite a lot to me, but also that I saw in her and her surroundings a permanence more firmly established than that of our own home’.1 In describing the furnishings, Clare artfully elaborates upon them down to the last detail, including their ‘white wood with carved scrolls, flowers and bows’ and the ‘inlaid wood and ormolu-decorated drawers and corners, as well as a big reproduction of a side-board for the dining room’ and ‘a soft blue curtain with embroidered gold leaves’.2 After the Anschluss, Clare’s parents made considerable efforts to ship their household items to a warehouse in Paris. The couple found refuge in a small village in the south of France, while Clare secured a place in England. Though in immediate danger, his parents focused their energy on ensuring the ability of their son to reclaim the family furniture. In fitful, anguished letters, Clare’s mother pleaded with him to remember the warehouse number. In a poignantly recounted scene, Clare describes a note hastily scribbled by his father and thrown from the train as he was being deported, so desperately anxious was he to enable his son to retrieve the furnishings. The last written words Clare possesses from his father are: ‘I beg you to pay the depot rental of fr. 215 per month [. . .]. If possible I want to save everything for my son’.3","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"11 1","pages":"138 - 153"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47644036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.5699/austrianstudies.27.2019.0058
R. Schor
Abstract:Liebelei [Dalliance, 1895], Schnitzler's unprecedented success at the Vienna Burgtheater, has gone down in theatre history as the Volksstück that confronted Viennese society with its own frailties. However, the play had a much wider range of effects than is generally assumed, for example with respect to the naturalist movement headed by Otto Brahm, who established Schnitzler as an integral part of Berlin's theatre world. In this context, Liebelei can be viewed as part of an evolving theatrical modernism, which, according to Toril Moi, began with the works of Henrik Ibsen. The article deploys Moi's thesis and her concept of the everyday, as derived from Stanley Cavell's interpretation of Wittgenstein, for an analysis of the dramatic dynamics of Liebelei.
{"title":"Going Home: The Everyday as a Space for (Dis-)Connection in Arthur Schnitzler's Liebelei","authors":"R. Schor","doi":"10.5699/austrianstudies.27.2019.0058","DOIUrl":"https://doi.org/10.5699/austrianstudies.27.2019.0058","url":null,"abstract":"Abstract:Liebelei [Dalliance, 1895], Schnitzler's unprecedented success at the Vienna Burgtheater, has gone down in theatre history as the Volksstück that confronted Viennese society with its own frailties. However, the play had a much wider range of effects than is generally assumed, for example with respect to the naturalist movement headed by Otto Brahm, who established Schnitzler as an integral part of Berlin's theatre world. In this context, Liebelei can be viewed as part of an evolving theatrical modernism, which, according to Toril Moi, began with the works of Henrik Ibsen. The article deploys Moi's thesis and her concept of the everyday, as derived from Stanley Cavell's interpretation of Wittgenstein, for an analysis of the dramatic dynamics of Liebelei.","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"27 1","pages":"58 - 73"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49276184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Am stürzenden Pfad. Gesammelte Gedichte. (Veröffentlichungen der Deutschen Akademie für Sprache und Dichtung, Darmstadt 76) by Franz Baermann Steiner, Jeremy Adler (review)","authors":"Katrin M. Kohl","doi":"10.1353/aus.2003.0035","DOIUrl":"https://doi.org/10.1353/aus.2003.0035","url":null,"abstract":"","PeriodicalId":41034,"journal":{"name":"Austrian Studies","volume":"11 1","pages":"235 - 236"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66400995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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