A SCHOLARLY BOOK REPOSITORY
Bringing Salieri, his operas, and eighteenth-century Viennese theater vividly to life, Rice places Salieri where he belongs: no longer lurking in Mozart's shadow, but standing proudly among the leading opera composers of his age. Rice's research in the archives of Vienna and close study of his scores reveal Salieri to have been a prolific, versatile, and adventurous composer for the stage. Within the extraordinary variety of Salieri's approaches to musical dramaturgy, Rice identifies certain habits of orchestration, melodic style, and form as distinctively "Salierian"; others are typical of Viennese opera in general. A generous selection of excerpts from Salieri's works, most previously unpublished, will give readers a fuller appreciation for his musical style—and its influence on Mozart—than was previously possible.
Convened following Napoleon’s defeat in 1814, the Congress of Vienna is remembered as much for the pageantry of the royals and elites who gathered there as for the landmark diplomatic agreements they brokered. Historians have nevertheless generally dismissed these spectacular festivities as window dressing when compared with the serious, behind-the-scenes maneuverings of sovereigns and statesmen. Brian Vick finds this conventional view shortsighted, seeing these instead as two interconnected dimensions of politics. Examining them together yields a more complete picture of how one of the most important diplomatic summits in history managed to redraw the map of Europe and the international system of the nineteenth and twentieth centuries.
The Congress of Vienna investigates the Vienna Congress within a broad framework of influence networks that included unofficial opinion-shapers of all kinds, both men and women: artists and composers, entrepreneurs and writers, hosts and attendees of fashionable salons. In addition to high-profile negotiation and diplomatic wrangling over the post-Napoleonic fates of Germany, Italy, and Poland, Vick brings into focus other understudied yet significant issues: the African slave trade, Jewish rights, and relations with Islamic powers such as the Ottoman Empire and Barbary Corsairs. Challenging the usual portrayal of a reactionary Congress obsessed with rolling back Napoleon’s liberal reforms, Vick demonstrates that the Congress’s promotion of limited constitutionalism, respect for religious and nationality rights, and humanitarian interventions was influenced as much by liberal currents as by conservative ones.
In The Contested Crown, Khadija von Zinnenburg Carroll meditates on the case of a spectacular feather headdress believed to have belonged to Montezuma, emperor of the Aztecs. This crown has long been the center of political and cultural power struggles, and it is one of the most contested museum claims between Europe and the Americas. Taken to Europe during the conquest of Mexico, it was placed at Ambras Castle, the Habsburg residence of the author’s ancestors, and is now in Vienna’s Welt Museum. Mexico has long requested to have it back, but the Welt Museum uses science to insist it is too fragile to travel.
Both the biography of a cultural object and a history of collecting and colonizing, this book offers an artist’s perspective on the creative potentials of repatriation. Carroll compares Holocaust and colonial ethical claims, and she considers relationships between indigenous people, international law and the museums that amass global treasures, the significance of copies, and how conservation science shapes collections. Illustrated with diagrams and rare archival material, this book brings together global history, European history, and material culture around this fascinating object and the debates about repatriation.
Extending this investigation, the author provides an explicit analysis of Bolton Borough Council’s moves towards establishing a cultural sector in the town centre, with references to previous funding models employed by Birmingham City Council and the British Museum. The book offers a concise illustration of how cultural practice is maintained and expanded within an urban environment. This single volume, packed with detail, can be used in higher education courses to support the study of cultural policy, management and regeneration.
Boyer argues that understanding the unprecedented success that this dissident bourgeois political group had in transforming the basic tenets of political life is crucial to understanding the history of the Central European state and the ways in which it was slowly undermined by popular electoral politics. The movement's efforts to save the Austrian Empire by trying to create an economically integrated but ethnically pluralistic state are particularly enlightening today in the shadow of ethnic violence in Sarajevo, where began the end of the Austrian Empire in 1914.
The most comprehensive account of any mass political movement in late-nineteenth century Central Europe, this two- volume work is crucial reading for anyone interested in Hapsburg history, German history or the history of social democracy.
In Embodied Histories, historian Katya Motyl explores the everyday acts of defiance that formed the basis for new, unconventional forms of womanhood in early twentieth-century Vienna. The figures Motyl brings back to life defied gender conformity, dressed in new ways, behaved brashly, and expressed themselves freely, overturning assumptions about what it meant to exist as a woman.
Motyl delves into how these women inhabited and reshaped the urban landscape of Vienna, an increasingly modern, cosmopolitan city. Specifically, she focuses on the ways that easily overlooked quotidian practices such as loitering outside cafés and wandering through city streets helped create novel conceptions of gender. Exploring the emergence of a new womanhood, Embodied Histories presents a new account of how gender, the body, and the city merge with and transform each other, showing how our modes of being are radically intertwined with the spaces we inhabit.
According to Luft, Otto Weininger viewed human beings as bisexual and applied this theme to issues of creativity and morality. Robert Musil developed a creative ethics that was closely related to his open, flexible view of sexuality and gender. And Heimito von Doderer portrayed his own sexual obsessions as a way of understanding the power of total ideologies, including his own attraction to National Socialism. For Luft, the significance of these three writers lies in their understandings of eros and inwardness and in the roles that both play in ethical experience and the formation of meaningful relations to the world-a process that continues to engage artists, writers, and thinkers today.
Eros and Inwardness in Vienna will profoundly reshape our understanding of Vienna's intellectual history. It will be important for anyone interested in Austrian or German history, literature, or philosophy.
An intellectual biography that critically engages Adolf Jellinek’s scholarship and communal activities
Adolf Jellinek (1821–1893), the Czech-born, German-educated, liberal chief rabbi of Vienna, was the most famous Jewish preacher in Central Europe in the second half of the nineteenth century. As an innovative rhetorician, Jellinek helped mold and define the modern synagogue sermon into an instrument for expressing Jewish religious and ethical values for a new era. As a historian, he made groundbreaking contributions to the study of the Zohar and medieval Jewish mysticism. Jellinek was emblematic of rabbi-as-scholar-preacher during the earliest, formative years of communal synagogues as urban religious space. In a world that was rapidly losing the felt and remembered past of premodern Jewish society, the rabbi, with Jellinek as prime exemplar, took hold of the Sabbath sermon as an instrument to define and mold Judaism and Jewish values for a new world.
Here is Vienna, hosting a congress in 1815 that would redraw national boundaries and reconfigure the European community for a full century. A snapshot captures two of its citizens, each seemingly oblivious to this momentous political environment: Franz Schubert, not yet twenty years old and in the midst of his most prolific year—some 140 songs, four operas, and much else; and Ludwig van Beethoven, struggling through a midlife crisis that would yield the song cycle An die ferne Geliebte, two strikingly original cello sonatas, and the two formidable sonatas for the “Hammerklavier,” opp. 101 and 106. In Richard Kramer’s compelling reading, each seemed to be composing “against”—Beethoven, against the Enlightenment; Schubert, against the looming presence of the older composer even as his own musical imagination took full flight.
From the Ruins of Enlightenment begins in 1815, with the discovery of two unique projects: Schubert’s settings of the poems of Ludwig Hölty in a fragmentary cycle and Beethoven’s engagement with a half dozen poems by Johann Gottfried Herder. From there, Kramer unearths previously undetected resonances and associations, illuminating the two composers in their “lonely and singular journeys” through the “rich solitude of their music.”
Spanning both the history of the modern West and his own five-decade journey as a historian, Gerald Stourzh’s sweeping new essay collection covers the same breadth of topics that has characterized his career—from Benjamin Franklin to Gustav Mahler, from Alexis de Tocqueville to Charles Beard, from the notion of constitution in seventeenth-century England to the concept of neutrality in twentieth-century Austria.
This storied career brought him in the 1950s from the University of Vienna to the University of Chicago—of which he draws a brilliant picture—and later took him to Berlin and eventually back to Austria. One of the few prominent scholars equally at home with U.S. history and the history of central Europe, Stourzh has informed these geographically diverse experiences and subjects with the overarching themes of his scholarly achievement: the comparative study of liberal constitutionalism and the struggle for equal rights at the core of Western notions of free government. Composed between 1953 and 2005 and including a new autobiographical essay written especially for this volume, From Vienna to Chicago and Back will delight Stourzh fans, attract new admirers, and make an important contribution to transatlantic history.
Paul Kammerer had spent years gathering zoological evidence on whether environmental change could alter heredity, using his research as the scientific foundation for a new kind of eugenics—one that challenged the racism growing in mainstream eugenics. By 1918, he drew on the pioneering research of two colleagues who studied how secretions shaped sexual attributes to argue that hormones could alter genes. After 1920, Julius Tandler employed a similar concept to restore the health and well-being of Vienna's war-weary citizens. Both men rejected the rigidly acting genes of the new genetics and instead crafted a biology of flexible heredity to justify eugenic reforms that respected human rights. But the interplay of science and personality with the social and political rise of fascism and with antisemitism undermined their ideas, leading to their spectacular failure.
Authoritative and insightful, The Italian Opera Singers in Mozart's Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today.
Despite much study of Viennese culture and Judaism between 1890 and 1914, little research has been done to examine the role of Jewish women in this milieu. Rescuing a lost legacy, Jewish Women in Fin de Siècle Vienna explores the myriad ways in which Jewish women contributed to the development of Viennese culture and participated widely in politics and cultural spheres.
Areas of exploration include the education and family lives of Viennese Jewish girls and varying degrees of involvement of Jewish women in philanthropy and prayer, university life, Zionism, psychoanalysis and medicine, literature, and culture. Incorporating general studies of Austrian women during this period, Alison Rose also presents significant findings regarding stereotypes of Jewish gender and sexuality and the politics of anti-Semitism, as well as the impact of German culture, feminist dialogues, and bourgeois self-images.
As members of two minority groups, Viennese Jewish women nonetheless used their involvement in various movements to come to terms with their dual identity during this period of profound social turmoil. Breaking new ground in the study of perceptions and realities within a pivotal segment of the Viennese population, Jewish Women in Fin de Siècle Vienna applies the lens of gender in important new ways.
Viennese modernism is often described in terms of a fin-de-siècle fascination with the psyche. But this stereotype of the movement as essentially cerebral overlooks a rich cultural history of the body. The Naked Truth, an interdisciplinary tour de force, addresses this lacuna, fundamentally recasting the visual, literary, and performative cultures of Viennese modernism through an innovative focus on the corporeal.
Alys X. George explores the modernist focus on the flesh by turning our attention to the second Vienna medical school, which revolutionized the field of anatomy in the 1800s. As she traces the results of this materialist influence across a broad range of cultural forms—exhibitions, literature, portraiture, dance, film, and more—George brings into dialogue a diverse group of historical protagonists, from canonical figures such as Egon Schiele, Arthur Schnitzler, Joseph Roth, and Hugo von Hofmannsthal to long-overlooked ones, including author and doctor Marie Pappenheim, journalist Else Feldmann, and dancers Grete Wiesenthal, Gertrud Bodenwieser, and Hilde Holger. She deftly blends analyses of popular and “high” culture, laying to rest the notion that Viennese modernism was an exclusively male movement. The Naked Truth uncovers the complex interplay of the physical and the aesthetic that shaped modernism and offers a striking new interpretation of this fascinating moment in the history of the West.
Trümpi looks first at the decades preceding National Socialist rule, when the competing orchestras, whose rivalry mirrored a larger rivalry between Berlin and Vienna, were called on to represent “superior” Austro-German music and were integrated into the administrative and social structures of their respective cities—becoming vulnerable to political manipulation in the process. He then turns to the Nazi period, when the orchestras came to play a major role in cultural policies. As he shows, the philharmonics, in their own unique ways, strengthened National Socialist dominance through their showcasing of Germanic culture in the mass media, performances for troops and the general public, and fictional representations in literature and film. Accompanying these propaganda efforts was an increasing politicization of the orchestras, which ranged from the dismissal of Jewish members to the programming of ideologically appropriate repertory—all in the name of racial and cultural purity.
Richly documented and refreshingly nuanced, The Political Orchestra is a bold exploration of the ties between music and politics under fascism.
"Offers a comprehensive, multicausal study of the rise of Christian Socialism in Vienna, that phenomenon which was experienced nowhere else in urban Central Europe and which culminated in the famous clash between the Austrian establishment and the colourful, domineering lead of the movement, Karl, Lueger."—R.J.W. Evans, History
"Boyer's analysis is masterful in terms of research, exposition, and organization. His use of available economic data is judicious, and his sense of the social structure of late nineteenth-century Vienna is formidable."—William A. Jenks, American Historical Review
"To understand Viennese and even imperial politics in the latter half of the nineteenth century, Boyer's book is absolutely essential.""—Robert Wegs, Review of Politics
Merchants’ shouts, jostling strangers, aromas of fresh fish and flowers, plodding horses, and friendly chatter long filled the narrow, crowded streets of the European city. As they developed over many centuries, these spaces of commerce, communion, and commuting framed daily life. At its heyday in the 1800s, the European street was the place where social worlds connected and collided.
Brian Ladd recounts a rich social and cultural history of the European city street, tracing its transformation from a lively scene of trade and crowds into a thoroughfare for high-speed transportation. Looking closely at four major cities—London, Paris, Berlin, and Vienna—Ladd uncovers both the joys and the struggles of a past world. The story takes us up to the twentieth century, when the life of the street was transformed as wealthier citizens withdrew from the crowds to seek refuge in suburbs and automobiles. As demographics and technologies changed, so did the structure of cities and the design of streets, significantly shifting our relationships to them. In today’s world of high-speed transportation and impersonal marketplaces, Ladd leads us to consider how we might draw on our history to once again build streets that encourage us to linger.
By unearthing the vivid descriptions recorded by amused and outraged contemporaries, Ladd reveals the changing nature of city life, showing why streets matter and how they can contribute to public life.
Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.
Vienna in the Age of Uncertainty traces the vital and varied roles of science through the story of three generations of the eminent Exner family, whose members included Nobel Prize–winning biologist Karl Frisch, the teachers of Freud and of physicist Erwin Schrödinger, artists of the Vienna Secession, and a leader of Vienna’s women’s movement. Training her critical eye on the Exners through the rise and fall of Austrian liberalism and into the rise of the Third Reich, Deborah R. Coen demonstrates the interdependence of the family’s scientific and domestic lives, exploring the ways in which public notions of rationality, objectivity, and autonomy were formed in the private sphere. Vienna in the Age of Uncertainty presents the story of the Exners as a microcosm of the larger achievements and tragedies of Austrian political and scientific life in the late nineteenth and early twentieth centuries.
In Violent Sensations, Scott Spector explores how the protagonists of these stories—people at society’s margins—were given new identities defined by the groundbreaking sciences of psychiatry, sexology, and criminology, and how this expert knowledge was then transmitted to an eager public by journalists covering court cases and police investigations. The book analyzes these sexual and criminal subjects on three levels: first, the expertise of scientists, doctors, lawyers, and scholars; second, the sensationalism of newspaper scandal and pulp fiction; and, third, the subjective ways that the figures themselves came to understand who they were. Throughout, Spector answers important questions about how fantasies of extreme depravity and bestiality figure into the central European self-image of cities as centers of progressive civilization, as well as the ways in which the sciences of social control emerged alongside the burgeoning emancipation of women and homosexuals.
Vienna appears in cinema as, among other things, a historical crossroads, a source of great music, and a site of world-famous architecture ranging from gothic cathedrals and baroque palaces to landmark modern structures. A panorama that encompasses all these perspectives, World Film Locations: Vienna sheds new light on the movies shot in the former imperial capital—and on the city itself.
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