When I travelled to Vienna in May, I carried Hella Pick’s new book in my shoulder pack. I needed it. Schizophrenia and paranoia are registered citizens there, which is only natural. After all, Freud, Jung, and Frankl found it the perfect place for their practice, even if they themselves were infected by Austria. (I think here of an incident which happened many years ago. Rabbi Dow Marmur wrote Viktor Frankl and asked him to speak in London. No reply. He phoned the great psychiatrist. ‘You spelled my first name with a c and my last name with an e,’ said the great man; ‘I will not come.’ And he hung up.) The hang-ups continue. As my taxi passed the statue of the great general, the driver turned to me and said in all seriousness: ‘We need another Prinz Eugen to save us from the Turks!’ I could not agree.
A Book Review Essay
Albert H. Friedlander
Boycott, Scandals, and the Fight for Peace
Vienna in December 1952, he finds “a beautiful dead city with abandoned streets.” 1 The immediate postwar years of extreme hardship have now passed, Austria is in the process of being rebuilt. Caught between the Cold War powers, it is (from the American
Introducing Elisabeth Timm
for former foreign forced labourers that several German municipalities paid in the early 2000s. In 2004, I went to the University of Vienna where I worked until 2008 as a university assistant and until 2011 as an assistant professor at the Institute of
Since the 1980s faculty and visiting lecturers at the University of Vienna, have collaborated on and contributed to various study programs and publications in global history and international development. This article explores how the desire to make these writings accessible to a broad spectrum of reading publics has combined with a specific interest in writing emancipatory rather than conservative and affirmative history. I argue that some of the professional dangers associated with writing global history—sometimes read by, and often directed to, less specialist audiences—are much more universal problems of historiography than many would think. Historians with a globalist agenda tend to be particularly well equipped to deal with these problems. This article explores how a number of writings emerging from the Vienna context have handled these problems and sought to combine transparency with accessibility. It also discusses some of the institutional and political contexts that have sustained the particular features of Vienna Global History, and some of the more problematic or ambiguous traits and critical evaluations of the Vienna enterprise.
Examples from Vienna
In the last decade or so, several projects to exhibit 'migration' were staged in Austria's capital, Vienna. They were undertaken in various contexts: in museums, as part of art shows and in art festivals. These efforts are taken under scrutiny by the author, regarding their production, their way of enabling participation and articulation, and the new perspectives they opened. It is argued that through efforts of formerly excluded groups a change came about in how the figure of the 'migrant', and the various processes of migration, are perceived.
This article is a discussion of the relationship of Berlin and Vienna as cultural capitals. It acknowledges the distinctive Austrian cultural and intellectual traditions yet is based on the realization that the unique achievements and traditions as well as the public standing of these two cities can only be fully understood within the larger confines of German culture where they constituted a polarity, effectively confirming its diverse and regional character. Discussing this polarity necessarily leads beyond the strictly national definitions of culture that became part of German politics, especially under Nazi rule. And it leads beyond the stereotypes about the competition between Prussia and Austria, between the Wilhelmine Reich and the Habsburg Monarchy, a political competition whose significance for cultural identities was arguably smaller than what historians projected. Though not eclipsing other city rivalries such as those between Berlin and Munich, Berlin and Hamburg, Vienna and Budapest, the polarity of Vienna and Berlin seems to have become a crucial ingredient in labeling German culture multifaceted and blessed with alternatives.
Where better to begin talking about Viennese identity in the late twentieth century than in the work of Elfriede Jelinek and Thomas Bernhard—specifically, in two plays whose titles immediately evoke the city as well as pregnant moments in its history: Jelinek's Burgtheater (published 1982; premiered 1985 in Bonn) and Bernhard's Heldenplatz (premiered 1988 in Vienna's Burgtheater). Insofar as the two plays dramatize the extent to which National Socialism took hold and persisted in Austria, they epitomize both authors' perennial roles as keen observers and harsh critics of Austrian society. Burgtheater and the scandal it generated established Jelinek's function as "Nestbeschmutzerin," whereas Heldenplatz, appearing the year before Bernhard's death, can be regarded as the capstone of his career as a critic of Austrian mores and politics.
Jeffrey M. Peck
The focus of this volume is broad, both historically and topically.
Berlin and Vienna, modernity and postmodernity, the twentieth century
and two incisive Wenden of a tumultuous millennium offer an
opportunity to examine central issues in the relationship among
European culture, history, and politics. Cities provide a rich location
to examine expressions of creativity, growth, and change over the
course of one hundred years. As a transit point of entry and exit, the
city becomes a site for exchange and cross-fertilization of peoples,
ideas, and commodities. Cities are nodes in a network whose spokes
extend beyond their metropolitan borders and bring intellectual and
physical nourishment to surrounding areas. This European century
will be known for its great cities and the production of cultural
objects that spread around the globe. Less dramatically, nevertheless
significant for the transfer of knowledge, academic figures will also
be remembered for the dissemination of these intellectual traditions
to generations of students who were fortunate to cross their paths.
Hinrich C. Seeba, professor of German at the University of California,
Berkeley, from 1967 to the present, is one such person.
Biedermann met Isak Noah Mannheimer at the fair in Leipzig; subsequently Biedermann was instrumental in bringing Mannheimer to Vienna. Mannheimer belonged to the first generation of European Reform rabbis. He was born in 1793 in Copenhagen, as the son of a
Continuation or Reinvention?
would finally be made to be the protagonist of the play again. 2 Focusing on this infamous 1943 production of The Merchant of Venice at the Burgtheater in Vienna, with Werner Krauss as Shylock, and Lothar Müthel as the director, as well as a 1921 and