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In the 1990s, Vienna's Jews and queers abandoned their clandestine existence and emerged into the city's public sphere in unprecedented numbers.Symptoms of Modernitytraces this development in the context of Central European history. Jews and homosexuals are signposts of an exclusionary process of nation-building. Cast in their modern roles in the late nineteenth century, they functioned as Others, allowing a national community to imagine itself as a site of ethnic and sexual purity. In Matti Bunzl's incisive historical and cultural analysis, the Holocaust appears as the catastrophic culmination of this violent project, an attempt to eradicate modernity's abject by-products from the body politic. AsSymptoms of Modernityshows, though World War II brought an end to the genocidal persecution, the nation's exclusionary logic persisted, accounting for the ongoing marginalization of Jews and homosexuals. Not until the 1970s did individual Jews and queers begin to challenge the hegemonic subordination-a resistance that, by the 1990s, was joined by the state's attempts to ensure and affirm the continued presence of Jews and queers.Symptoms of Modernitygives an account of this radical cultural reversal, linking it to geopolitical transformations and to the supersession of the European nation-state by a postmodern polity.

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 Viennaexplores 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 Viennaapplies the lens of gender in important new ways.

\"When the world comes to an end,\" Viennese writer Karl Kraus lamented in 1908, \"all the big city orchestras will still be playing The Merry Widow .\" Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth-century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life-one whose transgressions helped define the musical hierarchies of its day.

Fin-de-siècle Vienna remains a central event in the birth of the century's modern culture. Our understanding of what happened in those key decades in Central Europe at the turn of the century has been shaped in the last years by an historiography presided over by Carl Schorske's Fin de Siècle Vienna and the model of the relationship between politics and culture which emerged from his work and that of his followers. Recent scholarship, however, has begun to question the main paradigm of this school, i.e. the \"failure of liberalism.\" This volume reflects not only a whole range of the critiques but also offers alternative ways of understanding the subject, most notably though the concept of \"critical modernism\" and the integration of previously neglected aspects such as the role of marginality, of the market and the larger Central and European context. As a result this volume offers novel ideas on a subject that is of unending fascination and never fails to captivate the Western imagination.

Although we usually think of the intellectual legacy of twentieth-century Vienna as synonymous with Sigmund Freud and his psychoanalytic theories, other prominent writers from Vienna were also radically reconceiving sexuality and gender. In this probing new study, David Luft recovers the work of three such writers: Otto Weininger, Robert Musil, and Heimito von Doderer. His account emphasizes the distinctive intellectual world of liberal Vienna, especially the impact of Schopenhauer and Nietzsche in this highly scientific intellectual world. 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.

Cemeteries are profound memorials to the culture of a community and the self-understandings of its members. Vienna's Zentralfriedhof is one of the largest cemeteries in Europe, a vast necropolis showcasing the plethora of cultures and communities which historically made up the city's population. This article analyses the emergence of its two expansive Jewish sections in the tumultuous period from the 1860s to 1938, offering a succinct example of how the dynamic evolution of codes of culture, community and belonging of Jews in Vienna can be intertextually reconstructed with reference to these complex memorial sites.

Although we usually think of the intellectual legacy of twentieth-century Vienna as synonymous with Sigmund Freud and his psychoanalytic theories, other prominent writers from Vienna were also radically reconceiving sexuality and gender. In this probing new study, David Luft recovers the work of three such writers: Otto Weininger, Robert Musil, and Heimito von Doderer. His account emphasizes the distinctive intellectual world of liberal Vienna, especially the impact of Schopenhauer and Nietzsche in this highly scientific intellectual world. 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.

This essay explores the significance of political and ideological context as well as experimental culture for the participation of women in radioactivity research. It argues that the politics of Red Vienna and the culture of radioactivity research specific to the Viennese setting encouraged exceptional gender politics within the Institute for Radium Research in the interwar years. The essay further attempts to provide an alternative approach to narratives that concentrate on personal dispositions and stereotypical images of women in science to explain the disproportionately large number of women in radioactivity research. Instead, the emphasis here is on the institutional context in which women involved themselves in radioactivity in interwar Vienna. This approach places greater importance on contingencies of time and place and highlights the significance of the cultural and political context in a historical study while at the same time shedding light on the interrelation between scientific practices and gender.