Austrian American

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HAVE GERMAN WILL TRAVEL FEIERTAG "Bei uns ist immer was los!" AUSTRIAN-AMERICAN DAY Austrian American Austrian American Austrian Americans (German: Austroamerikaner) Austro-Amerikaner are European Americans of Austrian descent. According to the 2000 U.S. census, there were 735,128 Americans of full or partial Austrian descent, accounting for 0.3% of the population. The states with the largest Austrian American populations were New York (93,083), California (84,959), Pennsylvania (58,002) (most of them in the Lehigh Valley), Florida (54,214), New Jersey (45,154), and Ohio (27,017)_[2] This may be an undcrcount, as many German Americans have ancestors from AustTia, the Austrian Empire or the Austro-Hungarian Empire. Before World War I, by which time a large percentage of Germans had immigrated to the United States, Austrians were often categorized as German people, largely because of their shared cultural-linguistic and ethnic origin Fred Astaire • Arnold Schwarzenegger • Wolfgang Pauli and Austria being one of many historical German Hedy Lamarr • Maria von Trapp • Fritz Lang states of the Holy Roman Empire of the German Joe Mauer • Peter Lorre • Josef von Sternberg Nation. Billy W ilder • Alma Mahler-Wetfel • Otto Prenlinger • Max Reinhardt Total population Regions with significant populations New York, California, Pennsylvania, Florida, New Jersey Austrian 735,128 Americans Languages 0.3% oftbc U.S. population German (especially Austrian German), American English Religion Roman Catholic, Protestant; Jewish and other minorities Assimilation The Austrian immigrants adapted quickly to American society, because the Austrian Empire had also been a melting pot of many cultures and languages. On the other hand, despite the rejection that Austrians feel about the behavior of the Germans, they regard themselves as more tolerant and cosmopolitan than the Germans, but have suffered the same damages and discrimination that German immigrants faced in United States, as they were being considered by Americans, to be the same, due to the Getman language. .

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Abbildungsverzeichnis Trotz intensiver Recherchen war es nicht in allen Fällen möglich, die Rechteinhaber der Abbil- dungen ausfndig zu machen. Berechtigte Ansprüche werden selbstverständlich im Rahmen der üblichen Vereinbarungen abgegolten. B = Bühnenbild, M = Musik, P = Premierendatum, R = Regie, T = Text Abb. 1 Johan Torn Prikker, Ecce Homo, Dreikönigenkirche, Neuss, Einzelscheibe aus dem mittleren Chorfenster, 1912, Fotografe: Stefan Johnen, Glottertal. Abb. 2 Rekonstruktion der Sonderbundkapelle anlässlich der Ausstellung 1912 – Mission Moderne im Wallraf-Richartz-Museum & Fondation Corboud, Köln, 2012, Fotografe: © Raimond Spekking/CC-BY-SA-4.0 (via Wikimedia Commons). Abb. 3 Henry van de Velde, Bühnenbildentwurf zu Émile Verhaerens Das Kloster, Werkbund- theater Köln, R: Victor Barnowsky, P: Juli 1914, Gouache und Kreide auf Karton, 35,2 × 50,5 cm, Teaterwissenschafliche Sammlung der Universität zu Köln, Fotografe: Christina Vollmert, © VG Bild-Kunst, Bonn 2018. Abb. 4 Szenenfotografe zu Émile Verhaerens Das Kloster, Werkbundtheater Köln, R: Victor Barnowsky, B: Henry van de Velde, P: Juli 1914, Teaterwissenschafliche Sammlung der Universität zu Köln, Fotografe: Christina Vollmert. Abb. 5 Szenenfotografe zu Hugo von Hofmannsthals Jedermann, Domplatz Salzburg, R: Max Reinhardt, B: Alfred Roller, P: 22.08.1920, Teaterwissenschafliche Sammlung der Univer- sität zu Köln. Abb. 6 Wilhelm Willinger, Szenenfotografe zu Hugo von Hofmannsthals Das Salzburger Große Welttheater, Kollegienkirche Salzburg, R: Max Reinhardt, B: Alfred Roller, P: 13.08.1922, Teaterwissenschafliche Sammlung der Universität zu Köln. Abb. 7 Carl Meyer nach einer Zeichnung von Ernst Friedrich Zwirner, Der Dom zu Cöln im Frühjahre 1851, Stahlstich, in: Kölner Domblatt. Amtliche Mittheilungen des Central-Dombau- Vereins 75 (1851): S. 21, Dombauarchiv Köln, Fotografe: Universitätsbibliothek Heidelberg/ CC-BY-SA-3.0.
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