Post-World War I Austria

Total Page:16

File Type:pdf, Size:1020Kb

Post-World War I Austria From Empire to Republic: Post-World War I Austria Günter Bischof, Fritz Plasser (Eds.) Peter Berger, Guest Editor CONTEMPORARY AUSTRIAN STUDIES | Volume 19 innsbruck university press Copyright ©2010 by University of New Orleans Press, New Orleans, Louisiana, USA. Printed in Germany. Cover photo: A severely wounded soldier from the battle on the Isonzo front awaits transport to the hospital on 23 August 1917. (Photo courtesy of Picture Archives of the Austrian National Library) Published in the United States by Published and distributed in Europe University of New Orleans Press: by Innsbruck University Press: ISBN: 9781608010257 ISBN: 9783902719768 ŽŶƚĞŵƉŽƌĂƌLJƵƐƚƌŝĂŶ^ƚƵĚŝĞƐ ^ƉŽŶƐŽƌĞĚďLJƚŚĞhŶŝǀĞƌƐŝƚLJŽĨEĞǁKƌůĞĂŶƐ ĂŶĚhŶŝǀĞƌƐŝƚćƚ/ŶŶƐďƌƵĐŬ Editors Günter Bischof, CenterAustria, University of New Orleans Fritz Plasser, Universität Innsbruck Production Editor Copy Editor Assistant Editor Bill Lavender Lindsay Maples Alexander Smith University of University of UNO/Universität New Orleans New Orleans Innsbruck Executive Editors Klaus Frantz, Universität Innsbruck Susan Krantz, University of New Orleans Advisory Board Siegfried Beer Sándor Kurtán Universität Graz Corvinus University Budapest Peter Berger Günther Pallaver Wirtschaftsuniversität Wien Universität Innsbruck John Boyer Peter Pulzer University of Chicago Oxford University Gary Cohen (ex officio) Oliver Rathkolb Center for Austrian Studies Universität Wien University of Minnesota Sieglinde Rosenberger Christine Day Universität Wien University of New Orleans Alan Scott Oscar Gabriel Universität Innsbruck Universität Stuttgart Franz Szabo (ex officio) Reinhard Heinisch Wirth Institute for Austrian and Universität Salzburg Central European Studies Pieter Judson University of Alberta Swarthmore College Heidemarie Uhl Wilhelm Kohler Austrian Academy of Sciences Universität Tübingen Ruth Wodak Helmut Konrad University of Lancaster Universität Graz Publication of this volume has been made possible through generous grants from the Austrian Ministries of European and International Affairs through the Austrian Cultural Forum in New York as well as the Ministry of Science and Research. The Austrian Marshall Plan Anniversary Foundation in Vienna has been very generous in supporting CenterAustria at the University of New Orleans and its publications series. The College of Liberal Arts at the University of New Orleans and the Auslandsamt of the University of Innsbruck provided additional financial support as did the Cultural Office of the City of Innsbruck. WƌĞĨĂĐĞ 'ƺŶƚĞƌŝƐĐŚŽĨ The breakup of the Habsburg Dual Monarchy and the redrawing of the political map of East Central Europe constituted a major experiment in “destroying the old, and creating the new” (O. Hwaletz). Historians are more inclined to study the rise of empires than their demise and aftermath. The eighteen essays in this volume offer fresh perspective and innovative scholarship on the difficulttransition from empire to republic for the small state of Austria, newly created by the Allied peacemakers in Paris in 1919. These essays also deal with complex challenges ofnation building after a major war as well as the ambiguity inherent in the creation of new institutions in politics, economics, social life and culture. In 1919 the government of the instable and fledgling Republic of Austria faced the task of integrating more than a million of returning war veterans and taking care of 110,000 wounded veterans returning from the frontlines. The government was also confronting revolutionary turmoil in the streets of Vienna, a near-total collapse of the agricultural and industrial economies and near-mental breakdown from the trauma of defeat. Hyperinflation produced a financial crisis in the early 1920s and major economic challenges in the banking and industrial sectors. The redrawn borders produced loss of German ethnics and major demographic shifts. Pan-Germanism was an ideology popular in all political camps. “Austrians”²no longer dominant in a vast empire² were searching for a new identity. After four years of war, Austrians had to confront defeat and constructed a national memory from painful personal remembrances. Most families were dealing with family members returning from a long and destructive war with limbs missing and souls deranged. In spite of ideological conflict between the major political camps, a national cultural revival ensued and new educational institutions were born. The idea for this volume arose after a reception by the Austrian Cultural Forum at the end of a long day during the annual German Studies Association Meeting in St. Paul, Minnesota, in early October 2008. Over a beer, I conversed with John Deak, Patrick Houlihan and Ke-chin Hsia—all of them very bright PhD students mentored by John Boyer at the University of Chicago. They told me excitedly about their fascinating dissertation research. As it happened, all of them worked on topics of the immediate post-World War I period. That same evening I began to map out in my mind a CAS volume on Austria dealing with the consequences and legacies of World War I. CAS had covered the “Dollfuss/Schuschnigg Era” in volume 11 (2003); individual essays had covered the two decades between the wars in various other volumes (on identity and memory, foreign policy, sexuality). But we had never covered the end of the war and the 1920s as a distinct era. I had just been reading Tony Judt’s Postwar, his marvelous history of post-World War II Europe. Of course, I knew that our canvas would be more modest than Judt’s. But his grand depictions of confronting the challenging political, social, and economic impacts of the Great War were there in the case study of Austria after World War I too. Also, the memory of the war—so prominent in Judt’s work—would need to be addressed. A few weeks after the St. Paul meeting I invited John Boyer to pen the introduction, and he generously agreed to do it. In a way, then, this is a volume that takes its intellectual origins in Boyer’s University of Chicago seminar. This core group of Boyer’s “Chicago boys” had met other researchers in the Vienna archives and were well connected to the community of international scholars working on post-World War I Austria; they asked some of them to contribute, too. I would like to thank them all for making this a volume of Austrian Studies that nicely demonstrates that there is a tightly woven global Austrian Studies community from Chicago via Oxford and Austria to Jerusalem in the Middle East and Taiwan and Australia in the Far East. My friend and colleague Peter Berger at the Vienna University of Economics and Business generously agreed to serve as the guest editor. He has been working on the 1920s throughout his distinguished career and brought contributors through his contacts in the Viennese scholarly community to this volume. Peter also contributed the chilling concluding essay to this volume. This intricate Jewish family portrait illustrates in a tight dramatic family saga the tergiversations and bloody culminations of twentieth century Austrian history that is usually the stuff of fiction. Sam Williamson contacted me about a piece he was writing on Count Berchtold and his role in the tragic origins of World War I—not quite a book but more than a regular journal article. I eagerly invited him to contribute it to this volume to set the stage about the prewar era, a period to which he had been making major scholarly contributions throughout his illustrious career both as a scholar and high university administrator. We cannot thank these far-flung scholars enough for the timely submissions of their contributions, along with their kind patience with our copy-editing team. This is the first volume produced “in house” from scratch at UNO and the second volume to be published jointly by UNO and iup presses. Bill Lavender at UNO Press was helpful at every step of the way from copy- editing to producing photo-ready copy to printing and distribution. Lindsay Maples worked very hard in copy-editing the entire volume and also type- setting it. At iup Birgit Holzner cooperated promptly whenever asked. Klaus Frantz, Franz Mathis and Mathias Schennach of the University of Innsbruck helped make the cooperation with iup possible. They each contributed in their own way to make this volume come together. Hans Petschar and Michaela Pfunder of the Picture Archives of the Austrian National Library were more than helpful in the search for pictures to illustrate this volume. The Austrian Federal Ministry of Science and Research in Vienna finances an annual “Ministry Fellow” at CenterAustria who assists me with my CAS work load. I could not have asked for a more congenial and hard-working fellow than Alexander Smith. He maintained daily contacts with some two dozen authors and shepherded every manuscript from submission to type- setting. In spite of some ups and downs along the way, he never lost his cool and good cheer. This volume would not have come together in time without his keen engagement. Whether we were working on CAS or other matters, as always Gertraud Griessner kept CenterAustria running. This volume could not have been published without the generous financial support of the University of New Orleans and the University of Innsbruck, as well as the Austrian Ministry of Science and Research and the Austrian Ministry of European and International Affairs via the Austrian Cultural Forum in New York. Florian Gerhardus, Christoph Ramoser, Josef Leidenfrost, Martin Rauchbauer, Andreas Stadler and Emil Brix all deserve our gratitude for making this financial support possible. The Austrian Marshall Plan Foundation has been the most important institutional sponsor of all the work we do at CenterAustria, including the publication of CAS. Eugen Stark, the Executive Director, has been a marvelous friend and supporter over the years. Thank you all. Table of Contents INTRODUCTION John W. Boyer: Boundaries and Transitions in Modern Austrian 13 History Samuel R. Williamson, Jr.: Leopold Count Berchtold: The Man 24 Who Could Have Prevented the Great War TOPICAL ESSAYS I.
Recommended publications
  • Austria's Pre-War Brown V. Board of Education Maria L
    Fordham Urban Law Journal Volume 32 | Number 1 Article 4 2004 Austria's Pre-War Brown v. Board of Education Maria L. Marcus Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Civil Rights and Discrimination Commons Recommended Citation Maria L. Marcus, Austria's Pre-War Brown v. Board of Education, 32 Fordham Urb. L.J. 1 (2004). Available at: https://ir.lawnet.fordham.edu/ulj/vol32/iss1/4 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. CHRISTENSENMARCUS 2/3/2011 9:57 PM AUSTRIA’S PRE-WAR BROWN v. BOARD OF EDUCATION Maria L. Marcus∗ INTRODUCTION On May 19, 1930, a Viennese newspaper published an article under the title, “His Magnificence The Rector: Scandal at the University of Vienna.”1 The author analyzed and attacked the government-sponsored University’s new regulations dividing the students into four “nations”—German, non- German (e.g., Jewish), mixed, or “other.” These regulations had been presented by the Rector as vehicles for voluntary association of students with common ethnic roots. The article noted, however, that under the new system, individuals were precluded from deciding themselves to which nation they belonged. A student would be designated as non-German even if he was a German-speaking Austrian citizen descended from generations of citizens, unless he could prove that his parents and his grandparents had been baptized.2 ∗ Joseph M.
    [Show full text]
  • Der Rosenkavalier by Richard Strauss
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
    [Show full text]
  • DIE LIEBE DER DANAE July 29 – August 7, 2011
    DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D.
    [Show full text]
  • Podium Operette: Du Mein Schönbrunn
    Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton
    [Show full text]
  • Notes of Michael J. Zeps, SJ
    Marquette University e-Publications@Marquette History Faculty Research and Publications History Department 1-1-2011 Documents of Baudirektion Wien 1919-1941: Notes of Michael J. Zeps, S.J. Michael J. Zeps S.J. Marquette University, [email protected] Preface While doing research in Vienna for my dissertation on relations between Church and State in Austria between the wars I became intrigued by the outward appearance of the public housing projects put up by Red Vienna at the same time. They seemed to have a martial cast to them not at all restricted to the famous Karl-Marx-Hof so, against advice that I would find nothing, I decided to see what could be found in the archives of the Stadtbauamt to tie the architecture of the program to the civil war of 1934 when the structures became the principal focus of conflict. I found no direct tie anywhere in the documents but uncovered some circumstantial evidence that might be explored in the future. One reason for publishing these notes is to save researchers from the same dead end I ran into. This is not to say no evidence was ever present because there are many missing documents in the sequence which might turn up in the future—there is more than one complaint to be found about staff members taking documents and not returning them—and the socialists who controlled the records had an interest in denying any connection both before and after the civil war. Certain kinds of records are simply not there including assessments of personnel which are in the files of the Magistratsdirektion not accessible to the public and minutes of most meetings within the various Magistrats Abteilungen connected with the program.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Sozialdemokratie in Vorarlberg
    Sozialdemokratie in Vorarlberg Rückblick auf ein Jahrhundert Sozialdemokratie in Vorarlberg aus Anlass des hundertsten Jahrestages am 1. April 1999 Onlineausgabe 1 Autor, Herausgeber und Verleger: Günter Dietrich A-6830 Rankweil, Stiegstraße 40a E-Mail: [email protected] Web: www.dietrich.at Onlineausgabe 2003 © Günter Dietrich 2 Inhaltsverzeichnis Sozialdemokratie Vorläufer 6 Anfänge 8 Selbständigkeit 9 Umfeld 9 Bedrohung 10 Fremdhäßige 12 Bodenständige 14 Handwerker 15 Eisenbahner 19 Fabrikler 20 Übergang 23 Erste Republik 26 Tag der Arbeit 27 Widerstand 32 Wiederbeginn 34 Generationswechsel 35 Durchbruch 36 Bürgermeister 38 Auf und ab 41 Fußach 42 Pro Vorarlberg 44 Volksentscheide 46 Resümee 48 Literaturnachweis und Bildquellen 50 3 Vorwort Vor einem Jahr, anfangs 7!rz 1998, saß ich bei der Fahrt von Wien nach Vorarlberg gemütlich im Zugabteil. Am Abend dieses Tages sollte ich für vierzigjährige Mitgliedschaft bei der SPÖ geehrt werden. Im Prinzip habe ich starke Vorbehalte gegen Ehrungen. Doch vierzig Jahre SPÖ sind auch ein beachtlicher Teil meines Lebens. Ausnahmsweise, so dachte ich, doch ein guter Grund, den langen Weg für diese Ehrung anzutreten. Wer war denn alles dabei, damals im Jahre 1958, als ich mich in der Sozialdemokratie zu engagieren begann? Mehrere Personen tauchten in meiner Erinnerung auf, möglicherweise treffe ich einige davon auch heute Abend? In den vierzig Jahren haben sich bei mir zahlreiche, mit- unter schon historische Dokumente angesammelt. „Wann ich einmal Zeit haben werde“ , sagte ich mir früher, wenn ich wieder neue Papiere in mein Archiv stapelte, „werde ich dies alles aufarbeiten“ . Jetzt habe ich Zeit, folge dessen ging ich an die Arbeit, kramte noch kurz bevor ich zur Ehrung ging in den alten Papieren.
    [Show full text]
  • Nachlass Victor Léon
    Nachlass Victor Léon Wienbibliothek im Rathaus Handschriftensammlung ZPH 906, ZPH 924, ZPH 925 Bestandssystematik Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Biographische Informationen Léon, Victor (eigentlich: Hirschfeld, Victor Leon): 4. 1. 1856 (laut Österreich Lexikon) - 23. 2. 1940 Wien; Dramatiker, Regisseur, Dramaturg. Provenienz des Bestands Der Nachlass Victor Léon wurde von der Wienbibliothek im Rathaus in den Jahren 1995 (ZPH 906, ZPH 924) und 1996 (ZPH 925) von einem Antiquariat gekauft. Wenn nicht anders angegeben, stammen die in der Systematik verzeichneten Stücke aus ZPH 906. Umfang 47 Archivboxen, 1 Foliobox. Der Bestand ist unter ZPH 906 aufgestellt. 2 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Abkürzungsverzeichnis Anm. Anmerkung Beil. Beilage Bl. Blatt Br. Brief eh. eigenhändig Einf. Einfügungen Ex. Exemplar(e) hs. handschriftlich Korr. Korrektur Kt. Karte Ms. Manuskript o.D. ohne Datum o.T. ohne Titel (x x) Streichung ZPH Zuwachsprotokoll Handschriftensammlung 3 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Archivbox 1 1 Werke 1.1 Bühnenmanuskripte 1.1.1 Die Königin von Arragon 1.1.2 Blinde Liebe. Oper in 1 Akt 1.1.3 Firilette. Vaudeville in 3 Akten (Zensurmanuskript) 1.1.4 Das Fürstenkind. Operette in 1 Vorspiel und 2 Akten. Teilweise nach einer Erzählung von Edmond About. Musik von Franz Lehár. (Soufflierbuch) 1.1.5 Der Cognac-König. Operette in 3 Akten. Nach einer Idee Bayards von Victor Léon und Ludwig Held. Musik von Franz Wagner 1.1.6 Wiener Lieb und Wiener Treu (in 2 Bildern) 1.1.7 Die Doppelhochzeit.
    [Show full text]
  • Building an Unwanted Nation: the Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository BUILDING AN UNWANTED NATION: THE ANGLO-AMERICAN PARTNERSHIP AND AUSTRIAN PROPONENTS OF A SEPARATE NATIONHOOD, 1918-1934 Kevin Mason A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of PhD in the Department of History. Chapel Hill 2007 Approved by: Advisor: Dr. Christopher Browning Reader: Dr. Konrad Jarausch Reader: Dr. Lloyd Kramer Reader: Dr. Michael Hunt Reader: Dr. Terence McIntosh ©2007 Kevin Mason ALL RIGHTS RESERVED ii ABSTRACT Kevin Mason: Building an Unwanted Nation: The Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934 (Under the direction of Dr. Christopher Browning) This project focuses on American and British economic, diplomatic, and cultural ties with Austria, and particularly with internal proponents of Austrian independence. Primarily through loans to build up the economy and diplomatic pressure, the United States and Great Britain helped to maintain an independent Austrian state and prevent an Anschluss or union with Germany from 1918 to 1934. In addition, this study examines the minority of Austrians who opposed an Anschluss . The three main groups of Austrians that supported independence were the Christian Social Party, monarchists, and some industries and industrialists. These Austrian nationalists cooperated with the Americans and British in sustaining an unwilling Austrian nation. Ultimately, the global depression weakened American and British capacity to practice dollar and pound diplomacy, and the popular appeal of Hitler combined with Nazi Germany’s aggression led to the realization of the Anschluss .
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Interpreting Race and Difference in the Operas of Richard Strauss By
    Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.
    [Show full text]
  • Introduction
    Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society.
    [Show full text]