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The University of Chicago Censorship, Secrets THE UNIVERSITY OF CHICAGO CENSORSHIP, SECRETS, CORRESPONDENCES, AND FREEDOM: THE LITERARY PUBLIC IN THE VIENNESE BIEDERMEIER A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GERMANIC STUDIES BY TAMARA KAMATOVIC CHICAGO, ILLINOIS AUGUST 2020 For Mathilda Ildikó Acknowledgments My introduction to German literature was through Bertolt Brecht’s dramas and poems. His poem “An die Nachgeborenen” is one of the reasons I decided to spend more time reading German, in particular the last verses: Ach, wir Die wir den Boden bereiten wollten für Freundlichkeit Konnten selber nicht freundlich sein. Ihr aber, wenn es so weit sein wird Dass der Mensch dem Menschen ein Helfer ist Gedenkt unserer Mit Nachsicht.1 These lines were written in the hope that future generations would understand that relations of friendship are founded on acts of solidarity. I have been fortunate to have many friends during my time as a graduate student at the University of Chicago, and this dissertation would not have been possible without them. I would like to begin by thanking my committee: David Wellbery, Thomas Pavel, and John Boyer. David Wellbery has been a magnanimous reader and a patient and generous listener. His graduate student seminars and advising formed the ground from which this dissertation and many other ideas have sprung. In other words, he has laid a coherent foundation for reading that has brought me closer to understanding what is important in a literary text, and he has given me a sense of how to take these texts apart and put them back together. Beyond this, he is a gallant leader of our small community of Germanic studies at Chicago and the greater international community of Germanistik, and I am so grateful to be a part of that community —both at home in Chicago and internationally. 1 Bertolt Brecht, “An die Nachgeborenen,” 1934-1938. iii I am grateful for John Boyer’s support as a committee member and for the excellent course that he taught on Habsburg history, which gave me a fine impression of the city of Vienna. I would also like to thank him for his institutional support during the period in which I have taught in several programs of Chicago study abroad in Vienna. I will always look back fondly on my many conversations with Thomas Pavel. His wit, humor, and intellectual generosity have been a source of great inspiration for me. He has changed the way that I think about literature and literary imagination and made me aware of “fictional worlds” beyond the purview of twentieth-century literary theory. I add my thanks to all of the faculty members of the Germanic Studies department at the University of Chicago for their support throughout the years. I am especially grateful to Catherine Baumann for her mentorship. I have long been impressed by her practical gumption and have benefited so much from her advising throughout the time I taught German language in the College. I would like to also thank Michelle Zimet for her generous support and for the much-needed humanity and comedy at the beginning of my studies in Chicago. I am grateful to the Austrian Fulbright Commission for providing me with support through the Fulbright-Mach award, which made a year of research in the Austrian archives possible. This research could not have been completed without access to the Austrian State Archives (Österreichisches Haus- Hof- und Staatsarchiv) at Minoritenplatz, or the collections of the Wien Bibliothek. I owe my thanks both to the archivists for their assistance and to those organizations for their permission to use documents that I uncovered there. My thanks goes to the cofounders of the Central European Workshop: Misha Appeltova, Daniel Pratt, Kaitlyn Tucker Sorenson, and Cheryl Stephenson and to our faculty sponsors: Thomas Pavel and Ingrid Christian. iv I am grateful to the “Vienna Team” of University of Chicago’s Study Abroad Office, in particular Susan Gzesh, Leopold Kögler, Lauren Schneider, and Sarah Walter, who have entrusted me with the responsibility of teaching and mentoring students abroad. Thank you to the members and organizers of GSU and all of the friends that I have met through that organization for their solidarity in action and for broadening my horizons (both intellectual and spiritual). Naturally, I owe a great debt to all members of the University of Chicago Germanic Studies department—its faculty and supportive staff—but especially to its graduate students for their encouragement and solidarity throughout the years during which I have worked on this project. What will proceed is a list that (I hope) does not minimize how much all of your individual contributions have meant to me: Robert Abbott, Ethan Blass, Mirjam Berg, Daniel Burnfin, Daniel Carranza, Emily Dreyfus, Peter Erickson, Jake Fraser, Simon Friedland, Joseph Haydt, Greg Hedin, Maeve Hooper, Joela Jacobs, Matthew Johnson, Tae-Ho Kim, Clémence Kavanaugh, Marcus Lampert, Peter Metzel, James McCormick, Jessica Resvick, Alexander Sorenson, Amy Stebbins, Stephen Haswell-Todd, Andrea Wald, Ella Wilhelm, and Noah Zeldin. Thank you for the discussions: from seminars to dissertation reading group (both in person and virtual), graduate student colloquia, triangle conferences, and all of the lively conversations that we have had in the Baumhaus. This dissertation has grown through many conversations with friends in the broader University of Chicago community —its graduate students, alumni, and postdoctoral scholars. Here I would like to thank in particular: Jeremy Cohan, Phillip J. Henry, Ana Ilievska, Zachary M. King, Jan Lazardzig, Antje Postema, Aleksandra Prica, Basil Salem, and Trevor Tucker for their support over the years. v To Giulia Frattini, Sonja Gobec, Leopold Kögler, Oliver Mertens, Pål Røynestad, and Egon Vencour. Thank you for your solidarity. Thank you to the teachers who laid the foundation for this graduate work: Kenneth Scott Baker, Andrew S. Bergerson, Deborah Parker, and Larson Powell. Finally, I would like to thank my family: my uncle Djordje Matović and my aunt Gordana Matović, my cousins Jovana and Nevena Matović, my siblings Tatjana Burovic and Nicholas Kamatovic, and Helga Wenisch. To my parents Mirjana and Robert Kamatovic: thank you for your love, your confidence in me, and for all of the freedom you have given me. To my partner Gábor Bartha: thank you for your patience, your calmness, and your generous spirit. This dissertation was completed in the first year of my daughter Mathilda’s life. To Mathilda: thank you for the courage, strength, and hope. vi Table of Contents Acknowledgments .......................................................................................................................... iii List of Figures ............................................................................................................................. viii Introduction: The Biedermeier and the Literary Public .................................................................. 1 Chapter One: Reading and Writing in Metternich’s State: Censorship Philosophy and Practices in Austria (1810-1848) ...................................................................................................................... 17 Chapter Two: The “Ludlamshöhle”: Pornography, Parody, and Secrets in Biedermeier Vienna 65 Chapter Three: The Biedermeier Salon: Caroline Pichler and Correspondences ....................... 105 Chapter Four: March 1848, Freedom, and the Public Virtuoso in Grillparzer’s Armer Spielmann ..................................................................................................................................................... 144 Conclusion .................................................................................................................................. 194 Appendix ..................................................................................................................................... 196 Bibliography ............................................................................................................................... 212 vii List of Figures Figure 1.1. “Castellis Hunde: “Sedl” und "Nitzky" Aquarell von Karl Fichtner aus der Dosensammlung” …….……………………………………………………………….……………………….…...196 Figure 1.2. “Vorschrift für die Leitung der Censur und für des Bemühen der Censoren, in Folge a.h. zum 14. September 1810 erlassen”………...………………………………………………………………………….…...197 Figure 1.3. Friedrich von Gentz. “Bemerkungen zu der Schrift Über die gegenwärtige Lage von Europa”………………………………………………………………..………………………..198 Figure 1.4. Joseph Max Freiherr von Liechtenstern. “Statistische Übersicht der Germanischen Staaten des deutschen Bundes”………………………….……………………………………………………….199-201 Figure 1.5. Johann Ludwig Klüber, “Pragmatische Geschichte der Wiedergeburt Griechenlands” Votum written by Baron Menßhengen. ……………………………………………...……………………………………………..202-204 Figure 1.6. “Über den einzig wahren Ehescheidungsgrund in der christlichen Kirche so wie in christlichen Staaten”……………………………………………………………………………………205-206 Figure 2.1. Antonio Salieri. [Vier Terzette] : [für 3 Männerstimmen der Ludlamshöhle] “Es lebe Ludlam”…………………………………………………………………...……………………206 Figure 2.2. Julius Benedict. Letter to Ignaz Franz Castelli…………………………….……….207 Figure 2.3. Die Sauglocke. Cover Page. ……………………………………………….......…..208 Figure 2.4. Die Sauglocke. Illustration of the Bell………………………………………..……209 Figure 3.1 Caroline Pichler. Votum: Heinrich von Hohenstaufen………………………....................................................................................210-211
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