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The Center for Austrian Studies THE CENTER FOR AUSTRIAN StUDIES 2007-08 Annual Report the Left to right: Matthew Konieczny, Joshua Kortbein, Linda Andrean, 2007-08 staff Simon Loidl, Daniel Pinkerton, Gary B. Cohen. Photo: Karl Krohn. Director: Administrative Manager: Gary B. Cohen, professor of history, University Linda Andrean, B.A. in Anthropology and of Minnesota. Education: B.A., University of History, B.S. in Secondary Education, came Joshua Kortbein is a Ph.D. candidate in the Southern California, 1970; M.A., Princeton to the Center in June 2004 after 20 years of Department of Philosophy at the University University, 1972; Ph.D., Princeton University, service in the University of Minnesota Academic of Minnesota. His dissertation research is on 1975. He was a historian at the University of Health Center, including work for the Cancer the rhetorical and literary structure of Ludwig Oklahoma from 1976 to 2001 prior to taking Protocol Review Committee, the Medical School, Wittgenstein’s “Philosophical Investigations.” His the CAS directorship in August 2001. His and the School of Public Health. At CAS, she other philosophical interests include aesthetics publications include two books, The Politics of oversees the Center’s administrative and financial and the role of genre and self-knowledge in the Ethnic Survival: Germans in Prague, 1861-1914 affairs and is involved with program planning, history of philosophy. He worked as an editorial (1981, 2006), and Education and Middle-Class fundraising and student and community outreach. assistant for the CAS book series and the ASN, Society in Imperial Austria, 1848-1918 (1996). Linda is the author of Where in the World Is and as conference coordinator for the upcoming In addition to serving as director, he is executive Austria?, a text for second- and third-graders. fall 2008 conference. editor of the Yearbook and the CAS book series. Student Staff: Simon Loidl, a Ph.D. candidate in history at the University of Vienna, was the CAS/BMWF Fel- Editor: Matthew Konieczny is a PhD student in low for 2007-08. His dissertation research is on Daniel Pinkerton, M.F.A. in playwriting, M.A. European history at the University of Minnesota. colonial discourses and activities in the Habsburg in European history, has worked at the Center Matthew holds an M.A. in history from Indiana Empire. See page 16 (back cover) for more about since 1990. He has edited the Austrian Studies University and an M.A. in public policy from Simon and the fellowship program. Newsletter since January 1992 and the Annual the University of Michigan. He is working on a Report since 1991. He also assists the director dissertation examining a cadre of physicists at in special projects such as writing grants, website Polish universities in the Habsburg Empire in the design, and preparing graphics for the Austrian late nineteenth and early twentieth centuries. He CAS 2007-08 ANNUAL REPORT History Yearbook. served as assistant editor of the AHY in 2007-08. ©2008, The Center for Austrian Studies at the University of Minnesota. Designed and edited by Daniel Pinkerton. contents Editorial assistants: Linda Andrean, Gary Cohen, and Jessie Van Berkel. Staff 2 Faculty 12 The Center for Austrian Studies is an inde- The Director’s View 3 Support & Collaboration 14 pendent unit of the College of Liberal Arts, Publications 5 Making a Gift 15 University of Minnesota. The University of Minnesota is committed Events 8 BMBWK Fellowship 16 to the policy that all persons shall have equal Student Support 11 access to its programs, facilities, and employ- ment without regard to race, color, creed, COVER: Eva Kor, survivor of Nazi medical experiments, speaking to a packed auditorium during “The religion, national origin, sex, age, marital Ethics of Medicine,” a two-day workshop held by CAS (see p. 9). Photo: Simon Loidl. status, veteran status, or sexual orientation. 2 the director’s view Each year the Center for Austrian Studies value that exchange program so highly that faculty and faces the challenge of finding better ways to sup- students of the highest caliber eagerly participate. This port new research and education on Austrian past year we had immensely profitable visits from no and Central European affairs and meet the needs less than three professors from Graz: the ethicist Kurt of its various constituencies. The Center tries to Remele and the sociologist Christian Fleck, both of provide these services in as many venues and in as whom came to teach for a whole semester, and another many disciplines as we can imagine. In part, my sociologist, Max Haller, who gave several lectures during colleagues and I do this by addressing new issues a week’s stay. All three gave richly learned and insightful within the framework of the Center’s existing talks for the Center’s lecture series. programs, but we also work to launch initiatives The continuing collaboration between the Center and for new audiences by new means and enlist new the Department of German, Scandinavian, and Dutch partners in our efforts. In this vein I am pleased brought us a lecture by one of the most brilliant scholars to report that in 2007-08 both the Center’s ongo- of modern Austrian literature active today, Maria-Regina ing programs and its new initiatives had notable Kecht, and sent to Graz for the year a Minnesota doc- accomplishments. toral student in literature, Roger Skarsten. CAS also hosted a fascinating lecture on Eduard Hanslick and Collaborations & synergies Bedřich Smetana by a noted historian of Austrian and This year, more than ever, the success of many German music, David Brodbeck, thanks to the Center’s of our programs resulted from deliberate strate- collaboration with the Center for Jewish Studies and the gies that the Center has developed over a number School of Music on a lecture series, “Musical Confronta- of years. As always, we offered a full schedule of tions in Jewish Studies: Debates and Dialogues.” lectures and readings open to the campus and The great success of our conference on “Social Policy Twin Cities communities, with a dozen events in the New Europe” owed much to CLA’s strong depart- in addition to the Robert A. Kann Memorial ments of sociology, political science, and global studies, Lecture. The eclectic mix of subject areas, ranging which have developed broad interests in comparative compass. Volume 39 of the Austrian His- from history and art history to ethics, literature, international studies over many decades. Their help, tory Yearbook, issued this spring, marked music and cultural studies, political science and along with the Center’s ability to draw on researchers the beginning of a relationship with a new sociology, illustrated vividly the strength as well as from various Austrian universities and government publisher, Cambridge University Press, breadth of scholarly research devoted currently to agencies, the ties to universities in Finland and the which will enhance the electronic and Austrian and Central European affairs. The high Netherlands which CLA has cultivated, and synergies international circulation of the Yearbook. quality of our lectures derived in large part from with programs elsewhere in the university, including the This year’s articles, edited with great skill our efforts to establish and capitalize on syner- Humphrey Institute and the School of Social Work, by Pieter Judson, were particularly rich gies among various programs of the Center, other made it possible to bring together an outstanding group in cultural and intellectual history, dem- units in the College of Liberal Arts, the Univer- of scholars from the U.S. and Europe. onstrating how historians have profited sity of Minnesota, and universities in Austria. The Center’s publications in 2007-08 demonstrated in recent years from new approaches to Over several decades, for example, the Center the same ability to capitalize on diverse collaborations to literary and cultural studies to develop new and the College have developed a particularly present new voices and fresh viewpoints. The gifted edi- analytic tools. Similarly, there was much active program for exchanging professors and stu- tor of our Austrian Studies Newsletter, Daniel Pinkerton, innovative work in the most recent volume dents with the Karl-Franzens University in Graz. produced two issues this year with richly varied content in the CAS book series, Austrian and Departments and institutes in both universities that drew praise and comment from many points of the Habsburg Studies,The Limits of Loyalty: Imperial Symbolism, Popular Allegiances, and State Patriotism in the Late Habsburg OUR MISSION Monarchy, edited by Laurence Cole and Daniel Unowsky. THE CENTER FOR AUSTRIAN STUDIES • serves as a focal point in the United States for the study of Austria and the New directions Several of this year’s initiatives took the Central European lands with a common Habsburg heritage across disciplines in the Center for Austrian Studies in important humanities, the social sciences, the applied sciences, and the fine arts; new directions. Here, too, collaborations • analyzes Austrian perspectives as a powerful tool for understanding the new Europe with other centers, institutes, and founda- in the age of the European Union; tions played a crucial part. Since summer 2006, the Center has been developing • connects scholars, students, and an international community to resources in plans for an ambitious team research Austria, Central Europe, the EU, and Minnesota; project entitled “Understanding the Migra- tion Experience: The Austrian-American • reaches out to a local, national, and international community of educated Connection” in cooperation with the nonacademics, bringing an awareness of Austria and the new Europe and its Immigration History Research Center and relevance to American life. the Minnesota Population Center on our The Center pursues its mission through a variety of activities including research projects, campus and scholars from the Institute for publications, international interdisciplinary symposia, student and faculty exchanges, Economic and Social History at the Uni- versity of Vienna.
Recommended publications
  • Spring 06 02-16.Indd
    CENTER FOR AUSTRIAN STUDIES AUSTRIAN STUDIES NEWSLETTER Vol. 18, No. 1 Spring 2006 Reflections on William Fulbright’s legacy by Lonnie Johnson In April 2005, Fulbright commissions all over the world commemorated the centennial anniversary of the birth of J. William Fulbright (1905-1995), the founder of the US government’s flag- ship international educa- tional exchange program. As a junior senator from Arkan- sas, Fulbright endorsed a pro- active internationalist agenda during and after World War II and made a name for him- self not only as an advocate of the United Nations and educational exchange pro- grams, but also as one of the most courageous opponents of Joseph McCarthy. In August 1946, Fulbright was responsible for tagging an amendment on to the Sur- plus Property Act of 1944, which stipulated that for- U.S. Fulbright grantees visiting the Melk Monastery during their orientation program in September 2005. eign income earned overseas by the sale of US wartime property could be used to finance educational Salzburg, Klagenfurt, Linz, Graz, and Vienna, as well as collaborative exchange with other countries. This amendment laid the foundations for awards for students and scholars at the Diplomatic Academy, Internation- the educational exchange program that came to bear his name. The pro- ales Forschungszentrum Kulturwissenschaften (an international research gram is currently based on the Fulbright-Hayes Act of 1961, which pro- center for cultural studies), the Sigmund Freud Museum, and the Muse- vided US funding for the program as an annual line item in the federal umsQuartier in Vienna. The Fulbright Commission also cosponsors an budget and included provisions facilitating contributions to the program continued on page 25 by foreign governments and other entities.
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  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
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  • Carmen Cartellieri
    Carmen Cartellieri Also Known As: Franziska Ottilia Cartellieri, Carmen Teschen, Mrs. Emanuel Ziffer Edler von Teschenbruck, Mrs. Mano Ziffer-Teschenbruck Lived: June 28, 1891 - October 17, 1953 Worked as: co-screenwriter, film actress, producer, theatre actress Worked In: Austria, Germany, Hungary by Robert von Dassanowsky Carmen Cartellieri was born Franziska Ottilia Cartellieri in Prossnitz, Austria-Hungary, which is today Prostejov, Czech Republic, but spent her childhood in Innsbruck, Austria. In 1907, at age sixteen, she married the aristocratic artist-turned-director, Emanuel Ziffer Edler von Teschenbruck. Her husband and Cornelius Hintner, a cameraman from South Tyrol who had worked for Pathé in Paris and then as a director in Hungary, helped make her one of the most fashionable stars in German-language film of the 1920s. Using the stage name of Carmen Teschen, she appeared in several Hungarian silent films between 1918 and 1919 and made her Austrian film debut in Hintner’s Die Liebe vom Zigeunerstamme/The Gypsy Girl (1919), which she reportedly cowrote. Political changes in postwar Hungary made her relocate to Vienna where she returned to her exotic surname, suggesting to the press that she was born in Italy, and founded the Cartellieri-Film company in 1920 with her husband and Hintner. The first two Cartellieri-Film productions in Vienna transferred her Hungarian fame into true stardom. Carmen lernt Skifahren/Carmen Learns to Ski (1920), a broad comedy directed by her husband, now known as Mano Ziffer-Teschenbruck, was clearly aimed at gaining Cartellieri wider recognition. Die Würghand/Die Hand des Teufels/The Hand of the Devil (1920), a crime drama set in the mountains and directed by Hintner, was critically praised for its style and narrative effectiveness as well as for Cartellieri’s performance as the femme fatale.
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  • 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
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  • Global Austria Program
    AUSTRIAN STUDIES ASSOCIATION AUSTRIAN STUDIES ASSOCIATION austrian-studies.org austrian-studies.org Organized by Nele Hempel-Lamer Department of Romance, German, Russian Languages and Literatures, California State University, Long Beach <http://www.csulb.edu/colleges/cla/departments/rgrll/> The Conference is generously supported by: Annual Conference of the Austrian Studies Association Thursday, 26 April - Saturday, 28 April, 2012 California State University Long Beach Center for Austrian Studies ________________________________ at the University of Minnesota Keynote Speakers: Office of the Provost at California State University Long Beach Barbara Neuwirth and Harald Friedl College of Liberal Arts ________________________________ at California State University Long Beach Department of Romance, Russian, German Languages and Literatures at California State University Long Beach Thursday, April 26 __________________________________ 6:30 pm Morning Session I Opening Reception at the residence of Friday, 10:00-11:30 am Dr. Karin Proidl, Consul General of Austria in Los Angeles __________________________________ __________________________________ Friday, 10:00-11:30 am Friday, April 27 Anatol Center __________________________________ After the Great War 7:45 - 8:30 am Breakfast and Conference Registration Moderator: Jacqueline Vansant Anatol Center Patio Room (registration will continue here throughout the day) Globales Denken? Hofmannsthals Idee von Europa __________________________________ Wolfgang Nehring, University of California, Los Angeles
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  • Chapter 1: Schoenberg the Conductor
    Demystifying Schoenberg's Conducting Avior Byron Video: Silent, black and white footage of Schönberg conducting the Los Angeles Philharmonic in a rehearsal of Verklärte Nacht, Op. 4 in March 1935. Audio ex. 1: Schoenberg conducting Pierrot lunaire, ‘Eine blasse Wäscherin’, Los Angeles, CA, 24 September 1940. Audio ex. 2: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. Audio ex. 3: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. In 1975 Charles Rosen wrote: 'From time to time appear malicious stories of eminent conductors who have not realized that, in a piece of … Schoenberg, the clarinettist, for example, picked up an A instead of a B-flat clarinet and played his part a semitone off'.1 This widespread anecdote is often told about Schoenberg as a conductor. There are also music critics who wrote negatively and quite decisively about Schoenberg's conducting. For example, Theo van der Bijl wrote in De Tijd on 7 January 1921 about a concert in Amsterdam: 'An entire Schoenberg evening under the direction of the composer, who unfortunately is not a conductor!' Even in the scholarly literature one finds declarations from time to time that Schoenberg was an unaccomplished conductor.2 All of this might have contributed to the fact that very few people now bother taking Schoenberg's conducting seriously.3 I will challenge this prevailing negative notion by arguing that behind some of the criticism of Schoenberg's conducting are motives, which relate to more than mere technical issues. Relevant factors include the way his music was received in general, his association with Mahler, possibly anti-Semitism, occasionally negative behaviour of performers, and his complex relationship with certain people.
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  • Einige Österreichische Flüchtlinge in Großbritannien
    Einige österreichische Flüchtlinge in Großbritannien Von Reinhard Müller Die nachfolgende, in sechs Kategorien gegliederte Liste von etwa 2.000 österreichischen Flüchtlingen in Großbritannien betrifft den Emigrationszeitraum 1933 bis 1945. Aufgenommen wurden vor allem kreativ Tätige wie Künstler, Philosophen und Wissenschaftler. Dazu kommen Politiker, sofern sie wichtige Funktionen im österreichischen Exil innehatten. Bewusst wurden auch jene Emigranten aufgenommen, die nur eine gewisse Zeit in Großbritannien verweilten, um dann in das gewünschte Zielland - meist die U.S.A. - weiterzuwandern. Damit soll der Bedeutung Rechnung getragen werden, die Großbritannien als - meist erstem - Fluchtpunkt zukam. Außerdem wurden damit auch jene Flüchtlinge berücksichtigt, die von Großbritannien interniert und dann in ihrem Internierungsland - Kanada und Australien - blieben. Natürlich wurden aber auch solche Flüchtlinge aufgenommen, die ihre gesamte Emigrationszeit in Großbritannien verbrachten. Die Liste enthält vorwiegend Personen, die in den Grenzen des heutigen Österreich geboren wurden, sowie Monarchie-Österreicher, welche den überwiegenden Teil ihres Lebens in Österreich (in seinen heutigen Grenzen) verbrachten. Andere Monarchie-Österreicher finden sich nur in Auswahl. Dazu kommen noch Personen, die zwar nicht in Österreich geboren wurden, hier aber lange Zeit lebten oder wichtige Abschnitte ihres Lebens verbrachten. 1. Schriftsteller, Journalisten, Übersetzer und Verleger 2. Maler, Grafiker, Plastiker und Architekten 3. Komponisten, Musiker,
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  • Curriculum Vitae
    Robert von Dassanowsky Dept. of Languages and Cultures Tel: +1.719.255.3562 Dept. of Visual and Performing Arts [email protected] University of Colorado [email protected] Colorado Springs, CO 80918 USA Dual Citizenship: Austria + USA UNIVERSITY FACULTY POSITIONS AND VISITING/ADJUNCT APPOINTMENTS: University of Colorado, Colorado Springs (UCCS) CU Distinguished Professor of Film and Austrian Studies, 2020. Professor of Visual and Performing Arts-Film and German/Austrian Studies, 2006-present. Founding Director, Film Studies Program, 1997-present. Founding Co-Director, European Studies, 2012. Chair, Dept. of Languages and Cultures, 2001-06; Acting chair, 2009; Co-Chair, 2020. Interim Chair, Dept. of Visual and Performing Arts, 2000-01; 2010. Head of German Program, 1993-present. Graduate/Undergraduate Humanities Program, 1993-present. Associate Professor of German and Visual and Performing Arts, 1999-2006. Assistant Professor of German, 1993-99. The Global Center for Advanced Studies (GCAS), New York and Dublin Affiliate Faculty 2017-present; Board Member of the GCAS Research Institute Dublin; Development Director for GCAS Vienna Center, 2019-present. Webster University, Vienna Adjunct Faculty of Media Communication and Film, 2013-15. University of California, Los Angeles Visiting Professor of German (cinema and contemp. literature), 2007-08. Visiting Assistant Professor of German, 1992-93. Teaching Fellow, Department of Germanic Languages, 1989-92. EDUCATION: Ph.D., Germanic Languages, University of California, Los Angeles, 1992. Dissertation Directors: Wolfgang Nehring, Hans Wagener, Kathleen Komar, 2 G. B. Tennyson. MA, German Studies (film spec.), University of California, Los Angeles, 1988. BA, Cum Laude/Highest Departmental Honors, Political Science and German, University of California, Los Angeles, 1985.
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  • The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
    The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked.
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  • Music Manuscripts and Books Checklist
    THE MORGAN LIBRARY & MUSEUM MASTERWORKS FROM THE MORGAN: MUSIC MANUSCRIPTS AND BOOKS The Morgan Library & Museum’s collection of autograph music manuscripts is unequaled in diversity and quality in this country. The Morgan’s most recent collection, it is founded on two major gifts: the collection of Mary Flagler Cary in 1968 and that of Dannie and Hettie Heineman in 1977. The manuscripts are strongest in music of the eighteenth, nineteenth, and early twentieth centuries. Also, the Morgan has recently agreed to purchase the James Fuld collection, by all accounts the finest private collection of printed music in the world. The collection comprises thousands of first editions of works— American and European, classical, popular, and folk—from the eighteenth century to the present. The composers represented in this exhibition range from Johann Sebastian Bach to John Cage. The manuscripts were chosen to show the diversity and depth of the Morgan’s music collection, with a special emphasis on several genres: opera, orchestral music and concerti, chamber music, keyboard music, and songs and choral music. Recordings of selected works can be heard at music listening stations. Wolfgang Amadeus Mozart (1756–1791) Der Schauspieldirektor, K. 486. Autograph manuscript of the full score (1786). Cary 331. The Mary Flagler Cary Music Collection. Mozart composed this delightful one-act Singspiel—a German opera with spoken dialogue—for a royal evening of entertainment presented by Emperor Joseph II at Schönbrunn, the royal summer residence just outside Vienna. It took the composer a little over two weeks to complete Der Schauspieldirektor (The Impresario). The slender plot concerns an impresario’s frustrated attempts to assemble the cast for an opera.
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  • CAS to Host Fall Conference on Climate Change and Sustainable Agriculture
    CENTER FOR AUSTRIAN STUDIES Vol. 20, No. 1 • Spring 2008 CAS to host fall conference on ASNAUSTRIAN STUDIES NEWSLETTER climate change and sustainable agriculture Plus: Mary Gluck on Jewish cabaret in fin-de-siècle Budapest Günter Bischof on Austria’s changing national holidays ASN/TOC Letter from the Director 3 Editor’s Note Minnesota Calendar 3 News from the Center 4 Celebrating Austria ASN Interview: Mary Gluck 6 Sometimes a late-breaking news event is so important that I must find a space for it. Such an event happened Sunday night, February 24, when The Counter- CAS Student News 9 feiters, directed and written by Stefan Ruzowitzky, won the Academy Award for Best Foreign Film. This marks the first time the honor has been given to an Aus- ASN Interview: Kurt Remele 10 trian film in the 80-year history of the Oscars. Below is a picture of Ruzowitzky, Opportunities for Giving 13 left, and the chair of the U of M history department, Eric Weitz, right, at a ban- quet hosted by CAS exactly one week earlier. Congratulations to Austria and its Publications: News and Reviews 14 award-winning filmmaker. Hot off the Presses 17 News from the Field 18 News from the North 19 ASN Interview: Michael Cherlin 20 In Memoriam: Miriam J. Levy 22 Report from New Orleans 23 Salzburg 2007 Preview 25 SAHH News 25 Announcements 26 ASN Austrian Studies Newsletter Volume 20, No. 1 • Spring 2008 Photo by Daniel Pinkerton. Austria was also celebrated in a more traditional way at the 2007 Austria Day Editor: Daniel Pinkerton party.
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  • FREUD and the PROBLEM with MUSIC: a HISTORY of LISTENING at the MOMENT of PSYCHOANALYSIS a Dissertation Presented to the Faculty
    FREUD AND THE PROBLEM WITH MUSIC: A HISTORY OF LISTENING AT THE MOMENT OF PSYCHOANALYSIS A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Michelle R. Duncan May 2013 © 2013 Michelle R. Duncan FREUD AND THE PROBLEM OF MUSIC: A HISTORY OF LISTENING AT THE MOMENT OF PSYCHOANALYSIS Michelle R. Duncan, Ph. D. Cornell University 2013 An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses individual subjectivity, in theoretical discourse it operates as a placeholder for superimposed content, a storage container for acquired material that can render the subjective voice silent and ineffectual. In grammatical terms, voice expresses the desire or anxiety of the third rather than first person, and as such can be constitutive of both identity and alterity. In historical discourse, music operates similarly, absorbing and expressing cultural excess. One historical instance of this paradox can be seen in the case of Sigmund Freud, whose infamous trouble with music has less to do with aesthetic properties of the musical art form than with cultural anxieties surrounding him, in which music becomes a trope for differences feared to potentially “haunt” the public sphere. As a cultural trope, music gets mixed up in a highly charged dialectic between theatricality and anti-theatricality that emerges at the Viennese fin- de-Siècle, a dialectic that continues to shape both German historiography and the construction of modernity in contemporary scholarship.
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