Journal of Austrian Studies最新文献

{"title":"Ökonomien der Parodie am Wiener Vorstadttheater: Unterhaltungsdramatik in politischen und sozioökonomischen Krisenzeiten (1813–1830) by Matthias Mansky (review)","authors":"","doi":"10.1353/oas.2023.a906963","DOIUrl":"https://doi.org/10.1353/oas.2023.a906963","url":null,"abstract":"Reviewed by: Ökonomien der Parodie am Wiener Vorstadttheater: Unterhaltungsdramatik in politischen und sozioökonomischen Krisenzeiten (1813–1830) by Matthias Mansky Jeffrey A. Hertel Matthias Mansky, Ökonomien der Parodie am Wiener Vorstadttheater: Unterhaltungsdramatik in politischen und sozioökonomischen Krisenzeiten (1813–1830). Hannover: Wehrhahn, 2022. 640 pp. The raucous farces, satires, and parodies of the Viennese Vorstadttheater have been an area of continual but ultimately limited research interest. The field remains understudied in spite of the stage being the primary mode of literary production for mass consumption during the first half of the nineteenth century, when the Habsburg monarchy was at its zenith of influence in Europe. Though this period is often described as a time of reactionary censorship, Biedermeier retreats into the domestic sphere, and apparent disinterest in social and political issues, there is reason to question this received narrative. One of the most important recent attempts to complicate the image [End Page 103] of Ruhe and Ordnung arrives with the publication of Matthias Mansky's Ökonomien der Parodie am Wiener Volksstadttheater. Combining a survey of the parodic \"economies\" of the Viennese stage with their relationship to bread-and-butter questions of the day, the volume introduces, contextualizes, and reproduces six of the most biting parodies of the time. The work ends with commentary on the parodies by reviewers in the original context and editorial remarks on the texts. Taken as a whole, Mansky offers an illuminating presentation of an important yet arcane corner of the nineteenth-century Viennese stage and the accompanying public sphere quite in line with recent critical approaches to the period from more researched areas of German Studies. With few exceptions, previous studies of the Viennese Vorstadttheater have focused on a handful of authors (Ferdinand Raimund, Johann Nestroy) and their relationship to received morality and government censorship. While these basic interpretive elements still animate Ökonomien der Parodie, the volume compounds the traditional picture by walking readers through the intertextual network of the parodic stage, where works exist in close relationship to referents outside of that which is on stage. This extends not just to other texts but also to the lived experiences of audiences. In this way, Mansky manages to recreate the most salient socioeconomic and discursive spheres in which parody acted as an intellectual and cultural currency of the time, offering a welcome addition to studies like Meike Wagner's Theater und Öffentlichkeit im Vormärz (Akademie Verlag, 2013). One example of the importance of Mansky's revision of established discourses comes in explaining the backhanded nature of many of the dramas' \"Happy Ende.\" Many parodies are peopled by figures of low class status, and many of the works end with that most quintessential of happy endings: a wedding. While this","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tom Stoppard's Leopoldstadt and Its Discontents","authors":"Martin Schneider","doi":"10.1353/oas.2023.a906960","DOIUrl":"https://doi.org/10.1353/oas.2023.a906960","url":null,"abstract":"Tom Stoppard's Leopoldstadt and Its Discontents Martin Schneider Late last year I attended the New York production of Tom Stoppard's latest play, Leopoldstadt, at the Longacre Theatre. The play's original run was in London's West End in early 2020 before being interrupted by COVID. It is said that it will be the final play of his storied career. I have been the copyeditor of The Journal of Austrian Studies for more than 10 years and am the descendant of Viennese Jews, so naturally my ears perked up when I first heard the title some months earlier. For me, the performance was unusual in that it so strikingly resembled an article of JAS come to life. Hofmannsthal, Herzl, \"Handsome/Schöne\" Karl Lueger, Anschluss, 2. Republik—it's all there. In this brief essay I address the content of the play and discuss Stoppard's literary ties to Vienna and Austria-Hungary, an aspect of his life and career of which some of his fans might be unaware. I wish I could say that the play was an unmitigated success. The play shows all the hallmarks of Stoppard's career, that is to say, wide erudition, wit, complexity, and an appetite for ideas. Stoppard is a favorite playwright of mine, but his output since 2000 has struck me, for the most part, as not fit material for the stage, lacking the capacity to delight, astound, and move a normal audience. A characteristic story, told by the British critic Michael Billington: \"I have an indelible memory of meeting Stoppard on the steps of the London Library laden with books some time before Jumpers opened. 'What have you got there?' I innocently asked. 'My next play,' he crisply replied\" (82). For the Stoppard enthusiast, the exchange is haunting because it confronts what one [End Page 91] might term Stoppard's signature weakness, an intermittent inability to create a play that delivers the effects that every play must. To Stoppard's credit, it seems, he knows that his plays have a bookish cast—they could often be footnoted—and he is able to poke fun at himself. For the Stoppard aficionado, it is basic information that he was born Tomáš Sträussler before the war (1937) in what was then Czechoslovakia; the locality was Zlín. The young Sträussler's perambulations were complex and varied, featuring stays in Singapore and India. At some point before the war his father perished in eastern Asia. By the time World War II had come to an end, his mother had married a British officer named Stoppard. The new stepfather, a devout patriot, impressed upon young \"Tom\" that English citizenship was the most fortunate fate that could befall a person, an ethic the child seems to have gratefully imbibed (Lee 5–30). Mixed in with this was some degree of sheepish, perhaps semiconscious guilt over his own survival when his own father had not lived to see the end of the war. His early adult years were a time of considerable political tumult; when leftism among creative British persons was taken for granted, Stoppard struck a different, aloof note. The","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eberhard Kranzmayer's Deutschtum: On the Austrian Dialectologist's Pan-German Frame of Reference","authors":"Stefan Dollinger","doi":"10.1353/oas.2023.a906959","DOIUrl":"https://doi.org/10.1353/oas.2023.a906959","url":null,"abstract":"Abstract: The present paper offers a close reading of Eberhard Kranzmayer's texts from 1925 to 1960 in an effort to isolate Kranzmayer's major methodological themes. One such theme is a pan-German (großdeutsch) framework, in which the unity of German with a single standard variety is maintained. It will be shown how Kranzmayer used this assumption, combined with his belief in the cultural dominance of all things German, to perform \"linguistic land claims\" for Germany before and during the war. While his post-war texts are identical in argument, with some democratic window-trimmings, any land claims are more muted and cultural similarity is now stressed. Kranzmayer's time as director of the Institut für Kärntner Landesforschung, 1942–45, will be reviewed in regard to his claim that a people is determined by a standard variety: a status that he granted the Friuli, but not the Slovenes (the Windisch) and, certainly and always, the Germans. It will be argued that such pan-German mindset necessarily influenced conceptions of a budding Standard Austrian German and that, today still, Germanistik is largely bound by the idea of a One Standard German Axiom, in striking similarity to the 1920s.","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Memoirs of Ceija Stojka, Child Survivor of the Romani Holocaust by Ceija Stojka (review)","authors":"","doi":"10.1353/oas.2023.a906973","DOIUrl":"https://doi.org/10.1353/oas.2023.a906973","url":null,"abstract":"Reviewed by: The Memoirs of Ceija Stojka, Child Survivor of the Romani Holocaust by Ceija Stojka Cynthia A. Klima Ceija Stojka, The Memoirs of Ceija Stojka, Child Survivor of the Romani Holocaust. Translated by Lorely E. French. Rochester, NY: Camden House, 2022. 280 pp. During Spring 2005, an Austrian colleague suggested that the author Dr. Lorely E. French meet up with Ceija Stojka, a Romani writer, artist, musician, and activist who as a young girl had survived Auschwitz-Birkenau, Ravensbrück, and Bergen-Belsen. Over a thirty-three-year period, Ceija had filled over thirty notebooks filled with memories, thoughts, and illustrations, many of which concerned her life growing up in pre-Nazi times as well as her experiences in various concentration camps. This work is the culmination of many years of collaboration with Ceija and subsequent student and colleague interest in Ceija's experiences as a Roma child imprisoned by the Nazis during World War II. As an activist herself in Romani causes, Ceija raised visibility of the Romani after World War II and wrote and sang original songs. But it was not until 1988 that Ceija wrote her first memoir, entitled We Live in Secrecy: Memories of a Romani-Gypsy. Ceija describes the settlements into which Roma were forced and the ever-growing persecution against her people in Austria. The memoir is intense and descriptive, and Dr. French has done a wonderful job of translation and has succeeded in capturing the desperation and trauma of the camps. The memoir focuses mainly on Auschwitz, Bergen-Belsen, and Ravensbrück, relating many horrific experiences up to the British liberation in 1945. As Ceija states, \"I couldn't describe this a second time, because in my thoughts I am experiencing it all over again as if it had happened yesterday\" (45). The descriptions of the camps, the translations of songs that originated in Auschwitz, and the forced movement from camp to camp are emotionally described. Ceija's second memoir, entitled Travelers in This World: From the Life of a Romani-Gypsy, introduces the reader to the new life Ceija led as a 14-year-old girl, living with her mother and her mother's new partner while the family traveled. It was during this time that Ceija began enjoying the company of a small book that was at first difficult for her to read. \"Every free minute I took the small book out of my hiding place. I preferred to read when I was alone and unobserved\" (86). Indeed, this is the point in Ceija's life when her love for learning and writing blossoms. The descriptions in this memoir give the [End Page 130] reader a sense for occupied Austria, replete with its Russian occupiers, necessary identity cards as the family moves through different occupied zones, and dislike for people like Ceija. It is in this memoir that the reader learns of Romani laws and traditions as they are explained by Ceija's mother and Aunt Gescha. Eventually, Ceija gives birth to her son Willi, wrapping him in red swaddling to pro","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Körper, Kannibalen, Judenräte, Ästhetiken des Grotesken bei George Tabori und Robert Schindel by Johanna Öttl (review)","authors":"","doi":"10.1353/oas.2023.a906971","DOIUrl":"https://doi.org/10.1353/oas.2023.a906971","url":null,"abstract":"Reviewed by: Körper, Kannibalen, Judenräte, Ästhetiken des Grotesken bei George Tabori und Robert Schindel by Johanna Öttl Timothy B. Malchow Johanna Öttl, Körper, Kannibalen, Judenräte, Ästhetiken des Grotesken bei George Tabori und Robert Schindel. Literaturgeschichte in Studien und Quellen 32. Vienna: Böhlau, 2022. 337 pp. This excellent book by Johanna Öttl, focuses on contextualized analyses of two plays exploring memory of the Shoah: Die Kannibalen by George Tabori (1914–2007) and Dunkelstein by Robert Schindel (b. 1944). The 1969 German premiere of Die Kannibalen in West Berlin launched Tabori's career in German-language theater; Schindel's Dunkelstein was published in 2010 and had its full-length premiere in Vienna in 2016. A generation separates the two playwrights, though each, from an assimilated Jewish family, lost his father to murder by Nazis in the Shoah. Öttl shows that each writer produced an innovative play at a transitional moment for Holocaust memory and its literary representation, employing a grotesque aesthetic that deviated from established genres to expose the constructedness of conventions for representing memory. The book consists of four chapters with a brief introduction and a helpful conclusion. The first chapter examines the contexts in which Die Kannibalen and Dunkelstein appeared, distinguishing between public memory discourses and memory-focused literary genres while tracing their interactions through numerous examples. After a postwar period characterized by distortions, silence, and the coexistence of anti- and philosemitism that dehistoricized and sentimentalized Jewish figures, the 1960s marked a transition. Growing interest in survivor testimony led to the perception of individual survivors' bodies as authoritative markers of authentic memory and to a new focus on their voices. In Die Kannibalen, the emphasis on complex, individual Jewish protagonists grew out of that development, breaking taboos by undermining the impersonal cliché of sacralized victimhood. Öttl shows that sentimentalizing [End Page 125] and dehistoricizing tendencies have continued into the new millennium in popular Shoah representations, although survivor literature and testimony had also become central in public memory by the 1980s. Given the meaning attributed to survivors' bodies and voices, a new form of memory is emerging as the last survivors die out, leaving only mediated representations of their bodies and voices as signs of authentic memory. Schindel's play thematizes this shift from communicative to cultural memory. In the second chapter, Öttl formulates her critical understanding of the grotesque aesthetics at work in Tabori and Schindel. She dismisses Wolfgang Kayser's canonical 1957 study of the grotesque for its emphasis on timeless tropes, arguing instead that an aesthetic becomes grotesque in context, in relation to generic forms that it juxtaposes in an alienating, multi-voiced narrative that might be comical. The dialogi","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Authoritarian Regimes in the Long Twentieth Century: Preconditions, Structures, Continuities: Contributions to European Historical Dictatorship and Transformation Research ed. by Florian Kührer-Wielach and Oliver Rathkolb (review)","authors":"","doi":"10.1353/oas.2023.a906972","DOIUrl":"https://doi.org/10.1353/oas.2023.a906972","url":null,"abstract":"Reviewed by: Authoritarian Regimes in the Long Twentieth Century: Preconditions, Structures, Continuities: Contributions to European Historical Dictatorship and Transformation Research ed. by Florian Kührer-Wielach and Oliver Rathkolb Katlyn M. W. Rozovics Florian Kührer-Wielach and Oliver Rathkolb, eds., Authoritarian Regimes in the Long Twentieth Century: Preconditions, Structures, Continuities: Contributions to European Historical Dictatorship and Transformation Research. Zeitgeschichte 49, Vienna: Vienna UP, 2022. 208 pp. This edited collection of twelve essays, three of which are in German, are excerpted from the authors' dissertations, which were undertaken as part [End Page 127] of the European Historical Dictatorship and Transformation Research project (2009–2013). The essays are diverse, covering Central and Eastern European regimes in the twentieth century, yet many of them find common ground. Dreidemy and Thaler argue about the importance of myth and cult of personality in building an authoritarian regime. Soursos, Kouki, and Musil argue that state rituals, ceremonies, monuments, photography, and art exhibitions are extraordinary tools for legitimizing a regime and endearing the population to the leader. The arguments of Ebner, Soursos, and Dreidemy also highlight how authoritarianism can be sold to a population through a mixture of art, language, and mythos. Despite the wide range of nations and topics discussed, the unifying force of the collection is that it highlights the importance of interdisciplinary work and the success of comparative approaches to authoritarianism. The essays also follow common themes stated in the title, such as structure, continuity, and general contributions to authoritarian studies. On the theme of structure, Erker's piece, \"The University of Vienna from 1933 to 1938 and the Dictatorship of Many Names,\" is an excellent micro-history of the University of Vienna, with the broader scope of Austrofascism in mind. By examining the internal structure of the university, Erker draws comparisons to the larger structure of the Austrian government and the process of becoming fascist. The university mirrors stages in the government's descent into authoritarianism; the republican parliament becomes authoritarian, National Socialist professors and students are pressed out of the institution, and then there is a return to National Socialism before the Anschluss. The processes that play out at the institutional level clarify the path to authoritarianism at the governmental level. On the theme of continuity, Zieliński's \"The 'Golden Age' Narrative of Interwar Poland and its Effects on Democratization in 1989\" is an intriguing piece on forging identity, forgetting, and making bridges to the past. The author brings up a particularly interesting point with the debate surrounding the Polish eagle on the national coat of arms. The return of the eagle reaches back in history to the Second Polish Republic, creating a bridge from ","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135640167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The American Revolution and the Habsburg Monarchy by Jonathan Singerton","authors":"E. Grube","doi":"10.1353/oas.2023.0030","DOIUrl":"https://doi.org/10.1353/oas.2023.0030","url":null,"abstract":"","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49605427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Oskar Kokoschka: Neue Einblicke und Perspektiven/New Insights and Perspectives ed. by Régine Bonnefoit and Bernadette Reinhold","authors":"Sonja Niederacher","doi":"10.1353/oas.2023.0031","DOIUrl":"https://doi.org/10.1353/oas.2023.0031","url":null,"abstract":"Reviewed by: Oskar Kokoschka: Neue Einblicke und Perspektiven/New Insights and Perspectives ed. by Régine Bonnefoit and Bernadette Reinhold Sonja Niederacher Régine Bonnefoit and Bernadette Reinhold, eds., Oskar Kokoschka: Neue Einblicke und Perspektiven/New Insights and Perspectives. Berlin/Boston: De Gruyter, 2021. 450 pp. Régine Bonnefoit and Bernadette Reinhold's volume Oskar Kokoschka: Neue Einblicke und Perspektiven: New Insights and Perspectives tells of the proceedings of an international conference bearing the same title, which was held at the University of Applied Arts Vienna on February 27, 2020. All articles are alternately in German and English. The conference organizers and editors of the book are well-known figures in the field: Bonnefoit, now a full professor at the Institute for Art History and Museology at the University of Neuchâtel, served as a curator for the Fondation Oskar Kokoschka in Vevey for ten years from 2006 to 2016. Reinhold has been the director of the Oskar Kokoschka Center at the University of Applied Arts in Vienna since 2008 and authored the 2022 biography on the artist under the title Oskar Kokoschka und Österreich. Both editors have contributed significantly to the scholarly discourse on the artist and have taken part in shaping the basis they now can build on to explore \"new insights and perspectives\" on Kokoschka. Equally distinguished in their fields of expertise are the contributors to this volume. As is made clear in the introduction, the main intention was to confront the myths surrounding Oskar Kokoschka, of which there are many. The guiding question was whether and to what extent Kokoschka himself was the creator of these legends about his life and thus whether these are basically the result of self-promotion. The authors take up this approach and deliver manifold studies on Kokoschka's art and biography. The eleven articles are grouped in five chapters. Under the title \"Self-positioning and Marketing Strategies,\" Birgit Kirchmayr analyzes how the artist contrived his autobiographical writings to represent the topos of an artist's life. Keith Holz meticulously lays out Kokoschka's efforts to gain ground in the US art market. Oskar Kokoschka's famous doll that was modeled after his former lover, Alma Mahler, demands contextualization in gender discourse, a task fulfilled by Reinhold herself, who interprets dolls as a \"figuration of Modernism.\" Katharina Prager elucidates the whirling gender discourses in Vienna at the turn of the century, fortunately guiding the reader away from the misogynistic writings of Oskar Weininger, which have long dominated the retrospective perception of the [End Page 114] period (primarily for their shock potential) and instead offers more diverse elaborations of the subject. Anna Stuhlpfarrer and Barbara Lesák portray in their texts Oskar Kokoschka in other roles, as playwright, director, and set designer, again showing Kokoschka's constant efforts to shape his image retros","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135626592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Legacy of Ruth Klüger and the End of the Auschwitz Century ed. by Mark H. Gelber","authors":"Adam J. Toth","doi":"10.1353/oas.2023.0039","DOIUrl":"https://doi.org/10.1353/oas.2023.0039","url":null,"abstract":"Reviewed by: The Legacy of Ruth Klüger and the End of the Auschwitz Century ed. by Mark H. Gelber Adam J. Toth Mark H. Gelber, ed., The Legacy of Ruth Klüger and the End of the Auschwitz Century. Perspectives on Jewish Texts and Contexts 20. Berlin/Boston: De Gruyter, 2022. 190 pp. Ruth Klüger's death in 2020 dealt an enormous blow to the fields of German, Jewish, and Austrian Studies. Her passing was not only a tremendous loss for these scholarly communities but represents a larger, inevitable conundrum for scholarship on the Holocaust: the dying out of survivors with living memory of the travesty. The Legacy of Ruth Klüger and the End of the Auschwitz Century aims to serve both as a tribute to Klüger and her memory as well as a springboard for meditation on how to discuss the Holocaust once the remaining survivors are gone. The volume's contributors—Mark H. Gelber (who edited the volume), Sander L. Gilman, Heinrich Detering, Stephan Braese, Irène Heidelberger-Leonard, Ulrike Offenberg, Monica Tempian, Daniel P. Reynolds, and Vera Schwarcz—offer a mix of hits and misses in achieving these goals. I will look at each contribution based on how well they (1) memorialize Klüger and (2) make a compelling argument, starting from the weakest. Reynold's chapter, which should be the most important for grappling with the question of Holocaust memory, disappoints in its argumentation. Propping up cultural critic Theodor Adorno as a straw man because of his famous declaration of poetry as barbaric after Auschwitz, Reynolds wants to argue for Holocaust memorial tourism and seems to know of Adorno for his critique of mass culture. I am unsure, as Reynolds never cites Adorno and refers to Adorno's position out of context, with a quote from Klüger on what [End Page 133] she viewed as an authoritarian perspective from Adorno as Reynolds's closest engagement with Adorno. Reynolds conflates Adorno's well-known critique of mass culture with his metacritique of cultural criticism itself and the malleability of total ideology to include criticism of total ideology within that ideology. This conflation glibly undermines his reading of Klüger to support Holocaust tourism. Gelber's contribution, built on a long-standing professional friendship with Klüger and an almost unrivaled knowledge of her writings, argues that she is a Zionist. For all the circumstantial evidence Gelber compiles, none of it is a direct statement from Klüger affirming this argument. Gelber openly admits to a degree of speculation and, when one considers Gelber's role as editor and that Klüger is no longer around to dispute his claim, the lack of a direct statement stands out like a sore thumb, weakening his position. Gliman's contribution does not so much advance an argument beyond \"Names matter\" (10) as provide us with a historical sketch of two Jewish Germanists in America. The chapter moves us through the significance of names and the magic behind them throughout various texts in a style expecte","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":"301 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135626589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Open Wounds: Holocaust Theater and the Legacy of George Tabori ed. by Martin Kagel and David Z. Saltz","authors":"Inge Arteel","doi":"10.1353/oas.2023.0040","DOIUrl":"https://doi.org/10.1353/oas.2023.0040","url":null,"abstract":"","PeriodicalId":40350,"journal":{"name":"Journal of Austrian Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46714649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}