Seite - 94 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

94 Sektion I: Themen und Medien der Repräsentation 12 Leo Braudy, Conclusion:. Secular Anointings. Fame, Celebrity, and Charisma in the First Century of Mass Culture, in: Edward Berenson/Eva Giloi (Eds.), Constructing Charisma. Celebrity, Fame, and Power in Nineteenth-Century Europe, New York 2013, 173. 13 Geoffrey Batchen, Dreams of Ordinary Life. Cartes De Visite and the Bourgeois Imagination, in: Martha Langford (Ed.), Image and Imagination, Montreal 2005, 63–74. 14 Margaret Olin, Touching Photographs, Chicago 2012, 6. 15 Alfred Lichtwark, quoted in Walter Benjamin, Little History of Photography (trans. Edmund Jephcott/Kingsley Shorter), in: Michael W. Jennings/Brigid Doherty/Thomas Y. Levin (Eds.), The Work of Art in the Age of Its Technological Reproducibility and Other Writings on Media, Cambridge (Mass.) 2008, 287. 16 For a discussion of French and British examples of this practice, see McCauley, A. A. E. Disdéri and the Carte De Visite Portrait Photograph (as note 1), and John Plunkett, Queen Victoria. First Media Monarch, New York 2003. 17 Weber’s term is ‘Erbcharisma’. Max Weber, Economy and Society. An Outline of Interpretative Sociology, 2 vols (ed. by Günther Roth and Claus Wittich), Berkeley-Los Angeles 1978. 18 Eva Giloi, ‘So Writes the Hand That Swings the Sword’. Autograph Hunting and Royal Charisma in the German Empire, 1861–1888, in: Berenson/Giloi (Eds.), Constructing Charisma (as note 12), 41–51. 19 Martin Kohlrausch, The Workings of Royal Celebrity. Wilhelm II as Media Emperor, in: Beren- son/Giloi (Eds.), Constructing Charisma (as note 12), 52–66. 20 Unowsky, Pomp and Politics of Patriotism (as note 6), 19–32. 21 Carol Duncan, Happy Mothers and Other New Ideas in French Art, in: Norma Broude/Mary D. Garrard (Eds.), Feminism and Art History. Questioning the Litany, New York 1982, 200–219. 22 Yonan, Maria Theresa (as note 8), 27–28. 23 Duncan, Happy Mothers (as note 21), 217–218, note 6. 24 Sabine Grabner (Ed.), Friedrich von Amerling. 1803–1887, exhibition catalogue Österreichische Galerie Belvedere, Leipzig 2003. 25 Alois Riegl, cited in Wolfgang Kemp, Narrative, in: Robert S. Nelson/Richard Shiff (Eds.), Criti- cal Terms for Art History, Chicago 2003, 72. 26 This photograph was in Elisabeth’s personal collection of carte de visite photography, which she compiled between 1860 and 1864. See Werner Bokelberg/Brigitte Hamann (Eds.), Sisis Schön- heitenalbum. Private Photographien aus dem Besitz der Kaiserin Elisabeth, Dortmund 1980, 42. 27 Robinson’s Pictorial Effect in Photography (1869) went through many editions and was translated into German in 1886. Beaumont Newhall, The History of Photography. From 1839 to the Present, 5th ed., New York 1982, 76. 28 Roland Barthes, Camera Lucida. Reflections on Photography, New York 1981. For recent interpre- tations of Barthes’s Camera Lucida, see Geoffrey Batchen, Photography Degree Zero. Reflections on Roland Barthes’s Camera Lucida, Cambridge (Mass.) 2009, and Olin, Touching Photographs (as note 14), 51–70. 29 Walter Benjamin, Little History of Photography (as note 15), 285. See also Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility. Second Version (trans. Edmund Jeph- cott/Harry Zohn), in: Jennings/Doherty/Levin (Eds.), Work of Art (as note 15), 24. 30 Benjamin, Work of Art (as note 29), 27. 31 Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung, Inv. No. Pf 19000 E 332. 32 Barthes, Camera Lucida (as note 28), 80–81. 33 Unowsky, Pomp and Politics (as note 6), 15–25. 34 The “Winter Garden” photograph of Barthes’s mother is under particular debate. For a discussion of this scholarship, see Olin, Touching Photographs (as note 14), 62–64.