Seite - 11 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Introduction | 11 und Antisemitisches in der Wiener Volksunterhaltung,” Musicologica Austriaca 17 (1998): 63–82; Georg Wacks, Die Budapester Orpheumgsellschaft: Ein Varieté in Wien 1889–1919 (Vienna: Holzhausen, 2002); Birgit Peter and Robert Kaldy-Karo, eds., Artistenleben auf vergessenen Wegen: Eine Spurensuche in Wien (Vienna: LIT, 2013). Th e topic of soccer and Jews has received considerable scholarly attention. See Michael Lechner, “Wie vom anderen Stern”—Jüdischer Fußball in Wien (1909–1938): Eine Kultur- und Sportgeschichte (Saarbrücken: VDM, 2010); David Forster, Georg Spitaler, and Jacob Rosenberg, eds., Fußball unterm Hakenkreuz in der Ostmark (Vienna: Die Werkstatt, 2014). In the last few years, several scholars have begun to rethink this topic, as is evident in a series of master’s theses and dissertations on the subject of Jewish and various aspects of popular culture. I cite these works as appropriate over the course of this study. 21. We fi nd an illustrative example of this tendency in a recent study of Jews in the Vien- nese Vorstädte (outlying city districts). Th e promotional information on the back of this title declares, “Among the Jews that lived here, there numbered prosperous entrepreneurs and landowners, but also many workers, small tradespeople, day laborers and peddlers as well.” See Evelyn Adunka and Gabriele Anderl, Jüdisches Leben in der Vorstadt Ottakring und Hernals (Vienna: Mandelbaum, 2012). Th ere is no mention of Jews who worked in the cultural realm, in particular no reference to Jews engaged in the many and varied aspects of popular culture. 22. IWE 5 (5 January 1901): 6. 23. IWE 1 (1 January 1901): 4. 24. IWE 192 (15 July 1900): 23. 25. IWE 249 (11 November 1901): 5. 26. IWE 320 (21 November 1901): 7. 27. For more on this, see chapter 1. 28. Marsha L. Rozenblit, Juden in Wien 1867–1914 (Vienna: Böhlau, 1988), 29, 48. 29. Edward Portnoy, “Warsaw Jews and Popular Performance, 1912–1930,” TDR: Th e Drama Review 50, no. 2 (Summer 2006): 127f. 30. Portnoy, “Warsaw Jews,” 129, 131. 31. Names such as David Copperfi eld and Uri Geller underscore the propensity that some Jews have historically felt for engaging in the public performance of magic as a form of entertainment and publicity. 32. Stephan Oettermann, and Sibylle Spiegel, Bio-Bibliographisches Lexikon der Zauberkünst- ler (Off enbach: Edition Volker Huber, 2004), 338. 33. Günther Dammann, Die Juden in der Taschenspielerkunst: Eine biographische Stoff samm- lung (Berlin, 1933), 42–43. 34. Reinhard Buchberger, “Jüdische Taschenspieler, kabbalistsche Zauberformeln: Jakob Phi- ladelphia und die jüdischen Zauberkünstler im Wien der Aufklärung,” in Rare Künste: Zur Kultur- und Mediengeschichte der Zauberkunst, ed. Brigitte Felderer and Ernst Strou- hal (Vienna: Springer, 2007), 151, 160. 35. Buchberger, “Jüdische Taschenspieler,” 162–63. 36. “Magic Christian, Carl Compars Herrmann: Zum 120. Todestag gewidmet,” Magie 7 (2008): 358–63. 37. http://www.biographien.ac.at/oebl/oebl_H/Herrmann_Compars_1816_1887.xml (ac- cessed 8 May 2019). 38. Th e extent to which this stereotype is still in circulation today is evident in the fact that the Central Council of Jews in Germany recently felt the need to take an explicit stand This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.