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Jews in Viennese Popular Culture around 1900 as Research Topic | 37
ticular historical perspective can infl
uence the assessment of Jewish–non-Jewish
relationships and how controversial this assertion can in fact be.
Notes
1. Barbara Hahn, Die Jüdin Pallas Athene: Auch eine Th eorie der Moderne (Berlin: Berliner
Taschenbuch, 2005), 121; Moshe Rosman, Founder of Hasidism: A Quest for the Histor-
ical Ba’al Shem Tov (Oxford: Littman Library of Jewish Civilization, 2013 [fi
rst edition
1996]), 56f.
2. Martin Schenk was born in Vienna. He made his debut in 1881 at the Deutsches Th
eater
in Budapest and subsequently performed at various venues throughout Europe. In 1884,
he switched to vaudeville, performing fi
rst as a member of the Establissement Drechsler in
Vienna, before taking the stage again in Budapest. After performing in Cologne, Munich,
Danzig, and other places, he was engaged with the Budapester Orpheumsgesellschaft.
Later, he moved to the Gartenbau variety show, where he garnered considerable success as
a director and comedian. See Das Variété 17 (25 February 1903): 1.
3. Illustrirtes Wiener Extrablatt [IWE in subsequent citations] 266 (25 September 1904):
18.
4. Mel Gordon and Erik Jan Hanussen, Hitler’s Jewish Clairvoyant (Los Angeles: Feral
House, 2001), 7–8.
5. Th
e language in this quotation is reminiscent of the anti-Jewish polemic that Richard
Wagner (1813–83) expressed in his 1850 essay Das Judentum und die Musik (Judaism in
music). In this essay, he writes that “the Jew who is innately incapable . . . of articulating
himself to us artistically . . . [has] nonetheless been able to attain mastery of public taste
in the most widespread of modern art forms, i.e., music” (Gottfried H. Wagner, “Ni-
etzsches Dynamit in der Bewertung des Judentums und Wagners Antisemitismus,” in
Rudolf Kreis, Nietzsche, Wagner und die Juden [Würzburg: Königshausen and Neumann,
1995], 12).
6. For more on this, see Sander L. Gilman, Inscribing the Other (Lincoln: University of
Nebraska Press, 1991). At times, mauscheln (speaking Yiddish or Yiddish-infl
ected Ger-
man) was also associated with anatomical characteristics attributed to Jews. See Bernhard
Blechmann, “Ein Beitrag zur Anthropologie der Juden” (published medical dissertation,
Dorpat, 1882), 11.
7. IWE 205 (25 July 1904): 4.
8. For more on Modl, Pick, and Krakauer, see below.
9. For more on this stereotype, see Jay Geller, “Of Mice and Mensa: Anti-Semitism and the
Jewish Genius,” Centennial Review 38, no. 2 (1994): 361–85.
10. See Eleonore Lappin, “Jüdische Lebenserinnerungen: Rekonstruktionen von jüdischer
Kindheit und Jugend im Wien der Zwischenkriegszeit,” in Wien und die jüdische Erfah-
rung 1900–1938: Akkulturation, Antisemitismus, Zionismus, ed. Frank Stern and Barbara
Eichinger (Vienna: Böhlau, 2009), 35.
11. Harpists were the cultural predecessors of the Volkssänger. Th
e Volkssänger had replaced
them in the entertainment industry by the end of the fi
rst third of the nineteenth cen-
tury. See Hans Hauenstein, Chronik des Wienerliedes: Ein Streifzug von den Minnesängern
über den lieben Augustin, den Harfenisten und Volkssängern bis in die heutige Zeit (Kloster-
neuburg: Jasomirgott, 1976), 35–70.
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Entangled Entertainers
Jews and Popular Culture in Fin-de-Siècle Vienna
- Titel
- Entangled Entertainers
- Untertitel
- Jews and Popular Culture in Fin-de-Siècle Vienna
- Autor
- Klaus Hödl
- Verlag
- Berghahn Books
- Datum
- 2019
- Sprache
- englisch
- Lizenz
- CC BY 4.0
- ISBN
- 978-1-78920-031-7
- Abmessungen
- 14.86 x 23.2 cm
- Seiten
- 196
- Kategorien
- Geschichte Vor 1918
- International
Inhaltsverzeichnis
- Introduction 1
- 1. Jews in Viennese Popular Culture around 1900 as Research Topic 13
- 2. Jewish Volkssänger and Musical Performers in Vienna around 1900 44
- 3. Jewishness and the Viennese Volkssänger 78
- 4. Jewish Spaces of Retreat at the Turn of the Twentieth Century 121
- 5. From Difference to Similarity 148
- Conclusion 163
- Bibliography 166
- Index 179