Seite - 146 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

146 | Entangled Entertainers 65. Susan Tumarkin Goodman, “Reshaping Jewish Identity in Art,” in Th e Emergence of Jew- ish Artists in Nineteenth-Century Europe, ed. Susan Tumarkin Goodman (New York: Mer- rell, 2001), 26–27. 66. Emily D. Bilski, “Images of Identity and Urban Life: Jewish Artists in Turn-of-the- Century Berlin,” in Berlin Metropolis: Jews and the New Culture 1890–1918 (Berkeley: University of California Press, 2000), 118. 67. Caprice, Der kleine Kohn, NÖLA (Th eaterzensur), Box 117/31 (1902), 87. Caprice was a pseudonym for Antal Oroszi. See Nikola Roßbach, ed., Wien parodiert. Th eatertexte um 1900 (Vienna: Praesens, 2007), 131. 68. Fritz Backhaus, ‘“Hab’n Sie nicht den kleinen Cohn geseh’n?’ Ein Schlager der Jahrhun- dertwende,” in Abgestempelt: Judenfeindliche Postkarten, ed. Helmut Gold and Georg Heu- berger (Frankfurt: Umschau Buchverlag, 1999), 238. 69. See “Kohn-Lexikon des Kikeriki,” Kikeriki (21 September 1902): 5, 7. 70. Sarah Holzinger, “Die Darstellung von Juden und Jüdinnen im humoristischen Volks- blatt Kikeriki” (MA thesis, University of Graz, 2015), 94–96. 71. Adolf Wahrmund, Das Gesetz des Nomadenthums und die heutige Judenherrschaft (Munich: Deutscher Volksverlag, 1887). 72. Galit Hasan-Rokem and Alan Dundes, eds., Th e Wandering Jew: Essays in the Interpreta- tion of a Christian Legend (Bloomington: Indiana University Press, 1986). 73. See Klaus Hödl, “Der ‘Juif Errant’ in der französischen medizinischen Literatur,” Asch- kenas 9 (1999): 109–31; Henry Meige, “Étude sur certains névropathes voyageurs: Le Juif-Errant à la Salêtrière” (medical dissertation, Paris, 1893). 74. See Sander L. Gilman, Diff erence and Pathology: Stereotypes of Sexuality, Race, and Madness (Ithaca, NY: Cornell University Press, 1985), 168. 75. Julius Einödshofer, Der kleine Kohn, Archiv des Wiener Volksliedwerkes, Box 82,69/35. 76. Caprice, Kohn, 21. 77. Caprice, Kohn, 33. 78. Caprice, Kohn, 36–37. 79. Caprice, Kohn, 49. 80. Caprice, Kohn, 71. 81. Caprice, Kohn, 89. 82. André Dombrowski, “Augenblicke, Momente, Minuten: Der Impressionismus und die Industrialisierung der Zeit,” in Monet und die Geburt des Impressionismus (Munich: Pres- tel, 2015), 45. 83. William M. Johnston, Th e Austrian Mind: An Intellectual and Social History 1848–1938 (Berkeley: University of California Press, 1983), 145–47; Baron, “Vienna,” 79. In Hof- mannsthal’s short play, the fi gure of death comes to the protagonist Claudio. He is shocked and dismayed by this unexpected appearance. He converses with Death and attempts to convince him that his demise has come too soon. However, his arguments are not persuasive. Th ere is no more future for him. Th is lack of prospects fi rmly anchors the storyline in the present, which is protracted and appears not to elapse (Hugo von Hofmannsthal, Der Tor und der Tod [North Charleston, SC: CreateSpace Independent Publishing Platform, 2013]). 84. Leopold Andrian-Werburg’s mother was a daughter of Giacomo Meyerbeer, and Hugo von Hofmannsthal’s father was Jewish. On Hofmannstahl’s relationship to Judaism, see Jens Rieckmann, “(Anti-)Semitism and Homoeroticism: Hofmannsthal’s Reading of Bahr’s Novel Die Rotte Kohras,” German Quarterly 66, no. 2 (1993): 212–21. This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.