Seite - 161 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

From Diff erence to Similarity | 161 5. http://gutenberg.spiegel.de/buch/der-operierte-jud-227/1 (accessed 9 May 2019). 6. Hirsch, Apostel, 28. 7. Joel Carmichael, Th e Satanizing of the Jews: Origin and Development of Mystical Anti- Semitism (New York: Fromm, 1992), 71. 8. Klaus Hödl, Die Pathologisierung des jüdischen Körpers: Antisemitismus, Geschlecht und Medizin im Fin de Siècle (Vienna: Picus Verlag, 1997), 114. 9. Wachter, “Bemerkung über den Kopf der Juden,” Magazin der Gesellschaft naturforschender Freunde für die neuesten Entdeckungen in der gesamten Naturkunde, 1812, 64–65. 10. Sander L. Gilman, Th e Jew’s Body (New York: Routledge, 1991), 169–93. 11. For more on the connection between “Jewish” speech and the lack of moral fi ber, see Gilman, Self-Hatred, 101–2. 12. Hirsch, Apostel, 29. 13. Hirsch, Apostel, 29f. 14. Adolf Gaisbauer, Davidstern und Doppeladler: Zionismus und jüdischer Nationalismus in Österreich 1882–1918 (Vienna: Böhlau, 1988). 15. Harriet Pass Friedenreich, Jewish Politics in Vienna, 1918–1938 (Bloomington: Indiana University Press, 1991), 72. 16. For more on the Kadimah and Palestine, see Robert S. Wistrich, Th e Jews of Vienna in the Age of Franz Joseph (Oxford: Littman Library of Jewish Civilization, 1990), 365. On Birn- baum, see Wistrich, Jews of Vienna, 381–420. See also Nathan Birnbaum, “Die Mission des Judenthumes, einst und jetzt,” Selbst-Emancipation 7 (1890): 240. 17. Philip V. Bohlman, Jewish Music and Modernity (Oxford: Oxford University Press, 2008), 56. 18. Philip V. Bohlman, “An Endgame’s ‘Dramatis Personae’: Jewish Popular Music in the Public Spaces of the Habsburg Monarchy,” in Vienna: Jews and the City of Music 1870– 1938, ed. Leon Botstein and Werner Hanak (Annandale-on-Hudson, NY: Bard College, 2004), 96. 19. Bohlman, “Jewish Popular Music,” 57. 20. Caprice, Ein Schmoch, NÖLA (Th eaterakten), Karton 8/13. 21. Bohlmann, “Jewish Popular Music,” 161–64. 22. Wistrich, Jews of Vienna, 363. 23. Marsha L. Rozenblit, Juden in Wien 1867–1914 (Vienna: Böhlau, 1988), 143. 24. Leo Rosten and Lawrence Bush, Th e New Joys of Yiddish (New York: Harmony, 2003). 25. David Rechter, “Ethnicity and the Politics of Welfare—Th e Case of Habsburg Austrian Jewry,” Yearbook of the Simon Dubnow Institute 1 (2001): 257–76. 26. Anil Bhatti et al., “Ähnlichkeit: Ein kulturtheoretisches Paradigma,” Internationales Archiv für Sozialgeschichte der deutschen Literatur 36, no. 1 (2011): 233–47. 27. Jürgen Osterhammel, “Ähnlichkeit—Divergenz—Konvergenz: Für eine Historiographie relationaler Prozesse,” in Ähnlichkeit: Ein kulturtheoretisches Paradigma, ed. Anil Bhatti and Dorothee Kimmich (Konstanz: Konstanz University Press, 2015), 79. 28. Hirsch, Apostel, 42. 29. Albert Hirsch, A Gschicht’ von anno dazumal, NÖLA (Th eaterzensur), Box 21/1 (1898), 7. 30. We also see a similarity between Jews and non-Jews in Ein riskirtes Geschäff (see chapter 3). In it, Gottfried introduces his creditor Salomon Teitelbaum to the butcher Eulalie as a good person, because he was prepared to lend money to an alcoholic and take care of his health. Eulalie respectfully refers to Salomon as “Mr. Israelite” and “Lord Jud” (Albert This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.