Becoming Austrians

Silverman, Lisa

doi:10.1093/acprof:oso/9780199794843.001.0001

Cited by 53 publications

(3 citation statements)

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“…44 Particularly in Tyrol and in lieu of alpine clubs, this landscape also became increasingly exclusive: as Lisa Silverman has outlined, hiking clubs saw the introduction of anti-Jewish policies (Arierparagraphen) as early as 1921, coinciding with the blaming of Jews for the loss of the war. 45 Closely tied to models of German-Catholic identity, the Alps thus also anchored reactionary politics in the national landscape. They embodied the exclusive image of a "German-Austrian" idyll, which not only persisted easily throughout World War II but also featured strongly in the recovery process of Austrian national identity after 1945.…”

Section: Between Vienna and The Provincesmentioning

confidence: 99%

A New Austrian Regionalism: Alfons Walde and Austrian Identity in Painting after 1918

Secklehner

2021

Austrian Hist Yearbk

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This essay assesses the role of regionalism in interwar Austrian painting with a focus on the Tyrolean painter and architect Alfons Walde (1891–1958). At a time when painting was seen to be in crisis, eclipsed by the deaths of prominent Viennese artists such as Gustav Klimt and Egon Schiele, regionalism offered an alternative engagement with modern art. As the representative of a wider regionalist movement, Walde paved the way for a clearly identifiable image of rural Austria without foregoing the modernization process that took place in the Alps at the time. Filtering essential elements of local culture and synthesizing them with both a modern formal language and “modern” topics, most significantly ski tourism, he created a regionalism that reverberated beyond the narrow confines of his home province and caught particular momentum during the rise of the Austrian Ständestaat in the 1930s. Moving in between regional and national significance, Walde's work underlines the essential position of the region in Austria after 1918 and conveys that an engaged regionalism that responded to the rapid cultural and political changes taking place became a significant aspect of interwar Austrian painting.

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Section: Between Vienna and The Provincesmentioning

confidence: 99%

A New Austrian Regionalism: Alfons Walde and Austrian Identity in Painting after 1918

Secklehner

2021

Austrian Hist Yearbk

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“…In the nineteenth and early twentieth century, the discourse of Jewish difference, as Lisa Silverman makes clear, presented the modern city as a Jewishand therefore foreignspace, defined in opposition to the authentic nation. 33 In other words, this discourse established and sometimes helped to redraw the boundaries of the nation. From this perspective, the formalism and aesthetic autonomy of post-war Jewish art critics Clement Greenberg and Harold Rosenberg might be read not only as a way to strip modernism of politics, but also as a defence against the historic associations between modernism and Jewishness.…”

Section: Modernism and Jewish Absencementioning

confidence: 99%

European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956

Tanzer

2021

Contemporary European History

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This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.

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“…38 In other words, Jewish and gender difference are constructed in similar ways, as Lisa Silverman has suggested. 39 And within a nominally Jewish milieu, such as the plot of a film made by Jewish filmmakers, women sometimes occupy a position normally assigned to Jewish "Others." Nju's unconfirmed death is often categorized as drowning, despite the fact that Nju jumps from a city wall and there are no shots of water below to suggest this possibility.…”

Section: Delusions/illusions: Water Sleep and Suicidementioning

confidence: 99%

Escape Artistry: Elisabeth Bergner and Jewish Disappearance in Der träumende Mund (Czinner, 1932)

Wallach¹

2015

gsr

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The late Weimar film Der träumende Mund culminates in the apparent but unconfirmed suicide of its female protagonist, played by Elisabeth Bergner. Bergner, whose background contributed to the film's Jewish reception, and who later claimed to have written the film's screenplay, left Germany and went into exile with director Paul Czinner in 1932. This film and the circumstances of its production and premiere link tragic modes of self-erasure, including the suicides of both many women and many German Jews, to notions of escape, emigration, and reemergence. Its success among Jewish spectators points to its enduring and international appeal.

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Becoming Austrians

Cited by 53 publications

References 0 publications

A New Austrian Regionalism: Alfons Walde and Austrian Identity in Painting after 1918

A New Austrian Regionalism: Alfons Walde and Austrian Identity in Painting after 1918

European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956

Escape Artistry: Elisabeth Bergner and Jewish Disappearance in Der träumende Mund (Czinner, 1932)

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