By Dagmar C. G. Lorenz

This quantity of specifically commissioned essays takes a clean examine the Viennese Jewish dramatist and prose author Arthur Schnitzler. Fascinatingly, Schnitzler's efficient years spanned the ultimate part of the Habsburg monarchy, global battle I, the 1st Austrian Republic, and the increase of nationwide Socialism, and he discovered previous to a lot of his contemporaries the chance that racist anti-Semitism posed to the then virtually entire assimilation of Austrian Jews. His writings additionally replicate the irresolvable clash among rising feminism and the relentless ''scientific'' discourse of misogyny, and he chronicles the cave in of conventional social buildings on the finish of the Habsburg monarchy and the struggles of the newly based republic. within the Nineteen Fifties Schnitzler's robust literary checklist assumed version personality for Viennese Jewish intellectuals born after the Shoah, and his portrayal of gender family members and function expectancies and informal intercourse are got with an analogous fascination this present day as they have been through the audiences of his personal time. Schnitzler continues to be an enormous determine in modern eu tradition, as his works are nonetheless extensively learn, played, and tailored -- witness Stanley Kubrick's edition of Schnitzler's Traumnovelle because the 1999 movie Eyes huge close. during this quantity a crew of overseas students explores Schnitzler's dramas and prose works from modern serious vantage issues, yet in the context of Austria's multicultural society at a time of extraordinary swap. individuals: Gerd Schneider, Evelyn Deutsch-Schreiner, Elizabeth Loentz, Iris Bruce, Felix Tweraser, Elizabeth Ametsbichler, Hillary desire Herzog, Katherine Arens, John Neubauer, Imke Meyer, Susan C. Anderson, Eva Kuttenberg, and Matthias Konzett.Dagmar C. G. Lorenz is professor of German on the college of Illinois-Chicago.

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Die Frage ist nun: gehören so freie erotische Dinge auf die Schaubühne? ” Schnitzler selbst hielt sein Stück ein Vierteljahrhundert von jedem Theater fern. Wer Gesundung und ethische Säuberung will, wird erklären: Fort mit all diesen Kitzlichkeiten . . die im Scheinwerfer der Rampen wirklich nichts anderes bewirken als Schönheitstänze in Animierkneipen . . Den Zensor rufen wir nicht. Auch vor sittlichem Niedergang braucht man nicht gleich zu sprechen. ” Mit den 41 erotischen Reigentänzen mag endlich Schluß gemacht werden.

On May 13, 1904, Jekelins published a column titled “Arische Literatur” in the morning edition of the Deutsche Zeitung. On May 14, 1904, a letter to the editor, signed “Ein arischer Schriftsteller,” appeared in response to this column distinguishing between superior Aryan criticism and inferior non-Aryan or 15 Jewish criticism. The campaign against performance of Reigen was continued in Vienna and Germany during the summer of 1905. One of the comments published in the Allgemeine Rundschau on May 14, 1905, expressed the harshest criticism against Reigen and its “racially foreign” author: In den letzten Jahren haben drei land-oder rassenfremde Schriftsteller dem deutschen Volke drei Danaergeschenke angeboten.

Bezirks wollte dieser Tage ein Herr, [sic] Schnitzlers Reigen vorlesen. Das ging selbst den Genossen über die Hutschnur, und ein Genosse stellte den Antrag, daß der Vortrag abgebrochen werden möge, was auch geschah. ” It is the darker side of the living conditions of Vienna’s lower class that lay underneath the beautiful surface. Not only the poor living conditions of the workers contributed to the upheaval caused by the publication of Reigen but also the general political climate, which had changed drastically around the turn of the century.

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