A Companion to the Works of Arthur Schnitzler by Dagmar C. G. Lorenz

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 learned just before a lot of his contemporaries the risk that racist anti-Semitism posed to the then virtually entire assimilation of Austrian Jews. His writings additionally mirror the irresolvable clash among rising feminism and the relentless ''scientific'' discourse of misogyny, and he chronicles the cave in of conventional social constructions on the finish of the Habsburg monarchy and the struggles of the newly based republic. within the Nineteen Fifties Schnitzler's strong literary checklist assumed version personality for Viennese Jewish intellectuals born after the Shoah, and his portrayal of gender kin and function expectancies and informal intercourse are bought with an analogous fascination this present day as they have been via the audiences of his personal time. Schnitzler continues to be a big determine in modern ecu tradition, as his works are nonetheless generally learn, played, and tailored -- witness Stanley Kubrick's edition of Schnitzler's Traumnovelle because the 1999 movie Eyes extensive close. during this quantity a group of overseas students explores Schnitzler's dramas and prose works from modern severe vantage issues, yet in the context of Austria's multicultural society at a time of unheard of switch. individuals: Gerd Schneider, Evelyn Deutsch-Schreiner, Elizabeth Loentz, Iris Bruce, Felix Tweraser, Elizabeth Ametsbichler, Hillary wish 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 collage of Illinois-Chicago.

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The reception was mixed, and many critics agreed that the play ought to be read rather than publicly performed. The students participating in this first production were dismissed from the university by Bavaria’s cultural minister, an act with which most newspapers agreed; the Dresdner Anzeiger of June 28, 1903, suggested that Schnitzler had written these dialogues for male audiences only, “für Herrengesellschaften [bachelor parties] und dort mag man sie aufführen. ” More aggressive was the tone of the Wiener Neues Journal of July 2, 1903, which depicted the dialogues of “Schnitzlers Reigen” as a danger for the purity of family life and the psychological well-being of the sexes.

Wiegt doch wohl scwerer, als die künstlerische Befriedigung des Autors. In unserem Zeitalter der sozialen Fürsorge hätte ein Schriftsteller wie Schnitzler besser getan, seine Studien im Pulte liefen zu lassen, anstatt die große 12 Bibliothek der “pikanten Lektüre” noch zu vermehren. The first partial performance of Reigen, scenes 4–6, was staged by the Akademisch Dramatischer Verein in Munich. The reception was mixed, and many critics agreed that the play ought to be read rather than publicly performed.

22 See for example the interviews in Peter Sichrovsky’s Wir wissen nicht was morgen wird, wir wissen wohl, was gestern war: Junge Juden in Deutschland und Österreich (Cologne: Kiepenheuer und Witsch, 1985) and Beckermann, Unzugehörig. 23 John Bunzl’s publications on Austrian Jewish history were path-breaking in directing attention at a lost tradition, for example Klassenkampf in der Diaspora: zur Geschichte d. jüdischen Arbeiterbewegung (Vienna:: Europaverlag, 1975) and John Bunzl and Bernd Marin, Antisemitismus in Österreich: sozialhistorische und soziologische Studien (Innsbruck: Inn Verlag, 1983).

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