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Viennese Jewish Modernism:

Freud, Hofmannsthal, Beer-Hofmann, and Schnitzler
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Argues that Viennese Jewish modernism is explicable as an aesthetic reconfiguration of Jewish tradition in response to multifaceted crises of memory, identity and language. Examines the works of Hugo von Hofmannsthal (1874-1929), Arthur Schnitzler (1862-1931), Richard Beer-Hofmann (1866-1945) and Sigmund Freud (1856-1939).


Contents

List of Illustrations

Acknowledgments

Introduction: The Origins of Viennese Jewish Modernism

Part 1: Genres of Memory

1. Freud’s Modernism in A Childhood Memory of Leonardo da Vinci (1910), “The Moses of Michelangelo” (1914), and Moses and Monotheism (1938)

2. Hofmannsthal’s Jewish Pantomime: Der Schüler (The Student, 1901)

Part 2: Hybrid Plots, Virtual Jews

3. How a Viennese Modernist Becomes a Jew: Beer-Hofmann’s Der Tod Georgs (The Death of Georg, 1900)

4. Anatomies of Failure: Jewish Tragicomedy in Schnitzler’s Der Weg ins Freie (The Road into the Open, 1908) and Professor Bernhardi (1912)

Part 3: Performing the Hebrew Bible

5. Mythic Memory Theater and the Problem of Jewish Orientalism in Hofmannsthal’s Ballet Josephslegende (Legend of Joseph, 1912)

6. The Forgotten Modernism of Biblical Drama: Beer-Hofmann’s Die Historie von König David (The History of King David, 1918–33)

Conclusion

Notes

Bibliography

Index



“[Gillman] has created a fine de siècle for our own time, a reinterpretive historical hologram like that of the writers she discusses.”

—Margaret Olin, Modern Philology

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