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1
Gumulya, Devanny. "PERANCANGAN FURNITURE DESIGN DARI INSPIRASI GAYA DESAIN SEZESSIONSTIL DENGAN METODE “PRODUCT GIST”." Jurnal Patra 3, no. 2 (2021): 95–105. http://dx.doi.org/10.35886/patra.v3i2.231.
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Art Nouveau merupakan salah satu gerakan seni yang sangat berpengaruh pada masanya. Hal ini terbukti dari adanya berbagai macam versi Art Nouveau di berbagai negara dan salah satunya di Austria. Di Austria, Art Nouveau dikenal dengan istilah “Sezessionstil” dimana gaya tersebut dikembangkan oleh suatu perkumpulan para seniman di Vienna yaitu “Vienna Secession”. Gaya tersebut cenderung menggunakan rectilinear dan curvilinear sehingga karya bergaya Sezessionstil ini terkesan modern dan minimalis. Hal ini dapat dilihat dari karya-karya seorang anggota dari Vienna Secession yaitu Josef Hoffmann. Product gist adalah metode untuk menganalisa ringkasan tampilan suatu objek 3d. Dengan metode ini karya – karya Hoffmann dianalisa dan ditemukan beberapa elemen desain yang menjadi ciri khas karya Hoffmann. Elemen – elemen inti dari karya Hoffman yang penting untuk dipertahankan adalah elemen kotak, garis vertikal, garis lengkung, detail bentuk bola dengan tone warna gelap. Elemen ini dikembangkan dalam proses desain menghasilkan suatu desain produk rancangan. Hasil akhir yang didapatkan berupa kursi yang terinspirasi dari karya sejarah seorang tokoh pada era Art Nouveau yaitu Josef Hoffmann.
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Cerha, Gertraud. "New Music in Austria Since 1945." Tempo, no. 161-162 (September 1987): 36–51. http://dx.doi.org/10.1017/s0040298200023330.
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Vienna, they say, is synonymous with music. Worldwide public opinion, responding to the New Year's Day Concert and the Vienna Boys’ Choir, confirms it.Confronted by the multifarious political and economic scandals of recent times, the Austrian Minister for Education and the Arts has declared that our art and culture is the only ‘export’ to have survived intact. But as far as 20th-century music is concerned, its ‘export’ has received little official encouragement. Apart from a 1972 ballet production by Aurel Miloss with music by Schoenberg, and a performance of Gottfried von Einem's Kabale und Liebe at the 1977 Maggio Musicale Fiorentino, our National Opera has presented no contemporary work outside Austria since 1945, nor any work by the Second Viennese School. Nor does any contemporary Austrian music appear on the touring schedules of the Vienna Philharmonic, as it used to (on a modest scale) in the 1950's; and works of the Schoenberg school are only played when conductors like Abbado, Zubin Mehta, or Christoph von Dohnanyi insist.
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Feiersinger, Elise. "The Archive Iris Meder in Vienna, Austria." Südosteuropa 68, no. 1 (2020): 101–11. http://dx.doi.org/10.1515/soeu-2020-0005.
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AbstractIris Meder (1965–2018) was a Vienna-based art historian. A large portion of her work and library is dedicated to the Danube region. On 15 November 2019, the Österreichische Gesellschaft für Architektur (Austrian Society for Architecture, ÖGFA) inaugurated the Archive Iris Meder. The author examines how Iris Meder, who grew up on the western border of Baden-Württemberg, Germany, became an expert in her field. Historical chronicles and the experience of the present are in accord: seldom can a private library’s books be preserved as a coherent and recognizable collection. The author gives a glimpse into the inner workings of an impressively versatile, highly knowledgeable independent scholar, and the journey undertaken by the ÖGFA to make her archive available to the public.
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Kostenko, Yurii. "Ukrainians in Austria." Diplomatic Ukraine, no. XIX (2018): 767–91. http://dx.doi.org/10.37837/2707-7683-2018-48.
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Many Austrian citizens of Ukrainian origin actively helped diplomats of the young Ukraine to take the first steps in the development of bilateral relations with the Republic of Austria. The social and cultural life of Austrians of Ukrainian origin in the late 20 and early 21 centuries was concentrated around the Greek Catholic Church of St. Barbara in Vienna. With the restoration of Ukraine’s independence, their leading associations, in particular the Austrian Union of Ukrainian Philatelists, were reformatted, and the Ukrainian-Austrian Association was created, which implemented many interesting projects. A significant contribution to the dissemination of positive information about Ukraine in the world was made by the magazines of these associations: “Visti SUFA”, “Austrian-Ukrainian review”, “KyiViden”. In the Austrian capital during these years fruitfully worked outstanding cultural figures: composer and choirmaster A. Hnatyshyn, master of artistic embroidery K. Kolotylo, artists Kh. Kurytsia-Tsimmerman, L. Mudretskyi. During nearly one and a half century, starting from 1772, a great part of the western Ukraine – firstly Galicia and then Bukovyna – formed part of the Austrian Monarchy. Interests of Ukrainians of these Crown Lands were represented in the Austrian Parliament – the Reichsrat − by the so-called “ruthen” parliamentarians, among which was Mykola Vasylko, the first Ambassador of Ukraine to Vienna in the early 20 century. Many talented Ukrainian youth studied at Austrian universities. Prominent figures of national culture visited Vienna for a long time, including Lesia Ukrainka, Mykhailo Drahomanov and Ivan Franko. There were also many student- and labour societies. The independence of the Ukrainian state opened new horizons for cooperation between philatelists of the two countries, in particular, the exchange of philatelic material – new stamps, envelopes, etc. Keywords: Diaspora, Austria, philately, culture, art.
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Albert, Samuel D. "Austria and Hungary at the 1904 St. Louis World’s Fair: A Hint of the End." Journal of Austrian-American History 7, no. 2 (2023): 109–37. http://dx.doi.org/10.5325/jaustamerhist.7.2.0109.
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Abstract This article examines the Austrian participation at the 1904 St. Louis World’s Fair, focusing particularly on the display of art. Spread across two venues, the Austrian Pavilion and the Palace of Fine Arts, the display, with contributions from the Mánes Association of Fine Artists, Society of Polish Artists “Sztuka,” the Hagenbund, and the Vienna Künstlergenossenschaft illustrates the changes taking place in Cisleithanian art at the time, with the emergence and increased recognition of nationally organized art societies, whose very existence questioned the long-standing supremacy of Vienna art institutions. A further contrast is made with the Hungarian art exhibition at the same fair. Unlike the Austrian exhibit, housed in its own free-standing exhibition space, the much more modest Hungarian exhibit was divided in two. Fine arts were displayed in the Palace of Fine Arts, while decorative arts and crafts were displayed in a pavilion built inside of the exhibition hall. The author ends by contrasting the 1904 exhibition spaces with those of the 1900 Paris exhibition.
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Glebova, Natalya, and Michael Klamer. "Red Vienna. 1919–1934." проект байкал 18, no. 68 (2021): 26–35. http://dx.doi.org/10.51461/projectbaikal.68.1797.
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The political events and global socio-economic reforms carried out by social democrats in the early 20th century, expansion of the capital of Austria and the inflow of the working class caused the building of a “garden city” with rich infrastructure, parks and available and comfortable dwelling. The skills of advanced Austrian architects, ideological meaning together with economic forces, spatial concept and socialist slogans gave birth to a new architectural identity.
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Brodbeck, David. "Heimat Is Where the Heart Is; or, What Kind of Hungarian was Goldmark?" Austrian History Yearbook 48 (April 2017): 235–54. http://dx.doi.org/10.1017/s0067237816000679.
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On 2 January 1915, during the first winter of the First World War, the celebrated composer Carl Goldmark died in Vienna at the ripe old age of eighty-four. The Viennese press gave the story of his passing the kind of coverage that one would expect for a figure who was described as the “rector of Austrian music,” even its “epicenter.” The notice in the Neue Freie Presse was particularly striking in its imagery: “We, musical Vienna and the entire musical world, stand shaken around the funeral bier of the great composer and Austrian Carl Goldmark.” As the report goes on, the writer makes a clear reference to the growing war effort: “Many of our best and brightest must now die on the battlefield for the fatherland. Goldmark lived for his fatherland, and by creating art touched by the breadth of eternity, he honored the fatherland in his own way and greatly increased the cultural heritage of humanity.” Meanwhile, in the other great capital of the Dual Monarchy, the composer's death was covered very differently. To read the obituaries that appeared in Budapest is to be told that Hungary, not Austria, was Goldmark's fatherland. Here, in effect, both halves of the monarchy were fighting over the same man's legacy—the one, primarily on the basis of his Hungarian birth and childhood; the other, on the basis of his long residency in Austria and the central role he played in the musical culture of late Habsburg Vienna.
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Koliastruk, Olha. "Re-Ukrainization of Avant-Garde Art as a Process of Identification of Ukrainian Cultural Heritage." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 40 (June 2022): 51–58. http://dx.doi.org/10.31652/2411-2143-2022-40-51-58.
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The aim of the article is to study the development of the Polish national movement in Galicia during World War I.Research methods: analysis, synthesis, generalization, problem-chronological, historical-systemic.Scientific novelty: for the first time in the national historiography the genesis of the Galicia Polish national idea in 1914-1918 and the activity of local Polish politicians for its realization were comprehensively researched. Conclusions: Due to the liberal political regime of Austria-Hungary, the Polish national movement of Galicia achieved significant results in the end of nineteenth - beginning of twentieth century. Therefore, the Polish political elite saw at the beginning of World War I a chance to liberate Polish lands from the Russian Empire and restore its national state. According to most members of the Polish national movement, the achievement of this aim should have been based on support and close union with the Habsburg monarchy. As a result, all Polish parties in Galicia and their representatives of the Vienna Parliament solemnly sided with Austria and the Fourth Union in the world conflict. During the first stage of World War, the Polish society of the region supported Austria-Hungary enthusiastically and helped to form national subdivision within the Austrian army - the Polish Legions. The situation sustained a radical change after the signed an agreement of the Fourth Union with the Ukrainian National's Republic. A covert addition to this document provided for the division of Galicia on national feature. This undermined the trust of Polish politicum and society to Vienna. However, American president Wilson in his "14 theses" guaranteed the restoration of the Polish state with access to the sea in January 1918. Besides, with the entry of the United States into the war on the side of the Entente, the Fourth Union practically lost its chances of military victory. Therefore, in the end of 1918, the Galicia’s Polish political elite realized the necessity of unification to rebuild the Polish state within the borders of 1772 without the Fourth Union’s support.
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Lappin-Eppel, Eleonore. ""I Am a Conscious Jew and an Austrian": Austrian Jewish Women Survivors in Post-Shoah Austria." Nashim: A Journal of Jewish Women's Studies & Gender Issues 42, no. 1 (2023): 74–108. http://dx.doi.org/10.2979/nashim.42.1.04.
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Abstract: This paper presents the life stories of six Jewish women who were born in Vienna, survived the Nazi persecution there or in camps, and stayed in Austria after the war. The subjects were chosen in an effort to reflect a diversity of fates, reactions and coping strategies and to offer a representative overview. I will discuss why these women did not leave Austria after the Nazi takeover, how they managed to survive the years of persecution, why they subsequently decided to remain in Austria, and how their sufferings influenced the course of their lives after liberation. As Marion Kaplan has shown for Germany, I argue that gender, class, age and family ties were important reasons for their choices to stay, both before and after the war.
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Lappin-Eppel, Eleonore. ""I Am a Conscious Jew and an Austrian": Austrian Jewish Women Survivors in Post-Shoah Austria." Nashim: A Journal of Jewish Women's Studies & Gender Issues 42, no. 1 (2023): 74–108. http://dx.doi.org/10.2979/nsh.2023.a907305.
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Abstract: This paper presents the life stories of six Jewish women who were born in Vienna, survived the Nazi persecution there or in camps, and stayed in Austria after the war. The subjects were chosen in an effort to reflect a diversity of fates, reactions and coping strategies and to offer a representative overview. I will discuss why these women did not leave Austria after the Nazi takeover, how they managed to survive the years of persecution, why they subsequently decided to remain in Austria, and how their sufferings influenced the course of their lives after liberation. As Marion Kaplan has shown for Germany, I argue that gender, class, age and family ties were important reasons for their choices to stay, both before and after the war.
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Veksler, Yulia S. "New music in post-1918 Austria and Germany: from revolt to consolidation." Contemporary Musicology, no. 2 (2020): 75–93. http://dx.doi.org/10.56620/2587-9731-2020-2-075-093.
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The year 1918 opens a new political era as well as a new period in the history of art. It is associated with the promotion and strengthening of new music, which was accepted by the public only after the First World War. After the "heroic years" of the 1910s, new music gradually formed its own secessionist culture in the post-war period. It gave the right to compose new music as well as an opportunity to perform, listen, and evaluate it. The article covers the activities of several local new music societies in Vienna, Berlin, and Dresden (Schoenberg Society for Private Musical Performances, J. M. Hauer’s Free Movement group, The Berlin Group of H. Scherchen, The November Group, and E. Schulhoff’s circle). The article explores the repertoire which had no stylistic, national, ideological, or political restrictions. However, due to organizational and economic reasons it was limited mainly to chamber compositions. The article also focuses on the criticism of new music (Abnruch magazine in Vienna, Melos magazine in Berlin). The historical evidence analyzed in the article allows us to re-evaluate the role of the secessionist culture of new music in the post-war years, which contributed to significant changes in its performance, perception and evaluation. This, in turn, marked the beginning of the era of new music as an “organized activity"—the heyday of the festival movement in the mid-1920s. At the same time, radical art was rapidly losing its unity: the confrontation of divergent aesthetic trends (the Schoenberg school and Neoclassicism) resulted in a split. The revolutionary impulse gradually exhausted itself, new music was academized and became a tradition.
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Winter, Isabel Elisabeth. "Rethinking Social Norms Through Performance Art." Journal of Extreme Anthropology 1, no. 2 (2017): 59–62. http://dx.doi.org/10.5617/jea.5440.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay focuses on the role of performance art in challenging established social norms and the work of the Austrian artist Michael René Sell.
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Espagne, Michel. "Rudolf Eitelberger von Edelberg (1817-1885) et les débuts de l’école viennoise." Austriaca 72, no. 1 (2011): 17–32. http://dx.doi.org/10.3406/austr.2011.4922.
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Rudolf Eitelberger von Edelberg (1817-1885) is considered as the founder of the Vienna School of Art History. In 1852 he was named Professor of Theory and History of Art at Vienna University and he insisted on the priority of education of young artists and art historians. He was inspired by English and French models as he cofounded the Austrian Museum for Applied Arts, which was supposed to give a new impulse to the industry of the country. He edited a serie of Source Texts for Art History which involved important contributions to this form of scholarship. This paper describes the main aspects of his evolution as a scholar.
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Galsworthy, Maria, and Wen Zhang. "Preface: 2022 International Conference on Media, Art, Management and Educational Engineering (MAMEE 2022)." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): I. http://dx.doi.org/10.54097/ehss.v5i.2721.
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We are so delighted to announce that 2022 International Conference on Media, Art, Management and Educational Engineering (MAMEE 2022) was successfully held in Vienna, Austria during October 15-16, 2022. The conference aimed to provide a platform for interdisciplinary cooperation and communication for young scholars to lighten academic atmosphere, encourage innovation, create cooperation opportunities and boost young scholars' growth.
 About 90 participants from academic, high-education institutes and other organizations took part in MAMEE 2022. The conference model was divided into two sessions, including oral presentations and keynote speeches. In the first part, some scholars, whose submissions were selected as the excellent papers, were given 10-15 minutes to perform their oral presentations one by one. Then in the second part, keynote speakers were each allocated 30-40 minutes to hold their speeches.
 With the forum based on the display of the frontiers, we invited well-known experts and scholars at home and abroad as well as the outstanding youth to deliver academic reports. It is expected that MAMEE 2022 can provide a free academic atmosphere to encourage our distinguished guests to share their views, ignite new ways of thinking and harvest new ideas. This international academic conference aims to further promote exchanges and cooperation, to play an active role in improving academic standing and international influence in the areas of mass media, new media, art design, public art, management system, human resource management, distance education and educational engineering as well as shortening the gap with the top subject in the world.
 MAMEE Organizing Committee
 Vienna, Austria
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Galsworthy, Maria, and Wen Zhang. "Preface: 2nd International Conference on Media, Art, Management and Educational Engineering (MAMEE 2023)." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): I. http://dx.doi.org/10.54097/ehss.v13i.7569.
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We are so delighted to announce that 2023 2nd International Conference on Media, Art, Management and Educational Engineering (MAMEE 2023) was successfully held in Vienna, Austria during April 08-09, 2023. The conference aimed to provide a platform for interdisciplinary cooperation and communication for young scholars to lighten academic atmosphere, encourage innovation, create cooperation opportunities and boost young scholars' growth.
 About 80 participants from academic, high-education institutes and other organizations took part in MAMEE 2023. The conference model was divided into two sessions, including oral presentations and keynote speeches. In the first part, some scholars, whose submissions were selected as the excellent papers, were given 10-15 minutes to perform their oral presentations one by one. Then in the second part, keynote speakers were each allocated 30-40 minutes to hold their speeches.
 With the forum based on the display of the frontiers, we invited well-known experts and scholars as well as the outstanding youth to deliver academic reports. It is expected that MAMEE 2023 can provide a free academic atmosphere to encourage our distinguished guests to share their views, ignite new ways of thinking and harvest new ideas. This international academic conference aims to further promote exchanges and cooperation, to play an active role in improving academic standing and international influence in the areas of mass media, new media, art design, public art, management system, human resource management, and educational engineering as well as shortening the gap with the top subject in the world.
 MAMEE Organizing Committee
 Vienna, Austria
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Galsworthy, Maria, and Wen Zhang. "Preface: 3rd International Conference on Media, Art, Management and Educational Engineering (MAMEE 2024)." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): I. http://dx.doi.org/10.54097/tb63pj56.
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We are so delighted to announce that 2024 3rd International Conference on Media, Art, Management and Educational Engineering (MAMEE 2024) was successfully held in Vienna, Austria during March 23-24, 2024. The conference aimed to provide a platform for interdisciplinary cooperation and communication for young scholars to lighten academic atmosphere, encourage innovation, create cooperation opportunities, and boost young scholars' growth. About 45 participants from academic, high-education institutes and other organizations took part in MAMEE 2024. The conference model was divided into two sessions, including oral presentations and keynote speeches. In the first part, some scholars, whose submissions were selected as the excellent papers, were given 10-15 minutes to perform their oral presentations one by one. Then in the second part, keynote speakers were each allocated 30-40 minutes to hold their speeches. With the forum based on the display of the frontiers, we invited well-known experts and scholars as well as the outstanding youth to deliver academic reports. It is expected that MAMEE 2024 can provide a free academic atmosphere to encourage our distinguished guests to share their views, ignite new ways of thinking and harvest new ideas. This international academic conference aims to further promote exchanges and cooperation, to play an active role in improving academic standing and international influence in the areas of mass media, new media, art design, public art, management system, human resource management, distance education, and educational engineering as well as shortening the gap with the top subject in the world. MAMEE Organizing Committee Vienna, Austria
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Perica, Ivana. "Hybridity: Discussing Rancière with Austro-Marxism." Maska 32, no. 185 (2017): 122–28. http://dx.doi.org/10.1386/maska.32.185-186.122_1.
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The paper draws on possibilities of applying Rancière’s views to the poetics and politics of ‘Red Vienna’, that is, to the cultural and educational policies developed by the Social Democratic Workers’ Party of Austria (SDAP), which in the 1920s supported aesthetic policies structurally related to Rancière’s own conceptions of art and aesthetic revolution. The aim of the paper is to discuss Rancière’s understanding of aesthetic revolution in the light of the historical achievements and impasses of the Viennese social democratic politics.
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Bruckner-Haring, Christa. "The Development of the Austrian Jazz Scene and Its Identity 1960-1980." European Journal of Musicology 16, no. 1 (2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5784.
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In Austria, a country steeped in music history and famous for composers such as Mozart, Haydn, and Bruckner, jazz was quick to earn a place in the cultural landscape. After World War II, important jazz scenes rapidly evolved in Vienna and Graz and, particularly from the 1960s onwards, grew into a strong and independent national jazz scene. Its musicians and ensembles focussed on developing their own characteristics and styles. This article examines primary aspects of the jazz scene during these formative years, such as the series of amateur jazz festivals held in the 1960s, Friedrich Gulda's commitment to jazz, Graz as a jazz centre and the institutionalisation of jazz at the Academy of Music in Graz in 1965, the role of the Austrian broadcasting network (ORF), and the impact of the Vienna Art Orchestra. In addition to archival records and musicological and journalistic texts, interviews conducted with members of different parts of the jazz scene offer important insights into the development of jazz during this period (with musicians, ensembles, educators and researchers, festival and venue organisers, agencies and policy makers, members of the media). This article offers an overview of pertinent aspects of the Austrian jazz scene between 1960 and 1980, revealing opinions about the influence of these aspects on the formation of Austrian jazz identity.
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Cherkasov, Danila Sergeevich. "Nudity in the fine art of Austria-Hungary at the turn of the 19th and 20th centuries. Idealization, naturalism and eroticism." Pan-Art 4, no. 2 (2024): 120–25. http://dx.doi.org/10.30853/pa20240018.
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The study aims to identify the main directions that the fine art of Austria-Hungary at the turn of the 19th and 20th centuries followed in the field of portraying the nude human body. To do so, a number of works by Austro-Hungarian masters (G. Klimt, K. Moser, O. Kokoschka, F. von Bayros, M. Liebermann, etc.) who worked during the specified period were analyzed on the basis of the collections of museums in Vienna, as well as electronic collections and catalogs of other foreign museums. The analysis helped to identify three main trends in nudity depiction: idealization, characteristic of conservative art; opposed to idealization, naturalism, found in the works by more progressive artists; and eroticism, which represents a balance between the two aforementioned extremes, in other case the work loses its erotic charge. Although depictions of nudity are often the subject of art criticism, the three-part classification developed for this study seems to be a new and productive form of examining the topic.
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Ivakhnenko, Eugene N. "A Two-Point-of-View Approach to the Vienna Circle." Epistemology & Philosophy of Science 61, no. 1 (2024): 44–52. http://dx.doi.org/10.5840/eps20246114.
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The author proposes to consider the activities of the Vienna Circle from two different perspectives. One approach reveals the intellectual efforts of the Vienna logicians to bring the order of thought in line with the social and political „Ordnung“ in Austria in the 1930s. It also brings to light the clash between the “exact thinking” and M. Heidegger’s „Das Nichts“, as well as the “new order”, whose adherents sought support not in logic, but in the collective unconscious. The other perspective allows one to highlight the problem of ethics and a system of values, as shaped and solved differently by the language of logic, and by the great Austrian writers of the time.
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Rampley, Matthew. "Modernism and Cultural Politics in Inter-war Austria: The Case of Clemens Holzmeister." Architectural History 64 (2021): 347–78. http://dx.doi.org/10.1017/arh.2021.14.
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ABSTRACTThis article examines the work of the Austrian architect Clemens Holzmeister. A leading representative of Austrian architecture between the wars, and a significant figure in the 1950s and 1960s as teacher of the new generation of Austrian architects including Hans Hollein and Gustav Peichl, Holzmeister presents a perplexing image. In the 1920s, he played an important role in the early architectural projects of Red Vienna, but in the following decade he endorsed the Austrofascist regime of Engelbert Dollfuß and Kurt Schuschnigg of 1934–38. This article argues that his work presents other interpretative challenges too, for he was a prolific designer of churches, which have seldom been integrated into wider narratives of modern architecture. However his work is viewed, it was an important barometer of wider cultural and political currents in inter-war Austria, in particular the country’s attempt to construct a meaningful identity after the collapse of the Habsburg empire. The aim of the article is not to rehabilitate or recover Holzmeister, but to consider the light his work casts on inter-war cultural politics in Austria, as well as the broader questions over the implicit value judgements that inform histories of modern architecture.
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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.
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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.
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Kerbe, Wolfgang, and Markus Schmidt. "Splicing Boundaries: The Experiences of Bioart Exhibition Visitors." Leonardo 48, no. 2 (2015): 128–36. http://dx.doi.org/10.1162/leon_a_00701.
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Bioart can cross the line between the scientific domain and that of arts and may touch the boundary between the living and the nonliving. This study addresses how visitors to a bioart exhibition experienced the hybrid aspects of this form of art. Semi-structured interviews were held with 119 visitors to the synth-ethic exhibition in Vienna, Austria, in May and June 2011. Analysis shows that for a majority of visitors the use of bacteria and lower organisms does not pose an ethical problem, whereas integration of higher animals or even humans into the artwork is not readily accepted.
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Dobrokhotov, Aleksandr L’vovich. "The Austrian Experience: The Mamardashvili Variant." Transcultural Studies 5, no. 1-2 (2009): 65–73. http://dx.doi.org/10.1163/23751606-00501006.
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“Vienna at the Dawn of the 20th Century” is the last lecture given by M. K. Mamardashvili in October 1990 in the Pushkin Museum of Art, one month before his untimely death. One would not call this a text which sums up Mamardashvili’s life and work. We are confronted with a text, typical for the “Georgian Socrates,” with deviations, asides, ellipses and entimemes, but also brimming with his usual intense concentrated pursuit of an elusive meaning. However, the topic this time is the particular experience of Austrian culture. Nevertheless, in this “tune” we hear Mamardashvili’s key theme: consciousness and its ambivalent relationship to culture. Why Vienna? In this generalised symbol of the Austrian spirit (a metaphoric substitution for the tripartite culture of Vienna – Prague – Budapest), the author sees a self-determined turning away of culture from a state of retrograde stagnation towards a living “I”, present in the here and now.
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Helm-Estabrooks, N. "Everyday Life Activities Photo Series. Jacqueline Stark. Vienna, Austria." Brain and Cognition 27, no. 2 (1995): 247–48. http://dx.doi.org/10.1006/brcg.1995.1020.
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Wöllauer, Benedicta. "When the Forgotten and Discarded Becomes Art: Maren Jeleff’s Photography." Journal of Extreme Anthropology 1, no. 2 (2017): 106–9. http://dx.doi.org/10.5617/jea.4891.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay presents the artwork of the Austrian anthropologist Maren Jeleff, and image which has become a work of art by being forgotten and discarded in the first place, only to be redefined as valuable within the institutional context of the exhibition.
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Dautović, Rijad. "Islamic Theological Studies at the University of Vienna." Context: Journal of Interdisciplinary Studies 5, no. 1 (2021): 25–49. http://dx.doi.org/10.55425/23036966.2018.5.1.25.
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This paper deals with the legal basis for establishing Islamic theological studies at the University of Vienna and the corresponding conflict of norms between academic freedom and the right to (religious) self-determination. The author’s central claim is that the relevant legal provision is in accordance with neither the constitutional principle of equality nor the constitutional guarantees on the status of legally recognised churches and religious societies. The study begins with a comparison between the legal situations in Germany and Austria on Islamic theological studies. This is followed by a discussion of § 24 of the Islam Act of 2015, the main legal basis for Islamic theological studies, and a comparison with the legal status of Evangelical theological studies. Finally, the paper examines the role of the Islamic Community in Austria in the appointment of teaching personnel and its self-definition, based on its teachings, tradition and constitution.
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Hahn, Erik. "Right to Copy of Medical Records Free of Charge According to Article 15 (3) Sentence 1 of the GDPR vs. Mandatory Reimbursement of Costs by Patient under National Law." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 2, no. 23 (2022): 39–50. http://dx.doi.org/10.25143/socr.23.2022.2.039-050.
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The article covers the topic of compatibility of national regulations, which contain an obligation for the patient to reimburse costs for copies from the medical record, with the regulations of the GDPR. The discussion is based on the example of the German regulation in Section 630g (2) of the German Civil Code (BGB) since the German Federal Court of Justice (2022) recently submitted the question of the compatibility of this provision with the GDPR to the ECJ (European Court of Justice) for a preliminary ruling. The study also focuses on Austria, where the Supreme Court of Justice already in 2020 had assumed that the comparable provision in Art. 17a (2) lit. g of the Vienna Hospital Act 1987 could be a permissible restriction within the meaning of Art. 23 (1) lit. e of the GDPR. The article concludes that the request for a copy of the medical record is not “excessive” within the meaning of Art. 12 (5) sentence 2 of the GDPR, although the request did not serve data protection purposes but served to assert claims for damages against the physician. Furthermore, the article assumes that a national provision that requires the patient to bear the costs in any case is not a “necessary and proportionate measure” within the meaning of Art. 23 (1) of the GDPR. However, a restriction of the physician’s obligation to provide copies free of charge based on the wording of Art. 15 (3) sentence 1 of the GDPR might be possible. Keywords: right to copies free of charge, necessary and proportionate national measures, patient’s personal data, medical record, European Court of Justice, German Federal Court of Justice, Austrian Supreme Court of Justice, health law
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BERNOLD, MONIKA, and CHRISTA HÄMMERLE. "The Vienna Project on Autobiographies and Gender Identities in Austria." Gender & History 2, no. 1 (1990): 82–83. http://dx.doi.org/10.1111/j.1468-0424.1990.tb00082.x.
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Ackerl, Denise. "Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France, curated by Nataša Petrešin-Bachelez and Giovanna Zapperi." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (2023): 140–47. http://dx.doi.org/10.1386/miraj_00112_5.
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Review of: Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France, curated by Nataša Petrešin-Bachelez and Giovanna Zapperi Kunsthalle Wien, Vienna, Austria, 7 April–4 September 2022
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Szabó, Miloslav. "From Protests to the Ban: Demonstrations against the ‘Jewish’ Films in Interwar Vienna and Bratislava." Journal of Contemporary History 54, no. 1 (2017): 5–29. http://dx.doi.org/10.1177/0022009417712112.
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Taking the example of the protests against the films All Quiet on the Western Front (1930–1) and Le Golem (1936) in interwar Austria and Slovakia, this study addresses the links between antisemitism, nationalism and cinema in Central Europe that historical research has so far overlooked. Unlike other demonstrations against the talkies, campaigns against so-called ‘Jewish’ films were not an expression of linguistic nationalism, as they pointed to the ‘destructive’ impact of capitalism, socialism or modern art, which in the ideology of antisemitism were allegedly personified by ‘Jews’. The conservatives and radicals who called for a ban of those ‘Jewish’ films considered it a first step towards the creation of a national community without ‘Jews’. In Austria the moderate and radical opponents of A ll Quiet on the Western Front ultimately reached their goal through a joint effort. In Slovakia they only managed to get the film Le Golem completely banned when the geopolitical conditions changed after the mutilation of Czechoslovakia on the eve of the Second World War. The fact is that in both cases, moderate nationalists placed themselves in the ambivalent position of pioneers of antisemitism and ultimately facilitated fascist and Nazi radicals in the practical implementation of their postulates.
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Sievers, Wiebke. "How Turkish is it? Art and culture in Vienna." Migration Letters 11, no. 3 (2014): 329–40. http://dx.doi.org/10.33182/ml.v11i3.227.
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The Viennese Turkish community constitutes 4% of all people residing in Vienna. This considerable presence has also brought with it many artistic and cultural activities. In this paper I question how far these activities have diversified Viennese cultural life. The results are two-fold: my quantitative analysis of public-funding data shows that Viennese Turkish artistic activities are still perceived as a marginal addendum to Viennese cultural life. However, as my qualitative analysis of selected activities highlights, they have contributed to making the diversity of both Austrian and Turkish cultures visible, albeit only in the margins, rather than in the center of Viennese cultural life.
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Glebova, Natalia M., and Michael Klamer. "Evolution and modernism of church architecture in Vienna." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost» 11, no. 2 (2021): 314–29. http://dx.doi.org/10.21285/2227-2917-2021-2-314-329.
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The study aims to perform an introductory historical insight into the architecture of the Roman Catholic churches in Vienna to follow the style evolution and form making during the change of epochs, particularly in the 20th century, and to reveal how architects interacted with their customers – churchmen. This article is an introduction to a series of articles revealing and illustrating the diversity of modern architecture in seemingly conservative and canon-bound religious architecture. We carried out field studies and photo fixation of over a hundred historical and modern churches in Vienna and overviewed scientific literature in this field, mainly authored by Austrian architects and art historians. We reviewed the main historical events that affected Vienna and the religious denominations in its territory. They led to significant changes in church architecture in terms of city development plans, architectural composition and form making, design of the exterior and interior, hence a great variety of visual patterns and new architectural identities. It was determined how and why modernism and its movements were reflected in Vienna sacral architecture. The study unveils how the relationship between church, society, art and architecture was built. It can be concluded that the Catholic Church in the modern era responds to social phenomena and, as a customer, considers the opinion of distinguished Austrian architects. As a result, sacred architecture flexibly alters its form to suit social needs.
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Kókai, Károly. "Der Budapester Sonntagskreis und die Wiener Schule der Kunstgeschichte." Austriaca 72, no. 1 (2011): 77–98. http://dx.doi.org/10.3406/austr.2011.4925.
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The Sunday Circle in Budapest and the School of Art History of Vienna are both circles of intellectuals in geographically close cities. A few personalities can be connected to both : Friedrich Antal, Arnold Hauser, Johannes Wilde and Karl Tolnai. Despite the geographic proximity the two differ to the extent that it is difficult to draw parallels : the one has been a close circle of friends for a few years, the other a university institute of more than 150 years standing. The paper discusses the beginnings of the scientific careers of those personalities based on archival findings in Vienna and Budapest, and attempts to emphasize the scientific issues open in this field.
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Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.
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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).
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Reynolds Cordileone, Diana. "De la « valeur affective » à la « valeur d’ancienneté ». Alois Riegl, l’atmosphère (Stimmung), les masses et l’esthétisation de la politique en Autriche." Austriaca 72, no. 1 (2011): 33–57. http://dx.doi.org/10.3406/austr.2011.4923.
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Alois Riegl first read the early works of Friedrich Nietzsche during his student years at the University of Vienna (1875-1878). Toward the end of his life, he began to incorporate Nietzsche’s concern for cultural regeneration into his theories of art and preservation of monuments. This essay discusses his efforts to create a substitute religion of “ age value” for the masses in the domain of monument preservation. During this period Riegl was keenly aware of the relationship between aesthetics and politics that was already manifested in both the Social Democratic movement and the Christian Socialist parties in Vienna, and he used his early exposure to Nietzsche to assess the problems of deracination and mass politics.
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Rahman, Sabrina. "‘Out of All That Is Alive and Felt’: The Austrian Werkbund and the Design of Social Democracy." Journal of Design History 32, no. 4 (2019): 340–55. http://dx.doi.org/10.1093/jdh/epz015.
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Abstract This article analyses the interior designs of the Austrian Werkbund in the context of political designs for social democracy, focussing particularly on the 1932 Werkbundsiedlung as a site of aesthetic and cultural inclusion. By embracing the vernacular idioms of Central and Eastern European folk art, the Historicist style associated with nineteenth-century Austrian imperialism and the innovations of modern technology, the Werkbund represented an attempt to come to terms with the cultural legacy of the empire and to define the future of the Austrian state. In doing so, a comfortable, decidedly sentimental approach to design came to function as a site of encounter between history and ethnicity, offering a visual continuity between pre-1918 imperial Vienna and inter-war Red Vienna. Werkbund designers such as Josef Frank, Paul Fischel, Heinrich Kulka, Adolf Loos, Heinz Siller and Oskar Wlach were thus well positioned to contribute to the programme of eclectic decoration that was sponsored by the social democratic welfare initiatives of 1920s and 1930s Vienna.
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Zalewski, Kamil, Elisa Piovano, Zoia Razumova, Ilker Selcuk, and Tanja Nikolova. "Report From the 20th Meeting of the European Society of Gynaecological Oncology (ESGO 2017)." International Journal of Gynecologic Cancer 28, no. 5 (2018): 1050–53. http://dx.doi.org/10.1097/igc.0000000000001282.
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AbstractThis is a report from the 20th Meeting of the European Society of Gynaecological Oncology (ESGO) held in Vienna, Austria on November 4 to 7, 2017. The conference offered state-of-the-art educational sessions and oral and poster abstract presentations. The general sessions throughout the meeting focused not only on prevention, screening, diagnosis, treatment, and translational research but also emerging trends, and current innovations in gynecological cancers were discussed. The ESGO-European Society for Radiotherapy and Oncology-European Society of Pathology guidelines on management of cervical cancers were reported for the first time in public. Here, we highlight the key results of the latest trials for gynecological cancers presented for the first time at the ESGO 2017 Meeting and added great value to the congress scientific level.
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Brandtner, Christof, Markus A. Höllerer, Renate E. Meyer, and Martin Kornberger. "Enacting governance through strategy: A comparative study of governance configurations in Sydney and Vienna." Urban Studies 54, no. 5 (2016): 1075–91. http://dx.doi.org/10.1177/0042098015624871.
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Over the past two decades, research has emphasised a shift from city government to urban governance. Such a shift brings about its very own challenges, namely governance gaps, uncertain configurations in governance and a limited capacity to act. In this paper, we argue that the concurrent rise of strategy documents in city administration addresses these challenges. Our central claim is that strategy documents can be understood as a distinct discursive device through which local governments enact aspired governance configurations. We illustrate our argument empirically using two prominent examples that, while showing similar features and characteristics, are anchored in different administrative traditions and institutional frameworks: the city administrations of Sydney, Australia, and Vienna, Austria. The contribution of the paper is to show how strategy documents enact governance configurations along four core dimensions: the setting in space and time, the definition of the public, the framing of the res publica and legitimacy issues. Moreover, our comparative analysis of Sydney and Vienna gives evidence of differences in governance configurations enacted through strategy documents.
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Chaker, Sarah. "Busking in the neo-liberal city: A critical inventory of a selection of street art ordinances in Austria." International Journal of Community Music 16, no. 2 (2023): 155–75. http://dx.doi.org/10.1386/ijcm_00082_1.
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The conditions under which buskers pursue their art have never been easy, but their situation has become even more complicated recently, as public spaces worldwide have been transformed under rampant neo-liberal conditions. Street music today often takes place against the backdrop of globally oriented urban planning, which is frequently shaped by neo-liberal considerations that ascribe specific qualities and functions to public outdoor places and spaces. By subjecting these spaces, which remain central for street music activities even in the digital age, to increasing official control and regulation, street musicians are often exposed to a regulatory frenzy – enacted by local politics and executed by local authorities – that makes it difficult or even impossible for many of them to perform in public in a manner of their choosing. Moreover, under such conditions the creative potential of street music is not allowed to unfold in its breadth and heterogeneity, but only in a limited manner. An analysis of the street art ordinances of the cities of Vienna, Salzburg and Innsbruck exemplifies the status quo in Austria in this regard and demonstrates how different the political strategies for dealing with street music are in this self-proclaimed country of music. Rather than being seen as a nuisance to be controlled, it is argued that a rich and diverse street music landscape has a significant democratic potential, which would flourish under a more sensitive approach to public spaces on the part of politics and city planning.
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Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler." Balkanistic Forum 29, no. 3 (2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.
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The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.
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Klösch, Christian. "The Great Auto Theft." Journal of Transport History 34, no. 2 (2013): 140–61. http://dx.doi.org/10.7227/tjth.34.2.4.
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In March 1938 the National Socialists seized power in Austria. One of their first measures against the Jewish population was to confiscate their vehicles. In Vienna alone, a fifth of all cars were stolen from their legal owners, the greatest auto theft in Austrian history. Many benefited from the confiscations: the local population, the Nazi Party, the state and the army. Car confiscation was the first step to the ban on mobility for Jews in the German Reich. Some vehicles that survived World War II were given back to the families of the original owners. The research uses a new online database on Nazi vehicle seizures.
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Stogniy, Irina S. "Vienna metamorphoses: from waltz to L. Wittgenstein's theory of language." Contemporary Musicology, no. 2 (2019): 29–42. http://dx.doi.org/10.56620/2587-9731-2019-2-029-042.
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The article focuses on the search for a new language in art and literature as well as some Viennese influences that came to the fore in various fields of art and science at the turn of the nineteenth and twentieth centuries. Waltz was a symbol of Viennese culture, and was largely responsible for the image of the beautiful, dancing Vienna of the 19th century right up to the First World War. Its transformation clearly shows all the changes that faced Austrian culture at the turn of the century. This was manifested in the work of composers who, despite their non-Austrian origin, experienced strong Viennese influences, e.g. R. Strauss, M. Ravel. Waltz turned out to be the measure of things that highlighted new trends. The search for a language is one of the central issues of the turn of the nineteenth and twentieth centuries. Despite its long-lasting tradition, the Viennese waltz could not resist the trend for change. The choreographic poem Waltz by M. Ravel became the symbol of the new picture of the world.
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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.
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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Soukup, Barbara. "Survey area selection in Variationist Linguistic Landscape Study (VaLLS)." Linguistic Landscape. An international journal 6, no. 1 (2020): 52–79. http://dx.doi.org/10.1075/ll.00017.sou.
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Abstract This article addresses the unresolved issue of systematic survey area selection for large-scale quantitative Linguistic Landscape (LL) studies. It presents a strategy of ‘hypothesis-driven stratified sampling’ whereby survey areas are picked out in a nested, multi-step process on the basis of the configuration of local LL audiences (regarding age, multilingualism, and tourism) and ambient activity types (commercial vs. residential). The rationale for this strategy is drawn from variationist sociolinguistics; and the undertaking is accordingly cast as ‘Variationist Linguistic Landscape Study (VaLLS)’. The details of the design are showcased and implications discussed in the context of the large-scale project ‘ELLViA – English in the Linguistic Landscape of Vienna, Austria’. More generally, it is shown how the application of state-of-the-art variationist principles and methodology to quantitative LL research significantly enhances the latter’s scientific rigor, which has been a major point of criticism.
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Blaukopf, Herta. "Kurt Blaukopfs (Musikalisches) Österreich-Verständnis." Austriaca 56, no. 1 (2003): 131–45. http://dx.doi.org/10.3406/austr.2003.4419.
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In his early years already Kurt Blaukopf had the idea to investigate the links between Music and Society. When he fled to France in 1938 he had a manuscript with the title „Musiksoziologie“ in his luggage. In Paris he studied the esthetics of the French Enlightenment and tried to detect the bridge to Austrian Enlightenment embodied in the art von W.A. Mozart. After some years in Palestine he came back to Vienna in 1947. For many years he earned his living as a critic, translator and editor of a record review. These activities enabled him to register the great changes in musical life caused by the technical media. The sociological books and articles he published in the 1970ies had the result that he was offered a chair at the University of Music in Vienna. Thanks to his own efforts his remigration can be considered as a lucky one.
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Kotova, Elena. "The last Congress of the Holy Alliance. Alexander I and K. L. Metternich in Verona in 1822." ISTORIYA 13, no. 9 (119) (2022): 0. http://dx.doi.org/10.18254/s207987840022834-6.
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The last congress of the Holy Alliance was held 200 years ago. The era of congresses has played an important role in the history of Europe. During this period, the foundations of the Vienna system of international relations were laid, formulated at the Congress of 1814—1815. The concert of European powers that developed at that time — Russia, Austria, France, Great Britain, Prussia — determined world politics. The revolutions of 1820—1821 in European countries became a serious challenge to the Vienna system. At the congresses of the Holy Alliance, measures were developed to combat the revolutionary and national liberation movement. Alexander I and Metternich were among the leading actors in international politics of that time. The article pays special attention to their relationship.
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Kis, Tímea N. "Clarisses and the reformation of their Regula. History of an accidentally found painting in Bratislava." Acta Historiae Artium 64, no. 1 (2024): 151–61. http://dx.doi.org/10.1556/170.2023.00005.
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After the abolition in 1782 several works of art owned by the Clarisses were lost. Some of them were identified in recent years; I would like to write about an other one that was found in the cloister of the Order of the Sisters of Saint Elisabeth in Bratislava. It is fairly unique because of its theme: it commemorates the escaping of the Clarisses from Stephen Bocskai’s attack on Graz and Vienna in 1605, also the taking over of the reformed and stricted Regula. It was painted together with another, recently hidden picture that has since been lost almost twenty years later in 1623, most likely in the Austrian capital, when Clarisses escaped secondly to Vienna.
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Widrich, Mechtild. "The Willed and the Unwilled Monument." Journal of the Society of Architectural Historians 72, no. 3 (2013): 382–98. http://dx.doi.org/10.1525/jsah.2013.72.3.382.
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The Willed and the Unwilled Monument: Judenplatz Vienna and Riegl’s Denkmalpflege takes a new approach to the competition for the Monument and Memorial for the Jewish Victims of the Nazi Regime in Austria. Noting the complication of the case by the discovery of medieval archaeological remains on Vienna’s Judenplatz, and the ambivalence of the jury in choosing a sculptural project that made no reference to these remains, Mechtild Widrich turns to a lucid source of thinking about memory and public building, Alois Riegl’s essay on the monument cult (Denkmalkultus) and the newspaper articles and government documents he produced on the same subject. Through Riegl’s distinction between “willed” and “unwilled” monuments, and the force the latter exert on the subjectivity of modern spectators, the choice and execution of Rachel Whiteread’s “Nameless Library” in Vienna becomes intelligible, as do wider trends in restoration and commemoration of the late 1980s and 1990s.
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Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.
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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.