Project MUSE®: Austrian Studies - Latest Articles
https://muse.jhu.edu/journal/819
Project MUSE®: Latest articles in Austrian Studies.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 11 (2003) through current issueLatest Articles: Austrian StudiesTWOProject MUSE®Austrian Studies2222-42621350-7532Latest articles in Austrian Studies. Feed provided by Project MUSE®Introduction: Austria and Film in the Twenty-First Century
https://muse.jhu.edu/article/981918
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In 2006, Dennis Lim wrote that the propensity of recent films from Austria to focus on the 'negative and the abject' had made 'this tiny country […] something like the world capital of feel-bad cinema'.1 His provocation has since been so frequently invoked in discussions of contemporary Austrian film that it has become something of a cliché, whether to be challenged or confirmed. The late Frederick Baker, in his 2020 film essay Cinema Austria—Die ersten 112 Jahre [Cinema Austria—The First 112 Years], goes one step further, claiming that filmmakers now wear this seemingly negative label as a badge of pride.2 Interviews with three of the country's most prominent directors serve to prove his point. Barbara Albert
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallIntroduction: Austria and Film in the Twenty-First Century2026-02-08text/htmlen-USIntroduction: Austria and Film in the Twenty-First Century2026-02-082026TWOProject MUSE®1054172026-05-12T00:00:00-05:002026-02-08'Feel-Bad Cinema' Meets 'Bad Feminists': Gender, Nation, and Affect in the Films of Jessica Hausner
https://muse.jhu.edu/article/981919
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In most films, the main aim is to make humans explicable and to show things that we can understand emotionally and intellectually. In my films, I do the opposite. I try to suggest that maybe we can't understand—maybe there is no satisfying, final explanation to something.—Jessica Hausner1Since her directorial debut feature Lovely Rita in 2001, Jessica Hausner's migration from making German-language films with regional referents, to the French language, cast, and setting of 2009's Lourdes, to her more recent forays into anglophone productions featuring international casts and indefinite locales, has scarcely compromised Hausner's complicity in conjuring the cinematic affect for which Austria has become known, after
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmall'Feel-Bad Cinema' Meets 'Bad Feminists': Gender, Nation, and Affect in the Films of Jessica Hausner2026-02-08text/htmlen-US'Feel-Bad Cinema' Meets 'Bad Feminists': Gender, Nation, and Affect in the Films of Jessica Hausner2026-02-082026TWOProject MUSE®1104792026-05-12T00:00:00-05:002026-02-08Sites of Memory and Youth on Screen: Sebastian Brameshuber's Und in der Mitte, da sind wir (2014)
https://muse.jhu.edu/article/981920
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The small Upper Austrian market town of Ebensee lies on the southern bank of the Traunsee, surrounded by the Salzkammergut Mountains. As well as being located in a picturesque area of natural beauty, it is a site of Holocaust memory and commemoration. In November 1943, a concentration camp was established in Ebensee as a satellite camp of Mauthausen, the largest concentration camp in Austria during the Third Reich. Codenamed 'Zement', the Ebensee camp was originally intended as a rocket testing site to replace works in Peenemünde on the Baltic Sea, following a series of Allied air raids which had stalled production. The network of tunnels ('Stollen') dug by thousands of forced labourers was ultimately used to house
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallSites of Memory and Youth on Screen: Sebastian Brameshuber's Und in der Mitte, da sind wir (2014)2026-02-08text/htmlen-USSites of Memory and Youth on Screen: Sebastian Brameshuber's Und in der Mitte, da sind wir (2014)2026-02-082026TWOProject MUSE®978092026-05-12T00:00:00-05:002026-02-08Between Self-Discovery and Self-Destruction: The Neo-Heimat Films Hochwald (2020), Märzengrund (2022) and Ein ganzes Leben (2023)
https://muse.jhu.edu/article/981921
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The neo-Heimat film is a term that has appeared in reviews of twenty-first-century productions such as Götz Spielmann's Revanche (Austria 2008),1 Hartmut Griesmayr's Schatten der Erinnerung [Shadows of Memory] (Austria/Germany 2010),2 Adrian Goiginger's Märzengrund (Above the World, Austria 2022)3 and Hans Steinbichler's Ein ganzes Leben (A Whole Life, Germany/Austria 2023).4 However, the authors of these articles are not forthcoming about explaining what the term means. Regarding another contemporary film, Hochwald (Why Not You, Austria/Belgium 2020), its director, Evi Romen, states: 'Ich nenne Hochwald gerne einen modernen Heimatfilm, der mit archaischen Dingen spielt und gleichzeitig zeigt, dass die Haltung der
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallBetween Self-Discovery and Self-Destruction: The Neo-Heimat Films Hochwald (2020), Märzengrund (2022) and Ein ganzes Leben (2023)2026-02-08text/htmlen-USBetween Self-Discovery and Self-Destruction: The Neo-Heimat Films Hochwald (2020), Märzengrund (2022) and Ein ganzes Leben (2023)2026-02-082026TWOProject MUSE®893342026-05-12T00:00:00-05:002026-02-08Under the Surface: Hunting, Collecting and Taxidermy in Ulrich Seidl's Safari (2016) and Joerg Burger's Archiv der Zukunft (2023)
https://muse.jhu.edu/article/981922
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In his 2023 film Archiv der Zukunft [Archive of the Future], director Joerg Burger documents the work of the Naturhistorisches Museum (NHM) in Vienna. This 'filmische Hommage an die Bedeutung der Wissenschaft' [filmic homage to the meaning of science]1 shows the commitment of NHM staff to maintaining the museum's expansive collections. But where these are, to a significant extent, still uncatalogued and no longer the focus of scientific research, the film also makes clear the challenge faced by the museum of showing its continued relevance—for researchers and the broader public—that is, of proving its status as a future archive. As a portrait of a flagship Austrian institution that holds a special place in the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallUnder the Surface: Hunting, Collecting and Taxidermy in Ulrich Seidl's Safari (2016) and Joerg Burger's Archiv der Zukunft (2023)2026-02-08text/htmlen-USUnder the Surface: Hunting, Collecting and Taxidermy in Ulrich Seidl's Safari (2016) and Joerg Burger's Archiv der Zukunft (2023)2026-02-082026TWOProject MUSE®1074272026-05-12T00:00:00-05:002026-02-08Representing Austria's Wartime History for a Global Audience: Terrence Malick's A Hidden Life (2019)
https://muse.jhu.edu/article/981923
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In her 2011 article 'Travelling Memory', Astrid Erll posits that 'memory is first and foremost not bound to the frame of a place, a region, a social group, a religious community, or a nation, but truly transcultural, continually moving across and beyond such territorial and social borders'.1 A Hidden Life (2019) by American auteur Terrence Malick offers an excellent case study for the way that memory—here, that of an Austrian conscientious objector during the Second World War—may travel and take on new inflections in the context of a transnational film production made by a director coming from outside Austria, who is able to lend a unique perspective on very Austrian figures and themes. A Hidden Life, Malick's
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallRepresenting Austria's Wartime History for a Global Audience: Terrence Malick's A Hidden Life (2019)2026-02-08text/htmlen-USRepresenting Austria's Wartime History for a Global Audience: Terrence Malick's A Hidden Life (2019)2026-02-082026TWOProject MUSE®1058052026-05-12T00:00:00-05:002026-02-08Expressionism Revisited: Stefan Ruzowitzky's Hinterland (2021)
https://muse.jhu.edu/article/981924
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Interviewed in 1975, David Bowie said that his preferred cinema was 'mostly pre-1930 German films. They're very stylised, that's the kind of film I like. But no-one makes them like that now.'1 Bowie was right to think that his favourite films—Das Cabinet des Dr. Caligari (The Cabinet of Dr Caligari) and Metropolis, to name but two—belonged to an era of Expressionist silent cinema that had come to an end in 1930 with the advent of recorded sound, with its leading directors mostly emigrating to the United States after the National Socialists seized power in Germany in 1933. However, Expressionism—whether in film, art or music, for it was always a multi-disciplinary movement—did not end at that time, but continued
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallExpressionism Revisited: Stefan Ruzowitzky's Hinterland (2021)2026-02-08text/htmlen-USExpressionism Revisited: Stefan Ruzowitzky's Hinterland (2021)2026-02-082026TWOProject MUSE®858402026-05-12T00:00:00-05:002026-02-08Sisi Unchained: Female Auteurs and the Sisi Fetish
https://muse.jhu.edu/article/981925
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'Sisi', an imaginary figure loosely based on the historical person of Elisabeth, Empress of Habsburg Austria, is having her moment—again.1 In recent years numerous streaming series, books, and films focusing on Elisabeth of Austria have generated intense interest among readers and viewers. A few examples include the popular Netflix series Die Kaiserin (The Empress, 2022–), the RTL series Sisi (2021–), and Karen Duve's SPIEGEL-Bestseller novel Sisi (2022). This plethora of pop cultural 'Sisi' products both reflects and produces a cult affect surrounding the figure of 'Sisi". Recent films by female auteurs Marie Kreutzer (Corsage, 2022) and Frauke Finsterwalder (Sisi und Ich; Sissi and I, 2023) present especially
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallSisi Unchained: Female Auteurs and the Sisi Fetish2026-02-08text/htmlen-USSisi Unchained: Female Auteurs and the Sisi Fetish2026-02-082026TWOProject MUSE®1112152026-05-12T00:00:00-05:002026-02-08Disillusionment and Community: The Queer Feminist Aesthetics of Barbara Albert's Fallen (2006)
https://muse.jhu.edu/article/981926
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One of the first associations conjured by the title of Barbara Albert's third feature film, Fallen (Falling, 2006),1 is verticality: a fall from a great height; a stumble that collapses a vertical axis; the involuntary evacuation of a position of loftiness. A fall denotes a vertical movement, but such a movement is brought to a halt by a horizontal plane. A fall ends when a body hits bottom. What planes are crossed on the way down? And what looms at the end of the fall—a grave, a safer ground, or both? Or can we expect a film, whose title seemingly references a movement but neither its beginning nor its end, to provide any kind of grounding at all? Such a film may instead forever keep us in mid-air, in a state of
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallDisillusionment and Community: The Queer Feminist Aesthetics of Barbara Albert's Fallen (2006)2026-02-08text/htmlen-USDisillusionment and Community: The Queer Feminist Aesthetics of Barbara Albert's Fallen (2006)2026-02-082026TWOProject MUSE®1102542026-05-12T00:00:00-05:002026-02-08Performing Sex Work in Contemporary Viennese Documentary: Choric, Confessional, and Citational Dynamics in Brüder der Nacht (2016) and MUTZENBACHER (2022)
https://muse.jhu.edu/article/981927
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This article examines how the 'performance acts' that comprise masculinity and sexuality in general—and sex work in particular—are mediated by citational, confessional, and choric dynamics in two recent documentary features from Austria: Patric Chiha's 2016 Brüder der Nacht [Brothers of the Night] and Ruth Beckermann's MUTZENBACHER (2022). Chiha's film follows several Bulgarian Roma MSM (men who have sex with men) migrant sex workers over the course of a night in Vienna. A series of vignettes range from testimonies of the lives and wives these men have left behind in Bulgaria to their experiences of the metropolis and scenes that (re)stage encounters with older male clients. In Brüder der Nacht, boundaries between
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallPerforming Sex Work in Contemporary Viennese Documentary: Choric, Confessional, and Citational Dynamics in Brüder der Nacht (2016) and MUTZENBACHER (2022)2026-02-08text/htmlen-USPerforming Sex Work in Contemporary Viennese Documentary: Choric, Confessional, and Citational Dynamics in Brüder der Nacht (2016) and MUTZENBACHER (2022)2026-02-082026TWOProject MUSE®1265682026-05-12T00:00:00-05:002026-02-08'Wir tanzten und tanzten zu jeder Zeit': Der Tanz in Vicki Baums Werken 1920–1950 by Rocio Lilliana Günther (review)
https://muse.jhu.edu/article/981928
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Viennese-born Vicki Baum is among the most widely read and translated German-language authors of her era. Having emigrated to the United States in 1931 with a good dozen novels and numerous short stories in German already to her name, she would go on to add eleven more novels and many stories written in English to this list. Her popularity never completely waned and her work has experienced a revival over the last decade or so with a number of reprints and, most recently, a critical edition published by Wallstein. Popular success engendered accusations of shallowness from some critics, particularly within the German literary establishment, but her work has been steadily re-evaluated since the 1980s and she has come
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmall'Wir tanzten und tanzten zu jeder Zeit': Der Tanz in Vicki Baums Werken 1920–1950 by Rocio Lilliana Günther (review)2026-02-08text/htmlen-US'Wir tanzten und tanzten zu jeder Zeit': Der Tanz in Vicki Baums Werken 1920–1950 by Rocio Lilliana Günther (review)2026-02-082026TWOProject MUSE®72622026-05-12T00:00:00-05:002026-02-08Bernhard Lang by Christine Dysers (review)
https://muse.jhu.edu/article/981929
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Bernhard Lang (b. 1957) is probably one of Austria's most prolific living composers, but his diverse creative oeuvre is somewhat difficult to categorize. In 1975, Lang moved to Graz to study, among other things, composition, jazz theory and piano at the Kunstuniversität Graz (KUG), as well as German Studies and philosophy at the University of Graz. For a significant part of his musical career, Lang worked as a jazz musician and arranger. His own compositions reference a diverse range of styles, including free jazz and experimental music, as well as hip-hop, rock and electronic dance music (EDM). Lang's works are widely performed across Europe, predominantly in German-speaking countries.Given Lang's reputation as an
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallBernhard Lang by Christine Dysers (review)2026-02-08text/htmlen-USBernhard Lang by Christine Dysers (review)2026-02-082026TWOProject MUSE®73022026-05-12T00:00:00-05:002026-02-08Anton Bruckner: Ein Leben mit Musik by Felix Diergarten, and: Bruckner: Der Anarch in der Musik by Rüdiger Görner (review)
https://muse.jhu.edu/article/981930
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These two very different studies mark the bicentenary of a composer who divides opinion like few others. Diergarten's attractive book—reminiscent of an illustrated RoRoRo monograph—is that of a musicologist tailoring his work for a wider public; Görner's weightier, more novelistic approach that of the seasoned biographer of Rilke, Trakl, and Kokoschka.Diergarten's notably terse volume stands in extreme contrast to Anton Bruckner: Ein Lebens- und Schaffensbild, a defining nine-volume biography by August Göllerich and Max Auer (1922–37). A constant and important aspect of Diergarten's pared-down work is to present Bruckner, a very pious Catholic, as a thoroughly secular symphonist on the grandest scale, who also
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallAnton Bruckner: Ein Leben mit Musik by Felix Diergarten, and: Bruckner: Der Anarch in der Musik by Rüdiger Görner (review)2026-02-08text/htmlen-USAnton Bruckner: Ein Leben mit Musik by Felix Diergarten, and: Bruckner: Der Anarch in der Musik by Rüdiger Görner (review)2026-02-082026TWOProject MUSE®120582026-05-12T00:00:00-05:002026-02-08Bruckner's Fourth: The Biography of a Symphony by Benjamin M. Korstvedt (review)
https://muse.jhu.edu/article/981931
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In the preface to Bruckner's Fourth: The Biography of a Symphony, the author disclaims any anthropomorphizing intent in his choice of title. Nevertheless, in examining the genesis, performance history, and reception of Bruckner's self-designated 'Romantic' symphony, which exists in multiple versions composed between 1874 and 1889, Korstvedt perforce also reassesses the relationship between Bruckner's life, personality, and the music he created. He contends that Bruckner was a 'reasonable, indeed pragmatic man as well as a creative genius' who had 'good practical as well as musical reasons for what he did' (p. xxiv). However, this simple, evidence-based assertion puts Korstvedt on a collision course with much
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallBruckner's Fourth: The Biography of a Symphony by Benjamin M. Korstvedt (review)2026-02-08text/htmlen-USBruckner's Fourth: The Biography of a Symphony by Benjamin M. Korstvedt (review)2026-02-082026TWOProject MUSE®77262026-05-12T00:00:00-05:002026-02-08In the Future of Yesterday: A Life of Stefan Zweig by Rüdiger Görner (review)
https://muse.jhu.edu/article/981932
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There should be no one better qualified to negotiate the linguistic and discursive divide between the apparently unstoppable reception of Stefan Zweig in the English-speaking world and the unrelenting demands of rapidly expanding scholarship in German than Rüdiger Görner, Emeritus Professor of German at Queen Mary University of London and founding director of its Centre for Anglo-German Cultural Relations. Görner, who writes for both The Times Literary Supplement and the Frankfurter Allgemeine Zeitung, has published some two dozen editions and scholarly articles on Zweig in English and in German, as well as the monograph Stefan Zweig: Formen einer Sprachkunst (Sonderzahl, 2011). As he indicates in the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallIn the Future of Yesterday: A Life of Stefan Zweig by Rüdiger Görner (review)2026-02-08text/htmlen-USIn the Future of Yesterday: A Life of Stefan Zweig by Rüdiger Görner (review)2026-02-082026TWOProject MUSE®82492026-05-12T00:00:00-05:002026-02-08Visual Culture in Freud's Vienna: Science, Eros, and the Psychoanalytic Imagination by Mary Bergstein (review)
https://muse.jhu.edu/article/981933
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Visual Culture in Freud's Vienna: Science, Eros, and the Psychoanalytic Imagination, authored by the eminent art historian and photography expert Mary Bergstein, seeks to offer 'a social history of visual culture around Vienna in 1900' (p. 1). It consists of three chapters—more akin to stand-alone essays—brought together under the broad thematic scope of the title. Elsewhere, the author articulates the book's aim as 'a study of photography in Vienna around 1900 as a cultural system with psychoanalysis as its corresponding verbal language' (p. 20). Whether the author ultimately lives up to these high expectations is open to interpretation. However, the book's wealth of valuable material—superbly
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallVisual Culture in Freud's Vienna: Science, Eros, and the Psychoanalytic Imagination by Mary Bergstein (review)2026-02-08text/htmlen-USVisual Culture in Freud's Vienna: Science, Eros, and the Psychoanalytic Imagination by Mary Bergstein (review)2026-02-082026TWOProject MUSE®74052026-05-12T00:00:00-05:002026-02-08The Habsburg Garrison Complex in Trebinje: A Lost World by Cathie Carmichael (review)
https://muse.jhu.edu/article/981934
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What have the Habsburgs ever done for us? This question, with its not-so-subtle nod on my part to the 1979 film Life of Brian, is nothing if not Pythonesque. If we follow the same absurd logic as the accusation thrown by John Cleese at the Romans, the Habsburgs might well be said to have contributed nothing to the well-being of the previously Ottoman-ruled lands of Bosnia and Herzegovina after occupying them in 1878 and annexing them in 1908—'apart from the sanitation, the medicine, education, the wine, public order, irrigation, roads, the fresh-water system and public health'. Unfortunately, they also brought violence in the shape of the brutal suppression of insurgencies in 1878 and 1882, and the even more
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallThe Habsburg Garrison Complex in Trebinje: A Lost World by Cathie Carmichael (review)2026-02-08text/htmlen-USThe Habsburg Garrison Complex in Trebinje: A Lost World by Cathie Carmichael (review)2026-02-082026TWOProject MUSE®83352026-05-12T00:00:00-05:002026-02-08Karl-Marx-Hof: Schlüsselbau der Moderne ed. by Cara Tovey and Julian Klinner (review)
https://muse.jhu.edu/article/981935
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With its incredible length of more than one kilometre, the Karl Marx Hof is one of the most extraordinary buildings of Red Vienna simply because of its size. The so-called superblock, with its huge courtyards and numerous passageways, was built between 1926 and 1930 by Otto Wagner's student Karl Ehn. The original 1,382 flats provided accommodation for almost 5,000 people, and there were also numerous communal facilities. In addition to bathrooms, a central laundry, a kindergarten, a dental clinic, a maternity advice centre, a youth centre, a library, a post office and a health insurance branch, the huge building also housed twenty-five shops and a pharmacy.Last year, the International Research Network BTWH
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallKarl-Marx-Hof: Schlüsselbau der Moderne ed. by Cara Tovey and Julian Klinner (review)2026-02-08text/htmlen-USKarl-Marx-Hof: Schlüsselbau der Moderne ed. by Cara Tovey and Julian Klinner (review)2026-02-082026TWOProject MUSE®81202026-05-12T00:00:00-05:002026-02-08Austrian Identity and Modernity: Culture and Politics in the 20th Century ed. by Elana Shapira (review)
https://muse.jhu.edu/article/981936
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This essay collection, the product of a conference held at the University of Applied Arts in Vienna in 2022, looks at first sight bewilderingly heterogeneous, with contributions ranging from the identities of Austrian army officers to the creation of 'Austrian music'. It is, however, framed in a challenging, pugnacious and exciting essay by Malachi Haim Hacohen, which examines how far Imperial Austria has shaped conceptions of Austrian identity throughout the twentieth century. His answer could be summed up as 'not far enough'. The conception of a supra-national identity transcending divisive nationalisms vanished after the First World War with the emergence of conflict-ridden ethno-nationalist states. Socialists
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallAustrian Identity and Modernity: Culture and Politics in the 20th Century ed. by Elana Shapira (review)2026-02-08text/htmlen-USAustrian Identity and Modernity: Culture and Politics in the 20th Century ed. by Elana Shapira (review)2026-02-082026TWOProject MUSE®85522026-05-12T00:00:00-05:002026-02-08Vanishing Vienna: Modernism, Philosemitism, and Jews in a Postwar City by Frances Tanzer (review)
https://muse.jhu.edu/article/981937
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This is a study of cultural continuities and discontinuities. The obvious discontinuity is in the history of Jewish or (better) Jewish-inflected culture in Austria. As the author reminds us at the outset, Vienna before the Anschluss had some 170,000 Jewish citizens; by the 1960, Jews registered with the Israelitische Kulturgemeinde Wien numbered between 6,000 and 8,000. This was not only a human disaster but a massive cultural loss, given the prominence of Jews in Viennese modernism.Frances Tanzer presents Nazi rule, exile, and the post-1945 period as 'part[s] of a continuous spectrum of cultural evolution' (p. 179). Their dominant theme is the fantasy, and eventual reality, of a city without Jews—the title of Hugo
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallVanishing Vienna: Modernism, Philosemitism, and Jews in a Postwar City by Frances Tanzer (review)2026-02-08text/htmlen-USVanishing Vienna: Modernism, Philosemitism, and Jews in a Postwar City by Frances Tanzer (review)2026-02-082026TWOProject MUSE®72622026-05-12T00:00:00-05:002026-02-08Maria Theresa: Empress: The Making of the Austrian Enlightenment by Richard Bassett (review)
https://muse.jhu.edu/article/981938
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The Empress Queen Maria Theresa was one of the most important Habsburg rulers of the early modern and modern eras. She transformed the Austrian monarchy and ensured that it was able to play a dominant role in Europe until its demise in 1919. This was all the more remarkable for the fact that when she came to power, her rule was challenged. As a woman, she could not inherit the imperial title and she was only Queen in Bohemia and Hungary. She was the only woman ever to rule the Habsburg territories in her own right and, despite initial setbacks, she did, however, manage to assert her authority in them.The key to her success was administrative and military reform and a strategic alliance with France in 1756 that
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/819/image/coversmallMaria Theresa: Empress: The Making of the Austrian Enlightenment by Richard Bassett (review)2026-02-08text/htmlen-USMaria Theresa: Empress: The Making of the Austrian Enlightenment by Richard Bassett (review)2026-02-082026TWOProject MUSE®85322026-05-12T00:00:00-05:002026-02-08