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Die Bewusste Entscheidung: Parallele Karrieren
Der Arzt, Zionist, Journalist und Kulturkritiker Max Nordau
Max Nordau, geboren als Simon Gabriel Südfeld (1849, Pest — 1923, Paris), tätig als Arzt, Journalist und kulturkritischer Essayist, zum zweitbedeutendsten Zionisten neben Theodor Herzl aufgestiegen, mit 34 Jahren über Nacht durch sein kulturkritisches Buch Die conventionellen Lügen der Kulturmenschheit berühmt geworden, prägte dann ein Jahrzehnt später mit seinem Hauptwerk Entartung endgültig die Geistes- und Begriffsgeschichte des Fin de Siècle. Seine Werke sind in 17 Sprachen zugänglich, sein Bestseller Entartung erlebte beispielsweise innerhalb von vier Monaten in England sieben Auflagen. Seine Verdienste sind von literatur-historischer Bedeutung, denn er gilt als Wegbereiter der modernen Kulturkritik par excellence, so ist seine Wirkung auf seine Nachwelt, wie etwa auf György Lukács, offensichtlich. Angesichts des Nordau’schen Œuvres wird deutlich, dass es sich bei ihm um einen Kulturkritiker von Friedrich Nietzsches Format und einen führenden Intellektuellen im Europa der Jahrhundertwende handelt. Aus dieser Vielfalt sollen nun die weniger bekannten Anfänge dieser vielfältigen Laufbahn nachgezeichnet werden.
Die Wiener Weltausstellung 1873. •
Die Berichterstattung von Ármin Vámbéry und Max Nordau über die orientalische Abteilung sowie den Schah-Besuch in der Kaiserstadt.
Abstract
The oeuvre of the orientalist, Turkologist and traveler Ármin Vámbéry has been well researched, his long life full of adventures and his travels made him a famous personality on several continents during the Dualism-era, and so he has not succumbed to oblivion to this day. However, his creativity and work are multi-layered, so they require the approaches of various scientific disciplines, e.g. some facets of his widely ramified and not least unexplored journalistic work can be contributed to Vámbéry research. This article is devoted to Vámbéry's publication on the occasion of the Vienna World Exhibition of 1873, which also allow a comparison with the feuilletons of his friend, who later became a writer, cultural critic and Zionist, Max Nordau (1849, Pest–1923, Paris).
Meilensteine der journalistischen Karriere von Theodor Herzl vor der Neuen Freien Presse •
Eine pressehistorische Annäherung
Abstract
Theodor Herzls Name ist in erster Linie mit dem Zionismus und der Grundlegung dessen, was als Judenstaat bezeichnet wurde, verknüpft. Der gebürtige Ungar, der später in Wien studierte und sesshaft wurde, war allerdings in seiner Jugend weit davon entfernt und hegte noch ganz andere Pläne. Er wünschte sich anstelle einer juristischen Karriere vielmehr eine Laufbahn als erfolgreicher Bühnenautor des Burgtheaters und/oder als Feuilletonist der Neuen Freien Presse. Seine Anstrengungen blieben nicht erfolglos. Während er als Dramatiker eher als gutes Mittelmaß galt, etablierte er sich zuerst als Paris-Korrespondent, letztlich als gefeierter Feuilleton-Autor der angesehensten Zeitung Wiens, der Neuen Freien Presse. Dort anzukommen war aber ein Weg, der fast eine ganze Dekade in Anspruch nahm. Die vorliegende Studie hat sich als Ziel gesetzt, diesen bislang unerforschten, langen und oft nervenzermürbenden Prozess mit all den Versuchen, Ablehnungen, seelischen Tiefen, Hoffnungen und erneuten Anläufen darzustellen.
Abstract
The life and work of Karl Emil Franzos is considered to be well researched, but if you look at him as an Austrian writer and journalist, the remark is only applicable to his career and his belletristic work, his activities as publicist still require more detailed analysis. The present study sees itself as a contribution in this direction, an attempt is made to trace Hungarian German-language press. The investigation is based on the autopsy of the following newspapers: Pester Lloyd (years 1854–1904), Ungarischer Lloyd (1867–1876), and two magazines: Ungarische Illustrirte Zeitung (1871–1872), Neue Illustrirte Zeitung (1872–1886).
Abstract
Bei der Erforschung des deutschsprachigen Pressewesens im historischen Ungarn in der zweiten Hälfte des 19. Jahrhunderts stößt man bei fast jedem Organ auf den Namen Adolf Silberstein. Er bereicherte mehrere deutschsprachige Zeitungen der Hauptstadt mit zahlreichen qualitätsvollen Feuilletons, in erster Linie mit Bezug zur Literatur und zum Theater. Eine Darstellung seiner journalistischen Tätigkeit bzw. eine Bestandsaufnahme seiner Feuilletons ist allerdings bislang nicht erfolgt. Ersterem Desiderat soll nun durch die Durchsicht der zeitgenössischen Medien Abhilfe geschaffen werden.
Abstract
Following the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.” 1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage. 2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.
Der Pester Lloyd als Quelle musikhistorischer Forschungen •
Ein Annäherungsversuch mit Beispielen aus dem 19. Jahrhundert
Abstract
The cultural exchange processes can also be formulated from the point of view of transfer research, because plurality and hybrid cultures are primarily characteristic of the Central European communication space. The actors of these cultural mediation processes, who had the authority to shape and transport knowledge and culture, were authors, translators, publishers, journalists, and critics. As far as the research initiative of the author of this study is concerned, which focuses on the period between 1867 and the turn of the century (around 1900), it must be stated that this period has so far been only sparsely investigated. As a result of our own wide-ranging press-historical research, a cultural-historical database of the most important German-language organs of this epoch was created, whereby the focus was primarily on the culture section, mainly on the feuilleton yield of these newspapers. In addition to literature and theater, there was also intensive reference to neighboring disciplines, since art criticism, art history and, last but not least, the musical stages in Pest and Vienna were given plenty of space in these organs. In the following, an overview of the history of the press is given in a compact form, followed by selected finds on the subject of music from the last third of the nineteenth century.
Abstract
From 1847, the head of the Budapest ballet was Federico Campilli (1820–1889), an individual of Italian origin. He regarded Viennese taste as authoritative in designing the program, thereby building on the international ballet repertoire. This repertoire included romantic pieces from Western Europe, along with Campilli's own choreographies. Campilli concluded his forty-year tenure in Budapest in 1887, and Cesare Smeraldi (1845–1924) assumed his position. The imperial city served as the model for shaping the ballet program, commencing its operations with the staging of Manzotti's spectacular Excelsior, which had premiered in Vienna two years earlier. This sensational performance, focused on the rise of human civilization and the development of technology, involved hundreds of actors and was destined for success throughout Europe. It ran for 29 years in Vienna and nine years in Budapest. In this study, an exploration of the driving forces behind this ballet success story with unconventional themes is undertaken. Various aspects are examined, such as the discourse of dance and the articulation of otherness in local and global spaces. The study delves into what technophile ballet entails, how cultural history, abstract concepts, discoveries, and inventions can be narrated through ballet. The thesis also highlights the debatable aspects of the ballet's music, utilizing music reviews from Budapest and Viennese newspapers. Through these reviews, an attempt is made to map the reception history of the ballet in Vienna and Budapest. The significance of Excelsior in the political power field within Hungarian conditions is also emphasized.
