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THE CURIOSITIES OF VIENNA (Osobliwosci Wiednia. Opowiesc historyczno-antropologiczna)

100%
Ferenski P. J.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
60-64
EN
In his 'Eine Reise in das Innere von Wien', Gerhard Roth accepted a historical perspective and combined two types of reflectiveness. By focusing on symbols, values and ideas, he filled his essays with a concentrated mixture of data, dates, figures and statistics. At the same time, he proposed a rather untypical journey to the innermost recesses of the Austrian capital. In its course, Roth reaches out for that which is concealed (in the subconscious) and thus creates a 'different' portrait of the city as a silent (although by no means mute) witness of tumultuous history. The past and the present assume the form of quarters, streets, squares and assorted buildings that house institutions, brimming with law and violence, war and festivities, amusement and malady. At the same time, Roth does not shy from maligning the history of the state, the authorities, the Church, etc. An in-depth reflection on history and culture is accompanied by demystification tendencies not devoid of political demonstration.
2
Content available remote

Směr Nisko nad Sanem: první organizované deportace Židů z Vídně

80%
Dvořák J.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
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2012
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vol. 3
|
issue 1
44-57
XX
This article deals with first organized deportation of Viennese Jews during the Second Word War. Two of Jewish transports which in October 1939 left for Nisko upon San, became a part of first deportation action of European Jews in the history of Holocaust. In the beginning the article mentions an outline of the most important extant archive documents and literature related to this theme. Another parts deal with details of departure of these transports. The reasons of the Vienna Jews’ deportation, the preparation and the course of these transports are described here. A description of events after the arrival of these Jews to Nisko upon San follows. Only a small part of these men was taken for a work in a concentration camp in Zarzecze, whilst the others were expelled to the places nearby the new German-Soviet border. Throughout the following years most of these men ended up in the German or Russian concentration camps, where most of them died. The article also contains some interesting memories of Jews who survived all hardships during the Second World War.
3

FRIEDERICKE MAYROCKER - A TEXTUALISED BIOGRAPHY OF A POETESS

80%
Pascu E.
Slovak Review. A Review of World Literature Research
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2007
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vol. 16
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issue 2
94-104
EN
The biography of the contemporary Austrian writer Friedericke Mayrocker is woven in her whole oeuvre. Thus her poems trace stations of her existence and the prose marks deep remembrances, mingled with daily events. Specific for the writing technique is the 'collage', namely the intermingling of the so called 'taboo' papers - notes, letters, quotations, books, etc. The ideas and dreams, associations and sentiments are transformed in literary compositions describing metaphoric landscapes. A central topos represents Vienna, which F. Mayrocker considers to be a 'city of writing' (Schreibstadt) where she feels being at home especially due to the German language - language being her home.
4

THE SIMPLE FURNITURE OF LEOPOLD BAUER

80%
Vybiral J.
Umění (Art)
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2007
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vol. 55
|
issue 3
226-237
EN
This study deals with the early modern furniture of Leopold Bauer from 1900-1903. Much as most of his colleagues from the Wagner school, this artist garnered his first successes not in the field of architecture, but in the arts and crafts. As a member of the radical Art Nouveau generation, which grew up on the theories of Gottfried Semper, he was convinced that the decorative arts were producing determining stimuli for the renewal of the art of building. That is why he conceived furniture design as preparation for the development of a 'useful style' for future modern architecture. In opposition to 19th-century historicism, but also to the fashionable curved lines of Art Nouveau, he required that form should correspond to function and the demands of health as well as with the materials and production techniques used. In his furniture, he first developed a subtle play between matter and emptiness, symmetry and asymmetry and the static and the dynamic. He abandoned this approach shortly thereafter, however, and turned towards voluntary limitation and an elementary expressivity. Instead of rounded lines and open volumes, his furniture took on strictly right-angled, square, compact forms. He took not only contemporary British design as his model, but also Biedermeier, an Austrian and at the same time temperamentally middle-class version of late Classicism. In it, the ideologues of early modernity found the main strengths contemporary furniture was supposed to have - clean, constructive and practical shapes, solid fabrication, respect for materials and sober ornamentation. Bauer's 'simple furniture' was never truly unornamented, however. The obverse of the elementary forms were the refined colour schemes, the expensive materials and the impeccable workmanship, which the architect made use of to create an atmosphere of exceptional luxury and richness of shapes in his interiors. The range of shapes he availed himself of was not merely a response to practical requirements; it also fulfilled a symbolic role. The 'surplus of forms' evident in his furniture served as 'explanatory articulation' (Ernst Hans Gombrich), reinforcing the impression that the pieces he produced were practical, functional and structural-in short, they were supremely modern.
5

MORAVSKÁ KRÁLOVSKÁ MĚSTA, BRATISLAVA A VÍDEŇ: SHODY A ODLIŠNOSTI V MĚSTSKÉM HUDEBNÍM PROSTŘEDÍ V 16. A NA POČÁTKU 17. STOLETÍ

80%
Studeničová H.
Musicologica Slovaca
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2019
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vol. 10 (36)
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issue 2
177 - 216
EN
Systematic study of archival sources of a non-musical character in selected Moravian royal cities in the 16th and early 17th centuries has produced a series of parallels with cities of the Central European space, and above all with the nearest of them, Bratislava and Vienna. The following study aims to highlight one of the principal areas of urban musical culture: musical activity in city parish churches, with emphasis on the similarities and differences between individual cities. Cantors, schoolmasters, organists and city trumpeters, in other words the leading figures in urban musical culture in the 16th and 17th centuries, were paid partly from church funds but mainly from the city budget. Extant sources, in the form of municipal account books and books of church accounts, together with testamentary books and other written materials, provide valuable testimony on the specific musical duties of the cantor and his pupils, the church choirs’ repertoires, and the duties of city trumpeters, which were more or less correspondent in the individual cities.
6

ONDREJ III. A RAKÚSKO-UHORSKÝ KONFLIKT V ROKU 1291

70%
Roháč P.
Vojenská história
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2021
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vol. 25
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issue 2
7 - 33
EN
The study analyses the genesis of the accession of the last Arpad Hungarian King – Andrew III. (1290-1301) to the throne and his subsequent military conflict with the Austro-Styrian duke, Albert I. Habsburg. This war resulted from the previous fights between the powerful Hungarian house of Kysek and the Austrian duke, culminating in his occupation of several west Hungarian castles and towns in 1289. Andrew III., as a new sovereign, had to react to this situation and regain the occupied territories. He managed to achieve this following the initial border collisions of spring 1291. After the previous poor and chaotic reign of Ladislaus IV., he was able to gather sufficient military potential to invade Austria in the summer of 1291. By ravaging the border territories, conquering the castles as well as demonstrating his power to Vienna, he finally forced his “powerless” opponent to sign the so called Peace of Hainburg on 26 August 1291. Thereby, he regained the occupied areas in the west of the country and at the same time headed off the Habsburg claims of the Hungarian crown.
7

SLOVAK LACKEY AT THE VIENNA COURT AND HIS VIRTUAL LIFE IN HUNGARIAN POLITICS AND CULTURE

70%
Holec R., Bovan M.
Historický časopis (Historical Journal)
|
2013
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vol. 61
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issue suppl. issue
51 – 80
EN
Anton Szmolen (1856 – 1939) worked as a lackey at the Vienna court of the Emperor Franz Joseph from 1894 to 1910. Therefore, his manuscript memoirs are a remarkable source of information on how a Slovak came into immediate proximity to the monarch and his family, and how he remained loyal practically until his death. No less interesting is the mystification around this person, which made Szmolen’s memoirs an excellent example of manipulation and distortion, which he even believed himself to some extent. Even more interesting than his military and court career is the virtual life of Anton Szmolen. In the 20th century Hungarian political and intellectual discourse, his name became a symbol of Vienna, the hated court clique and its arrogance. He appeared in this function in caricatures in humorous magazines, in the theatre, songs and parliament. The Emperor and Vienna were indirectly attacked through Szmolen. This symbol also survived beyond the period of Szmolen’s service and even the fall of the Monarchy. Szmolen’s name was gradually transformed and acquired a wider meaning as a symbol of treason, lackeyism and service to foreign powers. It was used with this meaning even in the recent past.
8
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VON RÖMISCHEN GLOCKEN UND AWARISCHEN SCHELLEN – FRÜHGESCHICHTLICHE IDIOPHONE AUS WIEN

61%
Pomberger B. M., Mühlhans J., Mehofer M.
Študijné zvesti
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2022
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vol. 69
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issue 2
355-406
EN
The article presents Roman bells and Avar bell finds from Vienna. Excavations within the area of ancient Vienna (Vindobona) unearthed 25 bells. They were found in the military camp, the canabae legionis, both in the first district of Vienna, the civil town in the third Viennese district and near ancient roads. They are cast in diverse copper-alloys (Cu-Sn-Pb; Cu-Sn-Zn-Pb; Cu-Pb) and forged from iron sheet. A larger amount originates from metallurgic workshops and probably were produced there. The sizes vary from 7 mm up to 91 mm. The copper-alloy bells are classified into four types and the iron bells only in one type. Whereas none of the larger bells can be associated with a more precise function, the tiny bells served as jewellery and apotropaic pendants on necklaces and bracelets. Bells were signal instruments to regulate the daily life of a settlement, served as apotropaic wind chimes in various buildings, courtyards and gardens, decorated grazing animals and were part of the harness of draught, pack and riding animals. They also played a role in religious life. From the Avar period 21 pellet bells, three tutuli shaped bells and two bells are known in Vienna. Mostly they were found in children’s and a few adults burials. Some horses had pellet bells as parts of the bridle and saddle. One dog wore a pellet bells on its collar. Pellet bells were cast in copper alloys (Cu-Sn-Pb; Cu-Sn-Zn-Pb) and forged in metal sheets (Fe, Bz). Their surfaces are smooth ore decorated. Small pebbles or bronze balls are enclosed in the rattles. They are classified into five basic shapes. Pellet bells probably served as apotropaic amulets and jewellery. They were not very common in the Avar communities, because they appear only in a few graves from the middle of the 7th c. onwards. Well-preserved bells and pellet bells were recorded and analysed acoustically and psychoacoustically. Their frequencies range from 1.2 kHz–20 kHz. Both types are bright and sharp in sound but hardly rough.
9

DAS KUNSTWERK TRAUERT – DAS KUNSTWERK FEIERT. GRABMAL UND DENKMAL LUDWIG ANZENGRUBERS IN WIEN IM EUROPÄISCHEN KONTEXT

61%
Körner H.
ARS
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2020
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vol. 53
|
issue 1
3 – 34
EN
„Sweat must freely flow“ and without the „blessing … from higher“ it is not possible anyway, but if both are given, the work praises the master. The poetic phrase from Schiller’s “Song of the Bell” could be made visible in the art of monuments and tombs. Works of art praise their creator in a monument, works of art mourn for their creator in a tomb. They belong to the staff of the accompanying figures at the memorial / grave, together with personifications, geniuses and muses. The essay tells the story of this visualization. It focuses on two monuments in Vienna: Ludwig Anzengruber’s grave of honour in the Vienna Central Cemetery (1893) and the Anzengruber monument on Schmerlingplatz, Vienna (1905) – both works by Hans Scherpe. The relationship between the work of art and the mourned / honoured artist is discussed and placed in the European context.
10

KAPELA IMRICHA ESTERHÁZYHO V ROKOCH 1725 – 1745

61%
Kačic L.
Musicologica Slovaca
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2014
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vol. 5 (31)
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issue 2
189 - 254
EN
Hitherto Archbishop-primate Emericus Esterházy (1663–1745) has been known only as a patron of fine art and architecture (G. R. Donner, A. Galli Bibiena and others). However, Esterházy had also an outstanding court music ensemble during the period 1725–1745, in which a number of musicians of European significance were active. These included composers (Joseph Umstatt, Johann Matthias Schenauer, Leopold Carl, Johann Peter Behr, Francesco Durante, Johann Otto Rossetter) and many outstanding performers (Giacomo Calandro, Domenico Tasselli, Filippo Antonelli, Angelo Cavallari). Apart from the ensemble’s composition, this study also addresses the social status of the musicians and the ensemble’s collaboration with other musicians not only from Bratislava (St. Martin’s Cathedral), but particularly with the Imperial Court Ensemble and other Viennese musicians and instrument-makers (A. Posch, M. M. Fichtl, M. Leichamschneider etc.), as well as with local Bratislava organ-builders (T. Pantoček, V. Janeček). Primate Esterházy’s ensemble belongs to the most celebrated period in the musical history not only of Bratislava but of Central Europe as a whole.
11

SINGLE GOTHIC TOWERS OF THE TWO FRANCISCAN CHURCHES OF BRATISLAVA AND SOPRON AND THEIR POSSIBLE CONNECTIONS TO VIENNA

61%
Bereczki Z.
ARS
|
2020
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vol. 53
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issue 2
138 – 173
EN
The medieval Franciscan monasteries of Bratislava (Slovakia) and Sopron (Hungary) are important representatives of the Gothic architecture of the former Hungarian Kingdom. An extensive research executed between 2013 and 2017 has proven that the construction of their towers was closely related to the workshop of the Stephanskirche, Vienna; and that they are important milestones in the evolution of the Gothic spires, with significantly earlier construction date as it is widely accepted in the literature. This article is based on the corresponding parts of the author’s PhD thesis defended in 2017.
12

DER CHOR VON ST. MORITZ IN OLMÜTZ (OLOMOUC) IM SPANNUNGSFELD ARCHITEKTURGESCHICHTLICHER ERFINDUNGEN DES MITTELEUROPÄISCHEN SPÄTMITTELALTELTERS. ALTE BEOBACHTUNGEN UND NEUE ERKENNTNISSE

61%
Morawitz S.
ARS
|
2020
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vol. 53
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issue 2
173 – 194
EN
The reconstruction of St Maurice in Olomouc was one of the most important building projects in late medieval Moravia. The research assumes that the work began in 1415 and continued, with several interruptions, into the late of the 15th century. This paper wants to critically examine the dating of the choir as an eastern part of the parish church between 1453 and 1483/1492. It approaches the building enterprise with a detailed analysis of the stylistic, typological and archaeological findings and highlights the dynamics behind the outlined designs. Especially the ambitious and, for this region, unusual designs share far-reaching artistic connections with important centres such as Wrocław, Brno and Vienna. Therefore, this paper proposes that the project`s exceptional value is imbedded in Central Europe’s architectural history.
13

CULTURAL HERITAGE OF POLAND IN THE URBAN SPACE OF VIENNA

61%
Witkowski K., Kowalik S., Czerwińska B., Kędzior A., Obermajer A., Pałucki J., Sikorska W.
Muzeológia a kultúrne dedičstvo
|
2021
|
vol. 9
|
issue 3
17 – 41
EN
The aim of the research was to define the cultural heritage of Poland as represented in the urban space of Vienna by Polonica. Structures commemorating Poles or events took part in, as well as places related to Poland and Polish people such as Nazi death camps, or geographical objects, were included. Polonica were grouped and analysed in terms of the time of creation, location in the city space, founders, inscriptions and building materials (if they came from Poland). On the basis of the results and discussion, it was found that, as a group of objects, Polonica represent the cultural heritage of Poland from various periods. These objects show both the history of the people and events commemorated, as well as events in the history of Poland over the last 400 years. Moreover, it was argued that some Polonica constitute the cultural heritage of both Poland and Austria. Some objects may be perceived and interpreted differently, which may be related to international political disputes.
14

MUSIC AND MUSICIANS AT THE PRESSBURG CORONATION OF MARIA THERESIA (1741)

61%
Dunlop A. J.
Musicologica Slovaca
|
2012
|
vol. 3 (29)
|
issue 1
5 - 44
EN
This study deals with the music performed and musicians present during Maria Teresia’s prolonged stay in Pressburg in 1741 in conjunction with her coronation as King of Hungary. The role that music and ceremony played during this pivotal junction in the history of the Habsburg monarchy are considered within the context of the War of the Austrian Succession and are contrasted with other coronations which took place in Pressburg, Prague and Frankfurt (predominantly in the 18th century). This article employs a diverse range of the manuscript and printed sources found in the Viennese Haus-, Hof- und Staatsarchiv that provide an insight into matters of imperial court policy, ceremony and finance. Detailed descriptions of coronation ceremonies, with a particular focus on the number and placement of musicians, are provided and practicalities such as travel and accommodation are touched upon. The royal party’s activities – in particular church services and celebrations involving music – in the Viennese “suburb” are also outlined in detail in the form of a calendar of events. In addition, numerous transcriptions of documents pertaining to music and ceremony are provided.
15

DIE DECKENMALEREIEN IM „PRUNKSAAL“ DER WIENER NATIONALBIBLIOTHEK UND IHR VERHÄLTNIS ZUM ALBRECHTSCODEX (WIEN, ÖSTERREICHISCHE NATIONALBIBLIOTHEK, COD. 7853). IDEE UND AUSFÜHRUNG IN DER BILDENDEN KUNST UNTER KAISER KARL VI.

61%
Werner T.
ARS
|
2010
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vol. 43
|
issue 2
137-153
EN
The paper examines connection between a work of literature (Albrechtscodex, before 1734) and a work of art (vault paintings in the Vienna National Library by Daniel Gran, 1726, 1730). Given that the Albrechtscodex has only a small number of continuous text passages, the part dealing with the National Library gains a great importance. The text by concettist Conrad Adolph von Albrecht differs massively from the actual outcome. It seems that it originated later than the paintings, thus showing a rather free relation between the concetto and the actual work of art in the given era.
16

TALE OF TWO CHURCHES: COURT AND PARISH PROJECTS AT ST. STEPHEN’S IN VIENNA

61%
Juckes T.
ARS
|
2020
|
vol. 53
|
issue 2
112 – 137
EN
The article explores St. Stephen’s in Vienna as an ensemble of visual media that responded to the devotional and commemorative needs of its late medieval congregants. A holistic approach to aspects of the church’s architecture and integral sculpture is used to refine the prevailing view of the church as an emblem of Habsburg patronage. On the basis of the wide-ranging plan changes that were adopted in the period after Rudolf IV’s death, it is argued that the parish’s patrician elite came to play a pivotal role in shaping one of Central Europe’s most important city churches.
17

GRUNDPROBLEME, OR POPPER MEETS KANT

61%
Bíba O., Paitlová J.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2018
|
vol. 25
|
issue 1
100 – 119
EN
First part of the text presents a historical excursion searching for the genesis of Popper’s philosophical views in the interwar Vienna. It analyses the actual writing process and circumstances that surrounded Popper’s work on Die beiden Grund-probleme der Erkenntnistheorie. The aim of this section is to evaluate Popper’s reception and intellectual self-development through the denial of logical positivism. The second “internalist” segment of this article further examines the Grundprobleme itself through the analysis of Popper’s specific interpretation of Kant’s transcendental idealism. We will confront Seubert’s claim that through Die beiden Grundprobleme der Erkenntnistheorie Popper definitely and knowingly accepts Kant’s stance. We show that even though Popper adopted Kant’s transcendental method of questioning, he had later criticized certain aspects of Kant’s transcendental method. As a result, Popper establishes the so called genetic apriorism, which dwells on his own version of the deductive psychology of knowledge.
18

LETZTE RENAISSANCE IN WIEN. PROJEKTE VON LEOPOLD BAUER FÜR DIE ÖSTERREICHISCH-UNGARISCHE BANK

61%
Vybíral J.
ARS
|
2009
|
vol. 42
|
issue 2
217-238
EN
The article focuses on an exceptionally large project of the Austrian-Hungarian Bank's headquarters in Vienna by a prominent Viennese architect Leopold Bauer (1872-1938). It follows development of this aspiring program from 1911 to 1914 (due to the World War I only a paper design) from the winning competition project, through preliminary projects bearing witness to inspirations in the Neo-Renaissance of the Ringstrasse, to projects with a simplified architectural expression standing closer to the moderate modernism.
19

JURKOVIČOVA VIEDEŇ

61%
Bořutová D.
ARS
|
2009
|
vol. 42
|
issue 2
239-256
EN
The article presents new facts and details on the life and work of architect Dušan Jurkovič (1868-1947), and exploiting recent research of archive documents submits novel findings on crystallization of his artistic profile. Its dominant point of interest is to elucidate Jurkovič's relations to Vienna that - due to the education gained at the Staatsgewerbeschule (1884-1899) as well as due to the diverse later contacts and impulses - had left distinct traces in architect's life and work.
20

FOSTERING INCLUSION IN ART MUSEUMS THROUGH MOBILE DIGITAL CONTENT

61%
Miklošević Ž.
Muzeológia a kultúrne dedičstvo
|
2021
|
vol. 9
|
issue 4
5 - 19
EN
This paper deals with digitally mediated museum experiences of novice visitors at the Kunsthistorisches Museum in Vienna and discusses them in the context of museum inclusion. Research participants included families with young children and members of minority communities in Vienna whose visit was facilitated by two app-based guided tours developed for children. The research goal was to explore the impact of the mobile guide’s digital content and modes of communication on the visitors’ interaction with the guide, with the museum space and objects, and with family members. The families’ interactions were observed, recorded and analysed. The results suggest that carefully considered and created content on mobile guides has the potential to provide novice family visitors with experiences that support their independence and active engagement, create opportunities for mutual facilitation, and support their different identities, all of which have been considered as conducive to inclusion.
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