Fritz Wittels (1880-1950) was a pioneering Viennese psychoanalyst, the first biographer of Freud (1924), and intermittently friend and rival of Freud himself, of Wilhelm Stekel, and of their famous satirical adversary, Karl Kraus. Towards the end of his life, while living and practising as an analyst in the United States, Wittels wrote a two-hundred-page memoir of his early life and career in Vienna. The typescript memoirs, held in the archives of the Abraham Brill Library, New York, are published here for the first time, accompanied by a range of little-known illustrations. Incomplete in places, they have been deftly edited, contextualised and introduced by Edward Timms, whose many valuable explanatory notes include the identification of the 'child woman' of the title. In his memoirs Wittels writes frankly and vividly about the erotic sub-culture of fin-de-siecle Vienna and about early controversies within the Psychoanalytic Society. His picture of the interaction between the two is startlingly original, and will appeal not only to historians of psychoanalysis, but to anyone interested in the Viennese cultural avant-garde. The erotic triangles in which Wittels, Kraus and Freud were involved are shown to have impinged directly on the activities of the famous Society. Freud himself plays a crucial role in the story, and the book as a whole is of exceptional importance for the origins of psychoanalysis.
Fritz Wittels (1880-1950) was a pioneering Viennese psychoanalyst, the first biographer of Freud (1924), and intermittently friend and rival of Freud himself, of Wilhelm Stekel, and of their famous satirical adversary, Karl Kraus. Towards the end of his life, while living and practising as an analyst in the United States, Wittels wrote a two-hundred-page memoir of his early life and career in Vienna. The typescript memoirs, held in the archives of the Abraham Brill Library, New York, are published here for the first time, accompanied by a range of little-known illustrations. Incomplete in places, they have been deftly edited, contextualised and introduced by Edward Timms, whose many valuable explanatory notes include the identification of the 'child woman' of the title. In his memoirs Wittels writes frankly and vividly about the erotic sub-culture of fin-de-siecle Vienna and about early controversies within the Psychoanalytic Society. His picture of the interaction between the two is startlingly original, and will appeal not only to historians of psychoanalysis, but to anyone interested in the Viennese cultural avant-garde. The erotic triangles in which Wittels, Kraus and Freud were involved are shown to have impinged directly on the activities of the famous Society. Freud himself plays a crucial role in the story, and the book as a whole is of exceptional importance for the origins of psychoanalysis.
Fritz Wittels (1880-1950) was a pioneering Viennese psychoanalyst, the first biographer of Freud (1924), and intermittently friend and rival of Freud himself, of Wilhelm Stekel, and of their famous satirical adversary, Karl Kraus. Towards the end of his life, while living and practising as an analyst in the United States, Wittels wrote a two-hundred page memoir of his early life and career in Vienna. The typescript memoirs, held in the archives of the Abraham Brill Library, New York, are published here for the first time, accompanied by a range of little-known illustrations. Incomplete in places, they have been deftly edited, contextualised and introduced by Edward Timms, whose many valuable explanatory notes include the identification of the 'child woman' of the title. In his memoirs Wittels writes frankly and vividly about the erotic sub-culture of fin-de-siecle Vienna and about early controversies within the Psychoanalytic Society. His picture of the interaction between the two is startingly original, and will appeal not only to historians of psychoanalysis, but to anyone interested in the Viennese cultural avant-garde.The erotic triangles in which Wittels, Kraus and Freud were involved are shown to have impinged directly on the activities of the famous Society. Freud himself plays a crucial role in the story, and the book as a whole is of exceptional importance for the origins of psychoanalysis. Edward Timms was Professor of German and Director of the Centre for German-Jewish Studies at the University of Sussex. Among his publications is 'Karl Kraus: Apocalyptic Satirist' (1986), and he is co-editor of 'Freud in Exile: Psychoanalysis and its Vicissitudes' (1988) and of 'Austrian Exodus: The Creative Achievements of Refugees from National Socialism' (1995).
This is a groundbreaking study of the prestigious Berlin and Vienna Philharmonics during the Third Reich. Making extensive use of archival material, including some discussed here for the first time, Fritz Trümpi offers new insight into the orchestras’ place in the larger political constellation. Trümpi looks first at the decades preceding National Socialist rule, when the competing orchestras, whose rivalry mirrored a larger rivalry between Berlin and Vienna, were called on to represent “superior” Austro-German music and were integrated into the administrative and social structures of their respective cities—becoming vulnerable to political manipulation in the process. He then turns to the Nazi period, when the orchestras came to play a major role in cultural policies. As he shows, the philharmonics, in their own unique ways, strengthened National Socialist dominance through their showcasing of Germanic culture in the mass media, performances for troops and the general public, and fictional representations in literature and film. Accompanying these propaganda efforts was an increasing politicization of the orchestras, which ranged from the dismissal of Jewish members to the programming of ideologically appropriate repertory—all in the name of racial and cultural purity. Richly documented and refreshingly nuanced, The Political Orchestra is a bold exploration of the ties between music and politics under fascism.
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