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A long-overdue reassessment of post-1918 Salzburg as a distinct Austrian cultural hub that experimented in moving beyond war and empire into a modern, self-consciously inclusive, and international center for European culture. For over 300 years, Salzburg had its own legacy as a city-state at an international crossroads, less stratified than Europe''s colonial capitals and seeking a political identity based in civic participation with its own economy and politics. After World War I, Salzburg became a refuge. Its urban and bucolic spaces staged encounters that had been brutally cut apart by the war; its deep-seated traditions of citizenship, art, and education guided its path. In Interwar Salzburg , contributors from around the globe recover an evolving but now lost vanguard of European culture, fostering not only new identities in visual and performing arts, film, music, and literature, but also a festival culture aimed at cultivating an inclusive public (not an international elite) and a civic culture sharing public institutions, sports, tourism, and a diverse spectrum of cultural identities serving a new European ideal.
List of contents
IntroductionRobert Dassanowsky (University of Colorado, USA) and Katherine Arens (University of Texas at Austin, USA)Prologue: The Capital of Europe. A Fantasy in Salzburg, 1900
Hermann Bahr; translated by Vincent Kling (La Salle University, USA)I. Dreaming Salzburg: Hoping for hope, grasping at what it was and might have been . . . 1. Fantasy as Parody?: Hermann Bahr's Salzburg Dialogue
Vincent Kling (La Salle University, USA)2. Salzburg's Age of Aquarius:
Der Wassermann as an Austrian
Sonderweg in the European Arts
Katherine Arens (University of Texas at Austin, USA)II. Choosing Salzburg: Cosmopolitan Refuge and the Search for a Third Way3. On Film in Salzburg
Robert Dassanowsky (University University of Colorado, Colorado Springs, USA)4. The "World of Doomed Enchantment": Carl Zuckmayer and the 'Henndorf Circle'
Christopher Dietz (Independent Scholar, Austria)III. Being Salzburg: Cultures Found and Lost5. In the Shadow of the Salzburg Festival?: The Mozarteum Foundation and Conservatory as Protagonists in Salzburg Music Culture Between the Wars
Julia Hinterberger (University of Salzburg, Austria)6. Sports Culture Between State and Dictatorship
Andreas Praher (University of Salzburg, Austria)7. Everyman and the New Man: Festival Culture in Interwar Austria
Alys X. George (Stanford University, USA)8. Shadow Sides of Modernism: Poldi Wojtek's Designs for the Salzburg Festival and Austria's Conservative Modernity
Julia Secklehner (Masaryk University, Czech Republic)IV. Eyes on Salzburg: Salzburg Trapped and the Costs It Imposed9. Jewish Identities and Antisemitism in Salzburg after 1918
Helga Embacher (University of Salzburg, Vienna)10. Hungarian Salzburgs: Salzburg and the Salzburg Idea as Inspiration for Cultural Policy Initiatives and Urban Tourism Development in Interwar Hungary
Alexander Vari (Marywood University, USA)AfterwordBibliographyIndex
About the author
Robert Dassanowsky is CU Distinguished Professor of Film and Austrian Studies at the University of Colorado, Colorado Springs, USA, and is a former President of the Austrian Studies Association. He works as an independent film producer, and his previous publications include
Austrian Cinema: A History (2005) and
Screening Transcendence: Film under Austrofascism and the Hollywood Hope 1933-1938 (2018). He is a jury member for the annual VIS: Vienna Shorts Film Festival.
Katherine Arens is a Professor of Germanic Studies, Comparative Literature, and Women's and Gender Studies at the University of Texas at Austin, USA, and a former President of the Austrian Studies Association. Her most recent monographs are
Vienna's Dreams of Europe and Belle Necropolis: Ghosts of Imperial Vienna (both 2015).
