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One day when I was about 15 as I sat in my high school history class someone asked the teacher what the difference was between an Austrian and a German. “Nothing!” he snapped, “Austrians are just Germans. It’s the same thing.” I was aghast. I felt my whole world shift. How could anyone think an Austrian was a German? They were completely different, everyone knew that. Years later, after I had spent some time in Austria and got to know my family, I began to read academic books written in English about Austrian history and was astonished at how completely at variance they were with my own family’s experiences. All the books were written from an American or English academic perspective, many with a faint but perceptible undercurrent of hostility. I felt a lot of it to be factually wrong and misleading, and in some cases found the proof that that was so. I decided I had to tell Austria’s story as I saw it so I went back to original sources and started from scratch. And here it is.
The Austrian Empire was not a colonial power in the sense that fellow actors like 19th-century England and France were. It nevertheless oversaw a multinational federation where the capital of Vienna was unmistakably linked with its eastern periphery in a quasi-colonial arrangement that inevitably shaped the cultural and intellectual life of the Habsburg Empire. This was particularly evident in the era’s colonial utopian writing, and Tropics of Vienna blends literary criticism, cultural theory, and historical analysis to illuminate this curious genre. By analyzing the works of Leopold von Sacher-Masoch, Theodor Herzl, Joseph Roth, and other representative Austrian writers, it reveals a shared longing for alternative social and spatial configurations beyond the concept of the “nation-state” prevalent at the time.
Considers over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés. Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties," when the country was in fact suffering from extreme political and social unrest, she might haveasked, "Don't they know history either?" In The Sound of Music as well as in Hollywood's many other "Austria" films, the projections on the screen resemble reflections in a funhouse mirror. Elements of a "real" place with a"real" history inhabited by "real" people can be found in the fractured distortions, which have both drawn from and contributed to the general public's perceptions of the country and its citizens. Austria Made in Hollywood focuses on films set in an identifiable Austria, examining them through the lenses of the historical contexts on both sides of the Atlantic and the prism of the ever-changing domestic film industry. The study chronicles theprotean screen images of Austria and Austrians that set them apart both from European projections of Austria and from Hollywood incarnations of other European nations and nationals. It explores explicit and implicit cultural commentaries on domestic and foreign issues inserted in the Austrian stories while considering the many, sometimes conflicting forces that shaped the films.
For the past 100 years some of the greatest historians and political scientists of the twentieth century have picked apart, analyzed and reinterpreted this sequence of events taking place within a single month in July/early August 1914. The four years of fighting during World War I destroyed the international system put into place at the Congress of Vienna in 1814/15 and led to the dissolution of some of the great old empires of Europe (Austrian-Hungarian, Ottomon, Russian). The 100th anniversary of the assassination of the Austrian successor to the throne Archduke Francis Ferdinand and his wife Sophie in Sarajevo unleashed the series of events that unleashed World War I. The assassination in Sarajevo, the spark that set asunder the European powder keg, has been the focus of a veritable blizzard of commemorations, scholarly conferences and a new avalanche of publications dealing with this signal historical event that changed the world. Contemporary Austrian Studies would not miss the opportunity to make its contribution to these scholarly discourses by focusing on reassessing the Dual Monarchy's crucial role in the outbreak and the first year of the war, the military experience in the trenches, and the chaos on the homefront.
Chronicles the lives of Kurt von Schuschnigg, son of the former Austrian Chancellor, and his family during the time of the Anschluss and how their faith helped them survive these difficult times.
After the dissolution of the Austro-Hungarian Monarchy, Austria transformed itself from an empire to a small Central European country. Formerly an important player in international affairs, the new republic was quickly sidelined by the European concert of powers. The enormous losses of territory and population in Austria's post-Habsburg state of existence, however, did not result in a political, economic, cultural, and intellectual black hole. The essays in the twentieth anniversary volume of Contemporary Austrian Studies argue that the small Austrian nation found its place in the global arena of the twentieth century and made a mark both on Europe and the world. Be it Freudian psychoanalysis, the “fin-de-siècle” Vienna culture of modernism, Austro-Marxist thought, or the Austrian School of Economics, Austrian hinkers and ideas were still wielding a notable impact on the world. Alongside these cultural and intellectual dimensions, Vienna remained the Austrian capital and reasserted its strong position in Central European and international business and finance. Innovative Austrian companies are operating all over the globe. This volume also examines how the globalizing world of the twentieth century has impacted Austrian demography, society, and political life. Austria's place in the contemporary world is increasingly determined by the forces of the European integration process. European Union membership brings about convergence and a regional orientation with ramifications for Austria's global role. Austria emerges in the essays of this volume as a highly globalized country with an economy, society, and political culture deeply grounded in Europe. The globalization of Austria, it appears, turns out to be in many instances an “Europeanization.”
In this ironic, hilarious, and poignant story, Otto Prohaska is a submarine captain serving the almost-landlocked Austro-Hungarian Empire. He faces a host of unlikely circumstances, from petrol poisoning to exploding lavatories to trigger-happy Turks. All signs point to the total collapse of the bloated empire he serves, but Otto refuses to abandon the Habsburgs in their hour of need.
Notwithstanding the advantages of physical power, the struggle for survival among societies is not merely a matter of serial armed clashes but of the nation's spiritual resources that in the end always decide upon the victory. In Europe, there indeed exist independent countries, insignificant from the point of view of the entire civilization, and born by sheer coincidence, yet, this coincidence, this fancy, or diplomatic ploy that created them can just as easily bring them to an end---the nations that count in the political calculations are only the enlightened ones. Therefore, our nation should not merely grow in power, strengthen its character, and foster in people the feeling of love for homeland, but also---inasmuch as it is possible---breath the fresh breeze of humanity's general progress, feed it to the nation, absorb its creative energy. Until now, we have trusted and lived only in the weary conditions, conditions devoid of health-giving elements---now, as a result the nation's heart beats too slowly and its mind works too tediously. We ought to open our windows to Europe, to the wind of continental change and allow it to air our sultry home, since as not all health comes from the inside, not all disease comes from the outside.
A Pulitzer Prize Winner and landmark book from one of the truly original scholars of our time: a magnificent revelation of turn-of-the-century Vienna where out of a crisis of political and social disintegration so much of modern art and thought was born. "Not only is it a splendid exploration of several aspects of early modernism in their political context; it is an indicator of how the discipline of intellectual history is currently practiced by its most able and ambitious craftsmen. It is also a moving vindication of historical study itself, in the face of modernism's defiant suggestion that history is obsolete." -- David A. Hollinger, History Book Club Review "Each of [the seven separate studies] can be read separately....Yet they are so artfully designed and integrated that one who reads them in order is impressed by the book's wholeness and the momentum of its argument." -- Gordon A. Craig, The New Republic "A profound work...on one of the most important chapters of modern intellectual history" -- H.R. Trevor-Roper, front page, The New York Times Book Review "Invaluable to the social and political historian...as well as to those more concerned with the arts" -- John Willett, The New York Review of Books "A work of original synthesis and scholarship. Engrossing." -- Newsweek
“Fans of The Sound of Music will find plenty to please them in [this] history of the sweeping musical.” —Kirkus Reviews On March 2, 1965, The Sound of Music was released in the United States and the love affair between moviegoers and the classic Rodgers and Hammerstein musical began. Rarely has a film captured the love and imagination of the moviegoing public the way The Sound of Music did as it blended history, music, stunning Austrian locations, heartfelt emotion—and the yodeling of Julie Andrews—into a monster hit. Now, Tom Santopietro has written the ultimate book for fans with behind the scenes stories of the filming, new interviews with Johannes von Trapp and others, photographs, and more. He looks back at the real life story of Maria von Trapp, goes on to chronicle the sensational success of the Broadway musical, and recounts the near cancellation of the film when Cleopatra bankrupted 20th Century Fox. He reveals the actors who were also considered for the roles of Maria and Captain von Trapp, and provides a historian’s critical analysis of the careers of director Robert Wise and screenwriter Ernest Lehman. He also takes a look at the critical controversy that greeted the movie, its relationship to the turbulent 1960s, and the superstardom that engulfed Julie Andrews. The Sound of Music Story is for everyone who cherishes this American classic.