Wittgenstein's Vienna RevisitedTransaction Publishers - 287 pages |
Contents
| 19 | |
Weiningers Critique of a Narcissistic Culture | 41 |
Weininger Ibsen and the Origins of Viennese Critical Modernism | 63 |
Ebner Contra Wagner Epistemology Aesthetics and Salvation in Vienna 1900 | 89 |
Offenbach Art between Monologue and Dialogue | 109 |
Saint Offenbachs Postmodernism | 123 |
Saying and Showing Hertz and Wittgenstein | 151 |
Wittgensteins Religious Point of View | 175 |
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Common terms and phrases
aestheticism aesthetics aphorism Arnold Schoenberg artist Austrian Bahr basis Beethoven Bizet Brenner Carl Schorske century context creativity critical modernism critical modernists critique crucial culture dialogue dream emphasized essay ethics fact fantasy Ferdinand Ebner fin de siècle Freud Georg Trakl Gesamtkunstwerk Geschlecht und Charakter Habsburg Henrik Ibsen Hertz human Ibid Ibsen idea ideal important inasmuch insists intellectual Janik Jews Kant Kantian Karl Kraus Kierkegaard Kraus's language logical logical positivism Lombroso Loos Ludwig von Ficker Ludwig Wittgenstein Mach matter metaphysical mode moral nature Nietzsche Nietzsche's notion Offenbach opera opera buffa Otto Weininger Peer Gynt physics play poem positivism precisely problems question reality rejection religious respect role Schoenberg Schopenhauer Schorske Schorske's scientific sense Sex and Character sexual social sort theory things tion Tractatus tradition trans turn understand Vienna Circle Viennese Viennese modernism Wagner Weininger's words
Popular passages
Page 21 - Elsewhere in Europe, art for art's sake implied the withdrawal of its devotees from a social class; in Vienna alone it claimed the allegiance of virtually a whole class, of which the artists were a part. The life of art became a substitute for the life of action. Indeed, as civic action proved increasingly futile, art became almost a religion, the source of meaning and the food of the soul.