Grete Meisel-Hess (1879-1922), a contemporary of Freud, Schnitzler, and Klimt, was a feminist voice in early-twentieth-century modernist discourse. Born in Prague to Jewish parents and raised in Vienna, she became a literary presence with her 1902 novel Fanny Roth. Influenced by many of her contemporaries, she also criticized their notions of gender and sexuality. Relocating to Berlin, she continued to write fiction and began publishing on sexology and the women's movement. Helga Thorson's book combines a literary-cultural exploration of modernism in Vienna and Berlin with a biography of Meisel-Hess and a critical analysis of her works. Focusing on Meisel-Hess's negotiations of feminism, modernism, and Jewishness, it illustrates the dynamic interplay between gender, sexuality, and race/ethnicity in Austrian and German modernism. Analyzing Meisel-Hess's fiction as well as her sexological studies, Thorson argues that Meisel-Hess posited herself as both a "New Woman" and the writer of the "New Woman." The book draws on extensive archival research that uncovered a large number of new sources, including an unpublished drama and a variety of documents and letters scattered in collections across Europe. Until now there have been only limited secondary sources about Meisel-Hess, most containing errors and omissions regarding her biography. This is the first book on Meisel-Hess in English.

This volume, the first of its kind in English, brings together scholars from different disciplines who address the history of women in Austria, as well as their place in contemporary Austrian society, from a variety of theoretical and methodological perspectives, thus shedding new light on contemporary Austria and in the context of its rich and complicated history.

At the end of the nineteenth century, Austro-Hungarian society was undergoing a significant re-evaluation of gender roles and identities. Debates on these issues revealed deep anxieties within the multi-ethnic empire that did not resolve themselves with its dissolution in 1918. The concepts of gender and modernity were modified by the various regimes that ruled the empire's successor states in the twentieth century and have been redefined again in the post-Communist period, but the Habsburg Monarchy's influence on gender and modernity in Central Europe is still palpable. With a truly interdisciplinary approach ù drawing on the fields of women's studies, gender studies, sociology, history, literature, art, and psychoanalysis ùthat touches on gender roles, sexual identities, misogyny, painting, writing, minorities ù this volume explores the lasting impact of the Austro-Hungarian Empire in contemporary Central Europe, which is fraught with gender conflict and tension between modernist and anti-modernist forces.

The phrase fin de siècle conjures up images of artistic experimentation and political decadence. The contributors to this volume argue that Wilhelmine Germany—best known for its industrial and military muscle—also shared these traits. Their essays look back to the years between 1885 and 1914 to find in Germany a mixture of sociopolitical malaise and experimental exhilaration that was similar in many ways to the better-known cases of France and Austria. Revising the view that the German Second Reich was merely a precursor to the Third, this broad-scoped study presents pre–World War I Germany in its own fascinating and often contradictory terms. The foundations of the antiliberal passions that would plague the Weimar Republic are evident, but Wilhelmine society also had a lighter, more playful and moderate spirit, one that was largely extinguished by the Great War. Blending social, cultural, and intellectual history, the contributors—a distinguished cross-section of older and younger scholars—trace changing German views on liberalism, penal reform, race, women, art, popular culture, and technology. They juxtapose better-known figures such as Max Weber, Thomas Mann, and Martin Heidegger with now-forgotten individuals like the Jewish feminist novelist Grete Meisel-Hess and the iconoclastic Swiss painter Arnold Böcklin. Their essay topics range from the esoteric and erotic poetry of Stefan George to the Jewish comedy of the Herrnfeld Theater. “Modernity” is examined from the perspectives of bourgeois cinema-goers and judicial reformers, as well as from the viewpoint of Carl Jung. The result is a variegated picture of an unsettled world, rich in its innovations, ambitious in its undertakings, and often apocalyptic in its dreams.

In Sexual Politics and Feminist Science, Kirsten Leng restores the work of female sexologists to the forefront of the history of sexology. While male researchers who led the practice of early-twentieth-century sexology viewed women and their sexuality as objects to be studied, not as collaborators in scientific investigation, Leng pinpoints nine German and Austrian "women sexologists" and "female sexual theorists" to reveal how sex, gender, and sexuality influenced the field of sexology itself. Leng's book makes it plain that women not only played active roles in the creation of sexual scientific knowledge but also made significant and influential interventions in the field. Sexual Politics and Feminist Science provides readers with an opportunity to rediscover and engage with the work of these pioneers. Leng highlights sexology's empowering potential for women, but also contends that in its intersection with eugenics, the narrative is not wholly celebratory. By detailing gendered efforts to understand and theorize sex through science, she reveals the cognitive biases and sociological prejudices that ultimately circumscribed the transformative potential of their ideas. Ultimately, Sexual Politics and Feminist Science helps readers to understand these women's ideas in all their complexity in order to appreciate their unique place in the history of sexology.

"Previous scholarly attention to Hapsburg culture has emphasized its German-centred aspects, Shifting Voices introduces a new focus on the Hapsburg Empire's rich Hungarian component through a comparative: analysis of women's literary contributions in Austria and a Hungary." --Résumé de l'éditeur.

Crossing Central Europe is a pioneering volume that focuses on the complex networks of transcultural interrelations in Central Europe from 1900 to 2000. Scholars from Canada, the United States, and Europe identify the motifs, topics, and ways of artistic creation that define this cross-cultural region. This interdisciplinary volume is divided into two historical periods and includes analyses of literature, film, music, architecture, and media. By focusing first on the interrelations in the nineteenth and early twentieth-century, the contributors reveal a complex trans-ethnic network at play that disseminated aesthetic ideals. This network continued to be a force of aesthetic influence leading into the twenty-first century despite globalization and the influence of mass media. Helga Mitterbauer and Carrie Smith-Prei have embarked on a study of the overlapping artistic influences that have outlasted both the National Socialist regime and the Cold War.