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New Perspectives on Contemporary Austrian Literature and Culture
by Katya Krylova (Volume editor)
©2018 Edited Collection XII, 442 Pages
Series: Studies in Modern German and Austrian Literature, Volume 5
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This volume brings together contributions arising from papers originally presented at the Contemporary Austrian Literature, Film and Culture International Conference held at the University of Nottingham in April 2015. It examines trends in contemporary Austrian literature, film and culture, predominantly over the past thirty years. This period has been one of great transformation in Austrian society, with the Waldheim affair of 1986–1988 marking the beginning of a belated process of confronting the country's National Socialist past. The sixteen chapters of the volume analyse literary texts, films, memorial projects and Austria's musical heritage, considering works by cultural practitioners operating both within and outside of Austria. The collection offers a multi-perspectival view on how contemporary Austria sees itself and how it is, in turn, seen by others from various vantage points.
About the author(s)/editor(s)
This eBook can be cited
Introduction: Contemporary Austrian Literature and Culture (Katya Krylova)
The Chapters
Part I Austria and the World: Transnational Perspectives
1 The New Cosmopolitanism in Second Republic Narratives: Revisiting the Vienna–'Orient' Connection (Dagmar C. G. Lorenz)
2 'You'll never know the old Vienna': The Third Man (1949) as Historical Referent in Contemporary Austrian Culture and Literature (Anne-Marie Scholz)
'Jenseits von kaiserlicher Pracht und Walzerherrlichkeit': The Third Man Tour
'Wie[n] ennt sich diese Stadt?': Jörg Albrecht's Harry Lime Lebt! Und das in diesem Licht!
Film und Verhängnis: Ilse Aichinger's Third Man
3 Austria's Ambiguous Smile: Transnational Perspectives on Austrian Belatedness in the Fiction of John Irving (Benedict Schofield)
American Dreams and Austrian Idylls
Topographies of Tourism and Terror
Habsburg Myths and Post-war Realities
Transnationalizing Austrian Belatedness
4 Ariadne's Thread: Storytelling, Digression and Flâneurship in the Recent Films of Ruth Beckermann (Katya Krylova)
5 "Mit möglichst großer literarischer und intellektueller Qualität ein Sartre zu werden". Parodie und (Selbst)-Bestätigung in Robert Menasses Gegenwarts- und Intellektuellenkritik (Valentina Serra)
Die Intellektuellen in Österreich, die Intellektuellen und Österreich
Menasses Intellektuellendarstellungen zwischen Parodie und (Selbst-)Bestätigung
Teufelsbündnisse in Marktwirtschaften: von der Europa-Kritik zur Republik Europa
Werke von Robert Menasse
Interviews und Gespräche
Part II Space, Place and Boundary Crossing in Contemporary Austrian Literature and Film
6 Fortress Europe as Frontier: Adaptation of the Western Genre in Austrian Cinema (Nikhil Sathe)
Black Brown White (2011)
Spanien (2012)
Grenzgänger (2012)
7 "Ganz Tirol ist eine Grenze" und Felix Mitterer. Verkaufte Heimat (Ursula A. Schneider / Annette Steinsiek)
Begriff "Grenze"
Hintergrund: Die Geschichte Südtirols im 20. Jahrhundert
Mitterer und Südtirol
Mitterers dramatische Strategie
Verkaufte Heimat im Vorlass Mitterers
Ein Blick in die Drehbücher: die Figur Dario
Die Verfilmung als eigene mediale Ebene und deren Rezeption
Primärtexte
8 The Visible Uncanny: Anna Kim's Novels Frozen Time and Anatomy of a Night (Silke Schwaiger)
Topographies of the Uncanny
'Pristina, a city that is not a city'
'The nights in Amarâq are an impenetrable black mass, what one imagines nothingness is'
9 'Leichen im Keller': The Basement in New Austrian Film (Rachel Green)
The Basement in Austrian Literature
The Basement in New Austrian Film
10 Der Rhythmus als subversive Textstrategie. Gezeigt an Texten Thomas Bernhards und Ernst Jandls (Lydia Haider)
Warum Thomas Bernhard und Ernst Jandl?
Zum Rhythmus
Methodische Erweiterung um das Pattern
Zur Subversion
Die Rede: Evozierte Mündlichkeit
Rhythmische Subversion
Conclusio
Sekundärtexte
11 Desires for a Third Space: A Critique of Elfriede Jelinek's Winterreise by Reading Georg Simmel's 'Exkurs über den Fremden' (Peter Höyng)
Part III Confronting the Nazi Past
12 Historische Traumata, Vergessen und Erinnerung. Literarische Vergangenheitsdiskurse in der zeitgenössischen österreichischen Literatur (Magdolna Orosz)
Vergangenheitsdiskurse: Erinnerung und Vergessen
Familiengeschichten als Erinnerungsdiskurse
Vater und Sohn in Verkleinerungsperspektive
Eine Generation zurück: Großmutter im Fokus
Erinnerung im familiären Gespräch
Eine Generation zurück – historische Streitpunkte
Historischer Zwiegespräch in dialogischer Gestaltung
13 The Grandmother in Recent Austrian Literature: Peter Henisch, Eine sehr kleine Frau (2007) and Melitta Breznik, Das Umstellformat (2002) (Petra M. Bagley)
14 'Farben, die es auf dieser Welt nicht gibt': Remembering Reality in Lenka Reinerová's Late Prose (Traci S. O'Brien)
15 Blurring Fiction with Reality: Robert Schindel's comédie humaine of 1980s Vienna in Gebürtig and Der Kalte (Joseph W. Moser)
16 'Walzer für Nazis': The Vienna Philharmonic and the Nazi Past (Lauren Freede)
Classical Music and Austrian National Identity
Coming to Terms with the Orchestral Past: A Recent History
'Wiener Philharmoniker – stellt man sich der Vergangenheit im NS-Staat?'
Shadows of the Past
Staging Reconciliation
| ix →
Fig. 1. Felix Mitterer on his research visit in Moravia, spring 1988. Photographer unknown. Vorlass Felix Mitterer, Forschungsinstitut Brenner-Archiv, Universität Innsbruck, Sig. 18-37-21.
Fig. 2. Ulrich Seidl, Im Keller (2014) © Ulrich Seidl Film Produktion GmbH.
| xi →
This volume arises out of an international conference on Contemporary Austrian Literature, Film and Culture (CALFAC), which took place at the University of Nottingham on 13–15 April 2015. The conference organizer and the editor of this volume was a Leverhulme Trust Early Career Fellow there, working on the project 'The Treatment of the Past and Austrian Identity in Contemporary Austrian Literature and Film'. I am very grateful to the Leverhulme Trust for funding this project, and for sponsoring the conference in conjunction with the Austrian Cultural Forum London and the University of Nottingham. In addition to keynote lectures from Professor Allyson Fiddler (University of Lancaster), Professor Jonathan Long (University of Durham), and Professor Dagmar C. G. Lorenz (University of Illinois at Chicago), a total of twenty-four papers were presented at the conference by speakers from the UK, the United States, Canada, Austria, Germany, Italy and Hungary. The conference also featured film screenings and Q&As with two award-winning Austrian documentary filmmakers: Dr Ruth Beckermann (Vienna) and Dr Frederick Baker (Cambridge). More information about the conference, programme, and abstracts may be found on the following webpage: <http://www.katyakrylova.org/calfac-conference.html>.
Almost all of the chapters in the present volume are based on papers originally presented at the CALFAC conference. They have been substantially expanded for this volume and have undergone a peer-review process. I would like to thank members of the conference committee – Professor Allyson Fiddler, Professor Dirk Göttsche, Dr Hillary Hope Herzog, Dr Todd Herzog, Professor Florian Krobb, Professor Jonathan Long, Professor Dagmar C. G. Lorenz, Professor Imke Meyer, Dr Manfred Mittermayer, and Professor Andrew Webber – for generously reviewing the individual contributions. I would also like to thank both contributors and peer-reviewers for the great spirit with which they have approached this process. ← xi | xii →
I would like to thank the anonymous reviewers of the manuscript for Peter Lang for their thoughtful comments and suggestions. I am very grateful to Dr Laurel Plapp at Peter Lang Publishing, Oxford, for expertly seeing this volume through to its completion.
Katya Krylova
| 1 →
Introduction: Contemporary Austrian Literature and Culture
In post-war Austria, it is almost exclusively the artists who engaged with the past […]. After the war, Austria has not brought forth any noteworthy philosophers or theorists, at least not in the country itself; thought was driven out by the Nazis and has not actually returned since, therefore all of this was displaced into art. What in other countries was achieved in the realm of scholarship, in Austria, transferred into the realm of art. This is where the more significant achievements were accomplished.1
— ELFRIEDE JELINEK
It is somewhat of a cliché to extol Austria's rich cultural heritage and to marvel at the fact that a country whose present-day population numbers just 8.7 million2 has given the world so much, in terms of literary, artistic ← 1 | 2 → and cultural achievement. In the popular cultural imaginary, Austria is often associated with the artistic and cultural flourishing that took place in the then Austro-Hungarian capital, Vienna, at the turn of the twentieth century, and with the mourning of this culture's loss following the Second World War and the Holocaust. This preoccupation with the loss of a vanished culture in the popular cultural imaginary often comes at the expense of a neglect of Austria's present, apart from when it seeps back into consciousness with sensationally presented scandals such as the Josef Fritzl and Natascha Kampusch cases, or as a consequence of reactionary politics in the shape of Kurt Waldheim, Jörg Haider, Norbert Hofer, or Heinz-Christian Strache.
The present volume aims to recentre attention firmly on contemporary Austria, predominantly over the past thirty years, and show how the various shifts that Austrian society has undergone during this time have been refracted in contemporary Austrian literature and culture. It is fair to say that the past three decades have been a period of great transformation in Austrian society, for which the Waldheim Affair of 1986–1988 was the trigger, marking the start of the belated process of confronting the country's National Socialist past. The attempts of Austrian presidential candidate, and later president, Dr Kurt Waldheim, to cover up the extent of his involvement in the Nazi war machine inadvertently sparked a long-overdue discussion about Austria's Nazi past and a shift in the nation's self-understanding of its role during the Nazi period, from that of perceived victimhood to the acknowledgement of Austrian complicity in the crimes of the Second World War and the Holocaust. This is a process that Austrian writers, filmmakers and cultural practitioners were at the centre of, leading the protest movement against Waldheim. This generation of artists and intellectuals was also, as Dagmar Lorenz has traced, instrumental in the formation of a civil society and oppositional culture in Austria.3
As the epigraph to this introduction, taken from an interview with the Austrian Nobel laureate for literature, Elfriede Jelinek, makes clear, ← 2 | 3 → Austrian artists and writers have played a particularly significant role in post-war Austria. Crucially, in just two sentences, Jelinek uses the word 'verschieben' [to be displaced/to be transferred into] twice,4 which alludes to the Freudian term 'Verschiebung' [displacement], a term which describes how a repressed traumatic symptom eventually manifests itself in a different place and time.5 Thereby, in Jelinek's view, literature and art in the Austrian context have been a realm in which all that was repressed by official discourse, for example the experience of the Nazi era and its legacy in the present, could be thematized and expressed. This diagnosis of post-war Austrian literature and culture is one that is borne out in the work of many post-war Austrian writers and artists, such as that of the seminal authors Ingeborg Bachmann (1926–1973) and Thomas Bernhard (1931–1989), as I have argued elsewhere.6 Reflecting and illuminating the real lived experience of human beings is a characteristic of all great art and literature, and is, of course, not limited to Austria, but it has a long Austrian tradition. As the cultural historian Carl Schorske famously diagnosed,7 at the turn of the twentieth century, the crises plaguing Austria-Hungary's political life caused writers and artists to either turn inwards in an exploration of interiority, sexuality and the self, as can be gleaned from the paintings of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), or to deliver satirical diagnoses of the already-crumbling Austro-Hungarian Empire in the manner of Karl Kraus (1874–1936). The work of writers such as Robert Musil (1880–1942) and Arthur Schnitzler (1862–1931) successfully combined both of these thematic orientations. Despite their aesthetic innovations, the writers and artists of the fin de siècle were 'alienated from ← 3 | 4 → political power'.8 As Edward Timms has traced, this generation of artists and writers became 'more politically engaged' during the First World War,9 only to then lament the disappearance of the Austro-Hungarian Empire and its 'goldene Zeitalter der Sicherheit' [golden age of security].10
Claudio Magris, writing in 1963, notably diagnosed a continual preoccupation in Austrian literature since the beginning of the twentieth century with the Habsburg Myth,11 the valorization of the perceived advantages of the old order vis-à-vis an unsatisfactory present, accompanied by 'a fleeing from political engagement into an idealised monarchic past'.12 While this was certainly the case for many of Austria's more conservative writers, such as Heimito von Doderer (1896–1966), we find a much more nuanced engagement with the Habsburg Myth in the work of authors such as Bachmann and Bernhard. Writing after the Second World War and the Holocaust, their work is suffused with an awareness of what an escapist retreat into Habsburg nostalgia masks, namely the horrors of the recent past, and their enduring legacy. In truth, in Austrian cultural production of the post-war era, which the writer Robert Schindel (1944–) posits as having ended in Austria with the Waldheim Affair,13 we find both the political engagement that Jelinek commends (one need only think of Bernhard's 1988 play Heldenplatz and the controversy it caused in the country), particularly with regard to confronting the country's Nazi past, and the conservative ← 4 | 5 → tendencies that Magris diagnoses. What has perhaps been the defining characteristic of Austrian literature and culture since the Waldheim Affair is the profound level of political engagement and commitment characterizing almost all notable contemporary Austrian writers, filmmakers and artists, who, as I have traced elsewhere, draw attention in their work to injustices both in the past and in the present.14
Against the background of a growing discussion in Austria about the country's role in the Third Reich over the past thirty years, figures such as Gerhard Roth (1942–), Elfriede Jelinek (1946–), Robert Schindel (1944–), Anna Mitgutsch (1948–), and Robert Menasse (1954–) – many of whom came of age as writers during the Waldheim era – have offered incisive commentaries on the shadow that Austria's past continues to cast on the country's present. Meanwhile, recent translations of novels by Robert Seethaler (1966–), Der Trafikant [The Tobacconist] (2012) and Ein ganzes Leben [A Whole Life] (2014), have served to bring treatments of twentieth-century Austrian history to international attention.15 For a younger generation of writers, such as Melitta Breznik (1961–), Eva Menasse (1970–), Doron Rabinovici (1961–), and Vladimir Vertlib (1966–), the legacy of Austria's past remains a key preoccupation. The enduring legacy and significance of the Waldheim era may be gleaned from the award-winning 2018 documentary by Ruth Beckermann, Waldheims Walzer [The Waldheim Waltz], a film which reflects on the profound impact of the Waldheim Affair on Austria three decades on, as well as implicitly highlighting the topicality of the Waldheim case for populist movements of the present, both in Austria and beyond, as Beckermann made clear both in the film's publicity ← 5 | 6 → material,16 and in her prize acceptance speech for the Glashütte Original – Documentary Award at the 2018 Berlin International Film Festival.17
Since the Waldheim era, Austrian artists and intellectuals have remained at the heart of protest movements against populist and far-right politics, notably mobilizing, for example, in 1992–1993 against an Ausländervolksbegehren [anti-immigration referendum] instigated by the Austrian Freedom Party to curtail immigration to Austria, in 2000 following the entry of Jörg Haider's Freedom Party into the Austrian coalition government, and, most recently, in 2018, following the entry of the same party, now led by Heinz-Christian Strache, into government. In the 2016 Austrian presidential election, the Austrian Freedom Party's Norbert Hofer achieved 46.2 per cent of the vote share in the final election round,18 while the 2017 Austrian legislative election saw the Freedom Party (FPÖ) poll 26 per cent of the vote and enter into a coalition government with the conservative Austrian People's Party (ÖVP).19 Although the successes of the Austrian Freedom Party are part of what has been identified as a growing trend of support for populist and far-right movements in Europe,20 the 2017 election made Austria 'the only western European country with ← 6 | 7 → a far-right presence in government'.21 It remains to be seen precisely what the lasting impact of Austria's new coalition government will be. However, a mobilization of Austrian artists, writers and intellectuals was already observed from the inauguration of the coalition in December 2017, with the Nobel laureate Elfriede Jelinek publishing texts on her widely read website, reflecting on the new government and on Austrian Freedom Party regional election candidate Udo Landbauer's links to a fraternity, whose song-book, uncovered in January 2018, was found to contain anti-Semitic texts.22 Other prominent Austrian public intellectuals, such as Robert Menasse and Doron Rabinovici, have used their platform to criticize the new government both in opinion pieces,23 and in interviews.24 Additionally, Austria's filmmakers have formed the #KlappeAuf [clapperboard/mouth open] initiative, using the forum of both national and international film festivals, for example, that of the 2018 Berlin International Film Festival, to draw attention to the presence of members of German nationalist fraternities in the Austrian government and to cuts to social spending. The group includes prominent Austrian filmmakers such as Ulrich Seidl, Ruth ← 7 | 8 → Beckermann and Jessica Hausner, as well as actors such as Birgit Minichmayr and Klaus Maria Brandauer.25
A notable aspect of the protest culture arising in the wake of the 2017 legislative election has been the formation of the Omas gegen Rechts [Grannies Against the Right] protest group in November 2017, a group of older women whose founding members include the pastor and columnist, Monika Salzer, and writer and former ORF journalist, Susanne Scholl. The group, which is not affiliated to any political party, has become a distinctive presence in demonstrations against the ÖVP/FPÖ coalition's policies, for example, spending cuts, which the Omas gegen Rechts view as disproportionately affecting women.26 Additionally, the organization aims to promote the visibility of older women as a political force, with their slogan being 'Alt sein heißt nicht stumm sein!' [Being old doesn't mean keeping stumm!]27 This visibility is achieved by combining a serious political message with a performative, humorous aspect, for example through the singing of self-composed songs,28 the wearing of distinctive hand-knitted pink and red hats, and a strong web and social media presence.29 Through what the group's leaders describe as the shock value of grandmothers going ← 8 | 9 → out onto the street to protest,30 the group has indeed succeeded in their aim of gaining recognition for older women as a political entity, drawing attention from both the national and international press.31
As well as being politically attune to events within Austria itself, Austrian writers, filmmakers and intellectuals have traditionally always looked beyond Austria's borders in their creative practice. Austria was historically the centre of the Habsburg Empire, a Vielvölkerstaat [multi-ethnic state], and, as such, its capital Vienna attracted migrants from all corners of the Empire. Thereby, 'Austrian' culture was inflected both by the cultures of migrants to the country, as well as, in turn, leaving an influence upon countries far beyond its contemporary borders. The lasting legacy of this can be observed today both within and outside Austria. It can be seen in everyday culture, with 'Viennese' cuisine cooked by migrant women famously gaining 'a Bohemian flavour and Hungarian menus'.32 It can be gleaned from architecture, with cities which constituted regional capitals of the old Habsburg Empire, such as Chernivtsi (Czernowitz) in modern-day Ukraine, still bearing a 'Vienna-look-alike' appearance.33 In the literary sphere, Friedrich Torberg famously wrote about the porous cultural exchange between Vienna, Budapest and Prague in his nostalgic work Die ← 9 | 10 → Tante Jolesch oder Der Untergang des Abendlandes in Anekdoten [Tante Jolesch or the Decline of the West in Anecdotes] (1975), an exchange which still continued for two decades following the collapse of the Habsburg Empire, until the annexation of Austria by Nazi Germany brought an end to this freedom of movement, especially for the many Austrian Jews who formed part of the country's creative avant-garde.34 As such, in the twentieth century, Austria also became a country of emigration, with many Austrians, predominantly Austrian Jews and those opposed to Hitler's regime, forced to leave the country in the 1930s. As cultural historian Steven Beller has emphasized, this emigration 'has meant to this day that Austria's heritage exists around the world in a way which many modern-day Austrians still only partly grasp', with 'much of Austria's contribution to the modern world [taking] root not in Vienna but in Hampstead, Berkeley or Jerusalem'.35
The year that the conference, out of which this volume arises, was held was particularly rich in anniversaries of significance for Austria: seventy years since the foundation of the Second Republic on 27 April 1945, seventy years since the end of the Second World War, as well as sixty years since the signing of Staatsvertrag [Austrian State Treaty] on 15 May 1955, which marked the end of the post-war Allied occupation of Austria. These historical events have all been deeply significant for Austrian identity and the way that Austria sees itself and its place in the world. Meanwhile, the current Gedenkjahr 2018 [commemorative year 2018] in Austria offers further opportunities for reflection, with its anniversaries of one hundred years since the end of the First World War and the collapse of the Habsburg monarchy, as well as eighty years since the Anschluss, the annexation of Austria by Nazi Germany. The Gedenkjahr will not least be observed by the opening of the much-anticipated Haus der Geschichte [House of History] in Vienna, scheduled for 12 November 2018 (the one hundredth ← 10 | 11 → anniversary of the foundation of Austria's First Republic in 1918),36 which has prompted heated debates in Austria about the design and cost of the project.37 One of the central points of discussion about the museum, which will be housed in a section of the Hofburg Palace, has been the question of how to incorporate the building's so-called Führerbalkon (the balcony from which Adolf Hitler addressed an assembled crowd of an estimated 200,000 on 15 March 1938, proclaiming the Anschluss) into the museum.38 The Führerbalkon exemplifies the omnipresence of Austria's past in the present, irrevocably inscribed in the country's topography and architecture.
Following the period of Allied occupation from 1945 until 1955, when the country regained its sovereignty, there was an emphasis by politicians of all stripes on the promotion of 'a specifically Austrian identity' (as opposed to the wish to subsume Austria within a 'Greater Germany'),39 an identity based on an Alpine image of 'little Austria'. However, successive waves of migration into Austria from the second half of the twentieth century onwards, for example, following the Hungarian Uprising in 1956, the Prague Spring of 1968, and the Yugoslav Wars of 1991–2001 (which saw thousands of refugees flee to nearby Austria), and the collapse of state socialist regimes in Central and Eastern Europe in the late 1980s and 1990s, have meant that Austria is and has continued to be a country of migration. The entry of Austria into the European Union in 1995, and the expansion of the EU in 2004 to encompass Central and Eastern European countries, ← 11 | 12 → with whom Austria shares not only borders but traditional historic links through the common heritage of the Austro-Hungarian Empire, has also facilitated immigration to Austria. While liberals have heralded this as a welcome return to Austria's cosmopolitan roots in the Habsburg Empire, and as a move away from the narrow focus on national identity in post-war Austria, it has, however, also prompted a nationalist backlash, in the form of the rising support for the far-right Austrian Freedom Party from the late 1980s onwards (under Jörg Haider's leadership) into the present day, as Michał Krzyżanowski and Ruth Wodak describe.40 Notwithstanding the anti-immigrant rhetoric adopted by many of Austria's politicians, the country's demographics tell a story of their own, with approximately half of Vienna's population having a so-called Migrationshintergrund [migration background], which means that they were either born outside of Austria's borders or have a parent who was.41 As we shall see in the following chapters of this volume, many contemporary Austrian writers, filmmakers and intellectuals draw upon Austria's cosmopolitan heritage to reflect upon the real, lived experience of migration in present-day Austria, and in Europe more broadly, in their work, as well as expanding the notion of what constitutes 'Austrian' culture, and what it means to be 'Austrian' in the twenty-first century. The engagement with the topic of migration by writers such as Tarek Eltayeb (1959–), Anna Kim (1977–), and Vladimir Vertlib (1966–), who are themselves first- and second-generation immigrants to Austria, bears relevance not only for discourses on migration within Austria itself, but for multicultural societies around the world.
In the genre of film, the medium that increasingly defines a nation's cultural identity in an international context, the rise of New Austrian Cinema in the 1980s, facilitated in part through the introduction of federal support for filmmaking in the shape of the Film/Fernseh-Abkommen [Film ← 12 | 13 → Television Agreement] of 12 October 1981,42 led to a wave of innovative and socially engaged films in diverse genres, a trend that has continued to this day. While Michael Haneke (1942–) and Ulrich Seidl (1952–) are the most well-known exponents of New Austrian Cinema, Austria's contemporary cinematic landscape is characterized above all by the plurality of its voices, both in fiction and documentary film, with directors such as Barbara Albert (1970–), Ruth Beckermann (1952–), Jessica Hausner (1972–), Ruth Mader (1974–), Anja Salomonowitz (1976–), Markus Schleinzer (1971–), and Erwin Wagenhofer (1961–) critically reflecting the present (and, in the case of filmmakers such as Beckermann, also the past) both of the Austrian nation as well as that of Europe and the world more broadly. This has led to international recognition, in the shape of both film awards and public appreciation for a film aesthetic 'diametrically opposed to Hollywood values', expressed in Austrian directors' frequent examination of taboo subjects (such as euthanasia, paedophilia, and sex tourism), and in the detached style adopted for these investigations.43
While the work of Austrian writers and film directors is undeniably informed by their Austrian background, as mentioned above, their attention is frequently turned to issues that transcend the country's borders. Moreover, questions of national and supranational identity, of how a country treats minority groups, or how a country confronts difficult aspects of its own past, are clearly issues relevant not just to Austrian culture. This is why the present volume is not only concerned with perspectives on Austrian culture by cultural practitioners within Austria. Transnational perspectives, such as those offered by the works of the American writer John Irving (1942–), the Czech-Jewish writer Lenka Reinerová (1916–2008), Austrian writers of Arab origin, or recent engagements with Carol Reed's iconic film The Third Man (1949), are a key concern of the volume. The consideration of works by authors originating outside the borders of modern-day Austria, ← 13 | 14 → alongside the work of cultural practitioners operating within the geographical confines of Austria itself, allows for a multi-perspectival view on how contemporary Austria sees itself, and how it is in turn seen by others from various vantage points. The volume includes contributions from scholars working in literary studies, film studies, and cultural history, allowing for a range of multidisciplinary perspectives to be brought to bear on the plurality of contemporary Austrian literature and culture.
The following chapters are grouped into three interconnected parts. The groupings are not designed to be in any way prescriptive – and certainly some chapters can fit under more than one heading – but are there to highlight points of comparison and connection between the sixteen chapters which make up the volume. Part I of the volume, entitled 'Austria and the World: Transnational Perspectives', has as its focus transnational perspectives on Austria and Austrian culture, as well as perspectives offered by Austrian writers and filmmakers on countries beyond Austria's borders, including the Middle East, the United States, Italy, and the European Union as a political entity. Dagmar C. G. Lorenz's chapter examines cosmopolitanism in Second Republic narratives, and the re-emergence of the Middle East as a topos in post-1945 Austrian literature. Lorenz examines changing post-war representations of the Middle East in the works of Ingeborg Bachmann and Elias Canetti, in the light of colonialism, Nazi campaigns, and the Israeli-Palestinian conflict. She proceeds to analyse works from the 1990s by Anna Mitgutsch, Gerhard Roth, Ruth Beckermann and others, as well as writing since the millennium by Austrian-based writers of Arab background. Lorenz's analysis of these works highlights affinities between mainstream and transnational authors, demonstrating that the authors all draw on literary practices that are part of the Austrian tradition. Anne-Marie Scholz's chapter examines Carol Reed's iconic film The Third Man (1949), a British/US co-production, as a historical referent in contemporary ← 14 | 15 → Austrian culture and literature. Scholz explores the ways in which contemporary Austrian culture relies on images of and from the film to promote a certain version of post-war Austrian history, one which downplays questions of coming to terms with the country's past and instead valorizes the film as a transnational masterpiece. In this context, Scholz focuses on contemporary treatments of The Third Man, which call this reading into question, including a theatre production by the German playwright Jörg Albrecht, Harry Lime Lebt! Und das in diesem Licht! [Harry Lime lives, and that in this light!] (2010), and references to the film in the Austrian writer Ilse Aichinger's autobiography Film und Verhängnis: Blitzlichter auf ein Leben [Film and Fate: Flashlights on a Life] (2001). As Scholz demonstrates, through parody and satire, these texts illustrate how The Third Man can function as a more problematic historical referent in Austrian culture.
Benedict Schofield's chapter focuses on transatlantic perspectives on the Waldheim Affair and Austrian 'belatedness' in the fiction of the American novelist John Irving. The chapter contextualizes the discussion of Austria's belated process of Vergangenheitsbewältigung [coming to terms with the past] undertaken elsewhere in this volume, through an analysis of Austrian memory politics in the bestselling fiction of the American author John Irving. Schofield traces how Irving's novels from the late 1960s to the late 1990s reveal post-war Austria as a site of both fascination and contempt. The chapter demonstrates how transatlantic voices, such as Irving's, provided a consistent critique of Austria's memory politics, both pre- and post-Waldheim: a critique which challenges the idea of the Waldheim Affair as a clear turning point for contemporary Austria. Ultimately, Schofield demonstrates that Irving's transnational perspective on Austria's past is critically distinct to that within Austria. Katya Krylova's chapter focuses on recent films by the renowned documentary filmmaker Ruth Beckermann, whose narrative concerns extend far beyond Austria's borders. The chapter examines how the thought of German-Jewish philosopher Walter Benjamin, whom Beckermann has cited as a key influence for her work, informs her recent film projects. This is analysed both in relation to Beckermann's investigation of the United States, at the beginning of the twenty-first century, in American Passages (2011), and in relation to the interpellation of the myth of Ariadne, in her exploration of issues affecting Europe today (in ← 15 | 16 → particular, the European migrant crisis) in Those Who Go Those Who Stay (2013). Drawing on Laura Rascaroli's ideas on subjective cinema, Krylova argues that in Beckermann's recent films it is the film montage that takes centre stage, and that the films' lack of an overarching narrative frame is symptomatic of the multifaceted and ambivalent subject matter that they portray. Valentina Serra's chapter analyses the work of Austrian writer and intellectual Robert Menasse, who both in his fiction and non-fiction work subjects both present-day Austrian and European society to thorough scrutiny. Serra analyses the narrative strategies employed by Menasse in order to trace the idea of the engaged intellectual that he valorizes. The chapter shows how Menasse formulates his theoretical positions using an ironic, postmodern play of quotation and self-quotation. Serra demonstrates that, as the defender of the original project of an economic, political and social community, Menasse views the current state of the European Union as a caricature, and that the EU's postnational dimension as a 'European Republic' has yet to be fulfilled.
Part II thematically adjoins the contributions in Part I of the volume, with a focus on questions of space and place, Heimat and identity, self and other, which are key concerns for many Austrian writers and filmmakers, as well as thinking about space and boundary crossing more broadly, in terms of the spaces that texts and films come to occupy and claim for themselves, and which, through their aesthetic strategies, seek to challenge and subvert conventions, and/or present challenges of various kinds to us as readers and viewers. Nikhil Sathe's chapter traces how the key themes in contemporary Austrian cinema since the 1990s of migration, border crossing, and integration have been augmented in more recent Austrian films through the utilization of the American film genre of the Western, symptomatic of the cultural exchange between Hollywood and the Austrian cinema industry in the twentieth century, as well as that between the US and Austria more broadly. Focusing on Erwin Wagenhofer's Black Brown White (2011), Anja Salomonowitz's Spanien [Spain] (2012), Florian Flicker's Grenzgänger [Border Crossers] (2012) and Andreas Prochaska's Das finstere Tal [Dark Valley] (2014), the chapter examines how, to varying degrees, the films adopt elements from different phases of the Western's development, and how this genre allows these films to thematize injustices of migration policies and controls that construct and perpetuate a Fortress Europe. ← 16 | 17 →
Ursula A. Schneider and Annette Steinsiek examine the topos of the border in Felix Mitterer's Verkaufte Heimat [Bartered Homeland] (1988–1994) drawing on the writer's Vorlass [preliminary literary estate]. The chapter examines how Mitterer attempts to overcome 'internal borders' in the multipart Verkaufte Heimat series, which treats a central topic in his work: the Brenner border, which has existed between Austria and Italy since 1918. Schneider and Steinsiek show that Mitterer's Verkaufte Heimat not only offers a historically accurate treatment of the history of South Tyrol, but also serves as an example for the constructive negotiation of borders and identities, both with regard to national borders as well as those between groups or individuals. Silke Schwaiger's chapter examines the centrality of topography for constructions of identity in the novels of the Austrian-Korean writer Anna Kim, whose writing does not feature Austria as a setting, with the writer instead positioning herself beyond a national Austrian context, with a strong focus on Europe and beyond. Drawing on Marc Augé's concept of 'non-place' and Sigmund Freud's concept of the uncanny, Schwaiger traces how identities in Kim's novels are shaped by wider historical and political contexts and highlights how political power relations are criticized through individual life histories. By contrast, Rachel Green centres her analysis firmly on Austrian domestic space, examining the recurring trope of the basement in New Austrian Film. In her chapter, Green examines works by New Austrian filmmakers, including Ulrich Seidl, Ruth Mader, Jessica Hausner, Michael Glawogger and Markus Schleinzer, and demonstrates how their films depict the basement as a site where the basic primal instincts of sex (Eros) and violence (associated with Thanatos) are fulfilled. Drawing on Freudian psychoanalytical theory, the chapter argues that the basement in New Austrian Film acts as a primordial space – a spatial variation of Freud's id – for hidden drives and urges, which remain hidden beneath the surface of Austrian life.
Lydia Haider's chapter foregrounds rhythm as a subversive textual strategy in the texts of Thomas Bernhard and Ernst Jandl. The chapter demonstrates that in the texts of both writers, the crossing of boundaries, or the destruction and deconstruction of boundaries, is performed on the rhythmic level, as well as on the thematic level, and that, therefore, one can speak of a double subversion. In her analysis of Bernhard's Auslöschung [Extinction] and Alte Meister [Old Masters], and Jandl's 'die humanisten' ← 17 | 18 → [The Humanists], Haider shows how the writers' subversions take place through a rhythmic process, where the areas of focus are, for example, cultural values, National Socialism and its legacy in Austria, gender images and stereotypes, art, and the role of the state. Peter Höyng's chapter advocates for a third space with relation to established criticism on the Nobel laureate Elfriede Jelinek by examining the author's play Winterreise [A Winter Journey] (2011) in conjunction with Georg Simmel's text 'Exkurs über den Fremden' [Excursus on the Stranger] (1908). Höyng poses the question: 'What are we as scholars supposed to do with literature that has already inscribed the very critique that literary theory has offered in the form of deconstruction?' In order to tackle this impasse, Höyng draws on Georg Simmel's canonical short essay 'Exkurs über den Fremden', which encompasses a figure of the third without sublating opposing differences. Höyng persuasively argues that Simmel's text on the stranger presents a key for unlocking central aspects of Jelinek's Winterreise on the one hand, and creating a third space that allows for a critique of her work on the other.
Part III of the volume has as its focus a central topic in contemporary Austrian literature, film, and culture; namely, confronting the Nazi past. Contributions focus on memory discourses in contemporary Austrian literature, the figure of the grandmother in recent Austrian literature, Lenka Reinerová's late prose, Robert Schindel's novels, and the Vienna Philharmonic's confrontation with its Nazi past. Magdolna Orosz's chapter undertakes a survey of the themes of historical traumata, forgetting and memory in contemporary Austrian literature. The chapter traces how the literary treatment of Austrian historical caesuras of the past century – notably two world wars, the collapse of the Habsburg monarchy, National Socialism and the Holocaust – has particularly intensified in recent years. Orosz traces the turn to 'family histories' in Austrian literature since the beginning of the twenty-first century, and analyses forms of historical memory in family novels by authors including Eva Menasse, Elena Messner, and Peter Henisch. Ultimately, Orosz demonstrates the centrality of dialogue in the texts under discussion and the openness and incompleteness of working through both familial and collective pasts. Petra M. Bagley's focus on the figure of the grandmother in recent Austrian literature complements Orosz's discussion ← 18 | 19 → of family novels. Here Bagley explores further a term she coined in 2006, namely 'Grossmutterliteratur' [grandmother literature]. In this context, the chapter analyses recent works by Peter Henisch (Eine sehr kleine Frau [A Very Little Woman], 2007) and Melitta Breznik (Das Umstellformat [The Transfer Form], 2002). As Bagley makes clear, both authors have previously made significant contributions to 'Väterliteratur' [father literature]. Henisch's Eine sehr kleine Frau focuses on the secrecy surrounding the grandmother's Jewish descent, while Breznik's Das Umstellformat centres on the story of the narrator's grandmother, who was murdered in the Nazi euthanasia programme. Bagley demonstrates how these texts exemplify an emergent trend, which is symptomatic of the growing distance from the Nazi period, whereby grandmothers are not presented as victims, but rather as agents for the revelation of truth.
Traci S. O'Brien's chapter focuses on the representation of history and memory in Lenka Reinerová's late prose. O'Brien explores how Reinerová (born a German Jew in 1916 in Prague, at the time part of the Austro-Hungarian Empire) used postmodern associational and nonlinear narrative strategies in order to bring history to life in her later prose (1985–2000). The chapter demonstrates how Reinerová provides a literary counterpoint to the views of German-speaking cultural critics, who implicate the Western humanist tradition in the rise of fascism. O'Brien argues that, in finding ways to maintain respect for the humanist tradition, Reinerová seeks to revalidate human reason and language, specifically the German language, thereby proving that the epistemological uncertainty, which dominates in a post-Holocaust age, does not necessarily mean the destruction of all existing forms of meaning. Joseph W. Moser's chapter examines Robert Schindel's Gebürtig [Born-Where] (1992) and Der Kalte [The Cold One] (2013), novels which contributed to historicizing the 1980s in Austria, and which Moser describes as a Balzacian comédie humaine. The chapter illustrates how Schindel's realistic depiction of 1980s Vienna draws on a wide range of characters, from Nazi criminals to survivors of the Holocaust, with Schindel's Der Kalte offering a fictionalization of the Waldheim Affair. Moser examines how, in his writing, Schindel uncovers Austria's historical lie of having been the first victim of Hitler's aggression, and traces the progression in Austrian society from Austria denying its role in the ← 19 | 20 → Holocaust to striving for greater historical transparency. The final chapter in the volume by Lauren Freede interrogates the Nazi past of the Vienna Philharmonic, the orchestra famous for its annual New Year's Day concert, broadcast around the world. Freede analyses the growing focus, since 2012, on the orchestra's activities during the National Socialist period. The chapter traces how increasing media and political pressure eventually forced the orchestra's administration, under the leadership of Clemens Hellsberg, to commission a number of studies into the orchestra's Nazi past, investigating Nazi party membership rates among members of the orchestra, and the fate of its Jewish musicians during the Third Reich. Freede demonstrates the missing aspects of the orchestra's historical investigations, namely that these have been limited to exposing the orchestra's actions between 1938 and 1945. The chapter focuses on the orchestra's presentation of its own history, and questions the view that the orchestra and its repertoire can be seen as wholly positive aspects of the Austrian nation.
The diverse contributions in this volume reflect the plurality of contemporary Austrian literature and cultural production. The range of critical approaches in this volume is as rich as the texts, films, and other cultural products under examination. Taken together, the sixteen chapters demonstrate how Austrian cultural production has great political import, not flinching away from treating difficult aspects of its present (see, for example, Rachel Green's discussion of the depiction of child abuse in contemporary Austrian cinema), or of its past (see, in particular, the contributions in Part III of the volume). Jelinek's assessment of the political engagement of post-war Austrian literature and culture,44 discussed earlier in this introduction, continues to ring true nearly two decades into the twenty-first century. There is no doubt that Austrian writers, filmmakers and artists in the twenty-first century form an important part of Austria's civil society, shedding light on aspects of the country's present-day reality and its historical legacy, marginalized by official discourse. This continuation of an iconoclastic tradition of cultural and social criticism accounts for the enduring allure and relevance of Austrian literature, film and culture, which extends far beyond the country's ← 20 | 21 → borders. The inflection of contemporary Austrian cultural production both with the country's heritage of having been at the centre of a multi-ethnic Empire, and the lived experience of multiculturalism today (regardless of the discourse of successive Austrian populist politicians), which manifests itself in Austrian writers' and filmmakers' outward-looking attention towards the world, further adds to the transnational appeal of contemporary Austrian literature and culture. The contributions in this volume demonstrate precisely why Austria, and its literature and culture, continue to fascinate audiences and scholars around the globe.
Beckermann, Ruth, 'Director's Statement', The Waldheim Waltz: A Film by Ruth Beckermann <http://www.waldheimswalzer.at/en/content/synopsis/> accessed 28 April 2018.
Bell, Bethany, 'Austria: Protests in Vienna Over Far-Right in Coalition', bbc.com (13 January 2018) <http://www.bbc.co.uk/news/world-europe-42676774> accessed 30 April 2018.
Beller, Steven, A Concise History of Austria (Cambridge: Cambridge University Press, 2007).
Berlinale – Berlin International Film Festival, 'Glashütte Original – Documentary Award Winner 2018: Ruth Beckermann' [video], YouTube (recorded 24 February 2018, uploaded 25 February 2018) <https://www.youtube.com/watch?v=WDZGbzfaJ78> accessed 28 April 2018.
Binder, Dieter A., '"Rescuing the Christian Occident" and "Europe in Us": The People's Party in Austria', in Michael Gehler and Wolfram Kaiser, eds, Christian Democracy in Europe, ii: Christian Democracy in Europe Since 1945 [Taylor & Francis e-Library] (London, New York: Routledge, 2005), 121–134.
'Bundespräsidentenwahl 2016: Österreich, endgültiges Endergebnis', Bundesministerium für Inneres <http://wahl16.bmi.gv.at/> accessed 24 August 2017.
Dassanowsky, Robert von, Austrian Cinema: A History (Jefferson, NC: McFarland, 2005).
de Stella-Palikruschewa, Fanya and Monika Salzer, 'Omas, Omas, uns braucht das ganze Land' [video], YouTube (uploaded 19 December 2017), <https://www.youtube.com/watch?v=DzVYvc0bRTQ> accessed 30 April 2018. ← 21 | 22 →
Firth, Catriona, Modern Austrian Literature Through the Lens of Adaptation (Amsterdam: Rodopi, 2012).
Freud, Sigmund, Der Mann Moses und die monotheistische Religion [1939], in Alexander Mitscherlich, Angela Richards and James Strachey, eds, Sigmund Freud: Studienausgabe, 11 vols (Frankfurt am Main: Fischer, 1969–1975), ix, 459–581.
'Geografie und Bevölkerung', migration.gv.at <http://www.migration.gv.at/de/leben-und-arbeiten-in-oesterreich/oesterreich-stellt-sich-vor/geografie-und-bevoelkerung/> accessed 30 April 2018.
XII, 442
ISBN (ePUB)
ISBN (MOBI)
ISBN (Hardcover)
10.3726/b11389
2018 (October)
Contemporary Austrian literature and culture Postwar Austrian culture Contemporary Austrian Literature, Film and Culture
Oxford, Bern, Berlin, Bruxelles, New York, Wien, 2018. XII, 440 pp., 2 fig. b/w
Katya Krylova (Volume editor)
Katya Krylova is a Lecturer in German, Film and Visual Culture at the University of Aberdeen. She studied German and Italian at Churchill College, Cambridge, where she then completed an MPhil in European Literature and Culture and a PhD in German Literature in 2011. She has also held research and teaching positions at the Ludwig Boltzmann Institute for the History and Theory of Biography in Vienna, in the Department of German Studies at the University of Nottingham (where she held a Leverhulme Early Career Fellowship), in the Department of German at King's College London, and in the Department of Modern Languages at the University of Birmingham. Her first monograph, Walking Through History: Topography and Identity in the Works of Ingeborg Bachmann and Thomas Bernhard (2013), was the winner of the 2011 Peter Lang Young Scholars Competition in German Studies. Her most recent monograph, The Long Shadow of the Past: Contemporary Austrian Literature, Film, and Culture, was published in 2017.


This attractive Celtic wall cross brings Ireland to mind. The landscape of Ireland is dotted with large stone Celtic crosses that signify the island's rich spiritual heritage. Measuring 6-1/4"W x 9-1/2"H x 1/2"D, the embellished resin and stone piece is sculpted over the surface with complex braided knot patterns. Being raised off the surface to add visual interest and texture, the greenish tint highlights the Celtic knot work. The Celtic wall cross comes ready to hang as soon as it arrives at your door. The stunning details of the design make it a meaningful gift choice for wedding showers, Christmas or other special occasions for the Irish-hearted person in your life.
The focal point of this Celtic wall cross is the famous "triskele" or triple spiral design placed in the center. This pattern is ancient, from the 5th century, and represents the Holy Trinity. The circle behind the cross is filled with a braided knot pattern as well. Every Celtic wall cross knot pattern symbolizes eternity; no beginnings and no endings expressing the endless nature of divine love. Enjoy a taste of Ireland today!
Solid Brass Celtic Wall Cross 10"


The first face I see each morning is that of Akashi no Kimi. There she sits on the bed, at a distance of one or two feet from my head, staring at me as if to demand an apology for my lassitude. Often she will rise, in a stately way, to her haunches and knead on the mattress with a serious air; I call this activity "playing the koto" (koto being the zither-like instrument played by the character Akashi no Kimi in the classic Japanese novel, The Tale of Genji).
Akashi is a three-year-old dilute tortie point Ragdoll with a peach-colored stripe down her forehead and nose and a plumed tail that she carries proudly aloft. She is altogether a proud creature, who instead of mewing prettily as her appearance would lead one to expect, squawks to announce herself whenever she enters a room—"It is I!"—or steps from her box—"Behold my exquisite litter box skills!" But she wasn't always this way.
I first saw Akashi's picture on the shelter pages of the Purebreds Plus Cat Rescue website. Purebreds Plus consists of a network of foster homes in Northern California and Western Nevada. Most cats placed by the rescue are purebred or purebred-appearing cats placed under care by individuals or by shelters that no longer have room for them, but with cats being dropped at shelters in record numbers, the rescue can absorb many fewer than it would wish to help. In certain cases, a cat's photograph is posted with instructions for contacting the shelter where the cat is located.
When I went to meet Akashi at the shelter, about an hour from my home, she was sharing an enclosure with three other cats and was obviously depressed. At first, all I could see was her tail protruding from the carpeted cylinder in which she had ensconced herself. Eventually she emerged but not to socialize. Rather, seeing that there were human beings present, she moved quickly to the food dish, turned her back on us, and ate. She certainly needed the calories: at that time, although already two years old, she weighed only 6 ½ pounds. The shelter employee who escorted me reached for Akashi and brushed her briefly. Akashi did not hiss or otherwise resist but looked away and, as soon as the employee released her, slunk quietly back into her cylinder, like a frail, silent wraith. In fact, in all her time at the shelter, Akashi had made no sound.
I will always wonder what brought Akashi to be abandoned. This pretty cat, according to the shelter veterinarian, had given birth to kittens and had not yet been spayed when a man walked into the office of a Silicon Valley veterinarian, put down a carrier, and ran away. Perhaps the man hoped that the veterinarian would try to place the cat himself, with one of his clients, rather than subject her to shelter conditions and a possible premature end of life. But the veterinarian had done what, it seems, the man could not. I have no more information than this about her past.
Akashi is still an energetic girl at three years old. She relaxes for most of the day, either on a favorite chair or in "flop position" on the bed or rug–but in the early morning, the evening, and sometimes during the night, she races around the house chasing either a toy, if I roll one for her, or a phantom mouse. Often she'll hop into the bath tub or a laundry hamper, look at up at me wide-eyed, then come popping up like a little Jack-in-the-box. She adores her "Ultimate Cat Scratcher," both as a scratching post and as a pedestal, which she mounts to remind me of her preferred status in the household.
Akashi is still very shy with guests. If a stranger walks into a room where she is, she doesn't exactly run but rather eases herself off the chair and floats toward the bedroom, silent and purposeful as a cloud before the wind. I am delighted to introduce her to you in a different way.
Do you have a Ragdoll cat? Want him or her to be featured as Ragdoll of the Week? Please feel free to share your kitty with us by contacting us.
I absolutely love the manner in which you shared Akashi's story with us, it was as if I was reading a novel. I have always loved Japanese names for cats for some odd reason then again I am Asian which may play a part in that preference ^^; Akashi experienced many unfortunate events but fortunately ended up with you in your loving home, you can always tell how a cat is feeling (health and/or emotional wise) through their coat of fur.
Thank you, Melody. Akashi's veterinarian thinks that the initial state of Akashi's coat was likely due to starvation, and I've certainly tried to compensate with a good diet, but of course I'd love to think that her fluff is also a sign of contentment!
Best wishes for the New Year, to you and yours.
Her plump fluffy coat is definitely a sign of contentment ^^ since cats do shed more than usual when under stress which is something Akashi no longer has to worry about anymore!
i agree, Melody. This reads like a novel. It could also almost pass as a children's fairy tale with a few less "big people" words and a "happily ever after" tacked onto the ending. Excellent writing. Akashi is gorgeous! Thanks for sharing.
Akashi is beautiful! I relate to your sweet feelings toward her–expressed so well in your piece. (Reminded me of how wonderful it is to live with my beautiful Raggies.) I can tell Akashi is well-loved…so glad you found each other!


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This is a canal home minutes from the Gulf!
Side by side with water and ice in the door.
(2) Private patio off of the guest bedroom and at the dock area!
Better described as a spa.
Older house but very well kept. Tom & Francine are great hosts and are very accommodating.
We would recommend this property for any families that enjoy peace and quiet, but still be close to many restaurants.
This was one of the greatest vacation homes we ever rented. Pool, spa and on the canal. The place is everything you said and more. Easy access to the airport and so many things to do.
We can't wait to come back next year and spend more time relaxing by the pool.
I would recommend your home to anyone short or long term.
Showed up & house wasn't clean. Someone came on our second day & cleaned when we were gone, not cool! Inside of the house smelled funny & there is stains all over the carpets. Pool ladder was broken & my son cut his leg on it. There really wasn't any dock space, had to tie up against concrete sea wall. Homeowner was very nice. Pool was great. Could be a great place if inside of the house got remodeled.
There are local street fairs and festivals in the downtown area.


Last July I got a 360 degrees camera as the 360 marketing video is growing fast. I just wanted to test its possibilities. Yuri, a production I have been involved in their marketing side, taking pictures and making videos for its theatre company August 012, was rehearsing at Chapter for their preview before heading to Edinburgh Fringe and asked them if we could do a test.


text:
Meet the Managers of our Yuma RV Resort and Campground
If you've been here before, you know that Friendly Acres RV Resort offers stellar accommodations and activities for all of our 55+ residents. What you might not have known is that the management team puts a great deal of effort, planning and time into making your Yuma RV resort and campground experience as fun and memorable as possible.
Yuma RV Resort Management Team
We'd like to take a moment to say: "Thank you," for all of their hard work, dedication and commitment. We're lucky to have them, and we're sure that you agree. Meet our on-site management team, husband and wife: "Jim and Lynn."
1. What makes Friendly Acres special?
Jim: "The first two words: 'Friendly Acres.' We all live up to that commitment every minute of every day. It's not just a job. First and foremost, we're here for the residents. It's all about giving them everything that we've got, listening to them, and being around them. My wife Lynn, along with 130 volunteers and a great support staff, all combine to form the team here. Without their dedication and hard work, this would not be possible."
2. What attracted you to join the Friendly Acres team?
Jim: "My wife and I started working here when the owners-Jimmy & Joe Watson-bought it in 2017. But I've worked for them since 2011, and I've been in this business since 2003. Prior to my 'retirement' I managed full-service country clubs for 26 years, and before that spent more than 20 years in the U.S. Air Force. My wife (Lynn) worked as a hotel general manager for Best Western, for the five years prior to her retirement. Now, we're both happily retired, and enjoying what we do more as a passion."
3. What do you most enjoy about working with Friendly Acres?
Jim: "I love living here, in Yuma. Lynn and I will stay here until we're done. At times it feels like a fun hobby, working here, and I can only thank the owners, Jimmy and Joe, because they're really amazing people. And I'm blessed to have had all the wonderful things that have come my way: raised nine children, my loving wife, Lynn, a great team of coworkers, and wonderful tenants who make it a great experience."
Friendly Acres is a premier 55+ Yuma RV resort and campground that offers spacious RV sites, gated entry, and unmatched convenience. Reserve your stay at Friendly Acres RV Resort today!


text:
Daily JFK
The Life of John F. Kennedy
Kennedy Family Tree
Military Speeches
JFK, who was in the middle of a month-long hospitalization at the Mayo Clinic and nearby St. Mary's hospital, wrote a letter to Lem Billings, saying that the hospital was, "The Goddamnest hole I've ever seen. I wish I was back at school."
Mayo Clinic in the 1930s. The Plummer building is seen to the right.
View all dates< Jun 14, 1934Jun 27, 1934 >
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CLR Profiler is a free and open-source memory profiler for the .NET Framework from Microsoft. It allows the user to investigate the contents of the managed heap, the behavior of the garbage collector, and the allocation patterns (including call-graph analysis) of the program being profiled.

Overview
The latest version, 4.5, released in November 2012, allows for profiling of .NET 2.0, 3.0, 3.5, 4.0 or 4.5 managed code as well as Silverlight apps. The source code was originally included under the Microsoft Limited Reciprocal License (MS-LRL) and hosted on CodePlex. It is now available on GitHub under the MIT License.

CLR Profiler is an intrusive tool; seeing a 10 to 100x slowdown in the application being profiled is not unusual. Therefore, it is not the right tool to find out where time is spent – use other profilers to profile the CPU usage of an application.

Releases
 CLR Profiler for .NET 4.5 (Supported .NET Framework versions: 4.5, 4.0, 3.5, 3.0, 2.0.)
 CLR Profiler for .NET 4.0
 Power Toys for .NET Compact Framework 3.5 (includes a NETCF CLR Profiler)
 CLR Profiler for .NET 2.0
 CLR Profiler for .NET 1.1

See also

List of performance analysis tools
AQtime
OProfile

References

External links

 Original CLR Profiler Site
 CLR Profiler usage guide

.NET programming tools
Free and open-source software
Microsoft development tools
Microsoft free software
Software using the MIT license
Windows-only free software

redpajama_set_name: RedPajamaWikipedia


text:
Mike Cunniff, Staff Writer and Mike Cunniff, Staff Writer|November 20, 2009
The St. John's men's soccer team has had a reputation as a tough defensive team all year long.
In Sunday's Big East Tournament championship game, the Red Storm lived up to that reputation.
St. John's held Notre Dame scoreless during regulation and overtime, and defeated
the Fightin' Irish 5-3 on
penalty kicks, to win the Big East Tournament for a conference-record eighth time.Notre Dame had advanced in the last two rounds of the tournament on penalty kicks. The third time, it turned out, was not the charm.
After neither goalkeeper could lay a finger on the first five shots, senior goalkeeper Derby Carrillo made a diving stop on a blast to his left by Notre Dame midfielder Matt Thomas.
It was the only stop Carrillo made, and the only stop he would need to make. Sophomore defender Connor Lade put home the final kick to seal the game, and the Big East
championship.
"Penalty kicks are always a tough way to lose," Head Coach Dave Masur said. "We had to make sure our guys stayed very focused. Our guys did a great job and Derby did a great job of being really being really alert. He made a great save on
Thomas and our guys really hit their penalties well."
After their mini offensive explosion during the first half of Friday's semifinal win over Providence, the Johnnies
managed to put up just five shots and two shots on goal in the first half Sunday, with no corner kicks.
Offensively, the Johnnies struggled to get much going. Notre Dame was able to
successfully control the ball in their attacking end for most of the game.However, the Red Storm had a good scoring chance in the 17th minute.
After a Notre Dame handball on their own half of the field, junior midfielder Sverre Wegge Gundhus launched an indirect kick into the box. It was controlled by sophomore midfielder Pablo Punyed at the top of the box. He tried to beat Notre Dame goalkeeper Andrew Quinn on the left sideof the net, but was stopped, unable to get enough on the shot.
"We need to continue to improve on choices on the ball," said Masur.
Despite this, St. John's was able to keep the Irish off the board through two overtimes. The game went to penalty kicks.
The lineup for the Red
Storm included senior midfielder Nelson Becerra, junior midfielder Tadeu Terra,
sophomore defender Bjorn de Hoop, senior defender Joel Gustafsson, and Lade.
Despite this, the St. John's defense held the Irish to just four shots and one shot on goal in the half to keep the game
tied going into the locker room.
The second half was more of the same, except Notre Dame's senior forward Bright Dike tried to make things interesting.
The Big East's leading scorer put three shots on goal in the second half, including
two that Carrillo could barely deflect away from the net.
Dike finished with six shots on the day and numerous headaches caused for the undermanned St. John's defense, who played without second team All-Big East defender Ben Clack for the second straight game.
"We played against a very dangerous team," Head Coach Dave Masur said. "The back four did a great job."
Five players made the All-Tournament team,
including Lade, Carrillo, Gundhus, senior defender David Reed and sophomore forward Walter Hines. Hines took home the Most Outstanding Offensive Player award, while Carrillo won the Tournament's Most Outstanding Defensive Player award.
Home Scroll
The New Age of St. John's Soccer
The Key to St. John's Soccer Success? A Humble Freshman
Men's Soccer: Cooksley Looks to Future
Men's Soccer Season Ends with Loss in Conference Semis
St. John's Downs Creighton in Opening Round of Playoffs
Senior Moment: Enstrom's Goal Lifts Red Storm to Playoff Berth
Men's Soccer Impresses When It Counts
Soccer Teams Split Home Doubleheader
Red Storm Roundup: Down Week for Soccer, Volleyball
Withers Recognized for Stellar Play


text:
Hoi An Weather...
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Hoi An tourist map
Hoi An Overview
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Home/News/Hoi An 24h
Int'l choir contest to kick off in Vietnam this month
Tuesday - 14/04/2015 05:25
More than 1,500 artists from 15 countries are poised to contend at an international choir competition, which will run in central Vietnam during the upcoming holiday.
The Vietnam International Choir Competition, in its fourth year, will gather the artists from 45 troupes in the world, the Vietnam National Administration of Tourism reported.
The competition is set to run from April 29 to May 3 in Hoi An City, located in Quang Nam Province.
The city is home to UNESCO-recognized Hoi An Ancient Town.
The artists will contend in 13 categories, including chamber music, church and folk choir performances.
According to Dinh Hai, director of the provincial Department of Culture, Sports, and Tourism, the contending troupes will also take performances of choirs, dances and recitals of musical instruments to the street.
The street art performances will be staged free of charge for locals and tourists to enjoy.
In March 2011, Interkultur, a top German address for major musical events on the global scale dedicated to various genres, selected Hoi An as the venue for the maiden Vietnam International Choir Competition.
In its second year, the contest took place in Hue City, located in the central province of Thua Thien-Hue, in December 2012, before having been organized in Hoi An since.
The forthcoming six-day holiday begins on April 28, on which the Hung Kings' Death Anniversary is held to pay tribute to the country's founders, and extends to two days further from Reunification Day on April 30; and Labor Day on May 1.
Key: more than, from 15, countries are, poised to, contend at, an international, choir competition, which will, run in, central vietnam, during the, upcoming holiday
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33 tourists from Australia first enter Hội An Ancient Town in 2016 (03/01/2016)
A brilliant Hội An in the new year'eve (04/01/2016)
Welcome the 8 millionth visitor to Hoi An (29/01/2016)
Disabled models to take to a fashion show in Hoi An (13/04/2016)
A range of activities to welcome Vietnam Cultural Heritage Day (30/11/2015)
Czech Senate President visits central Quang Nam province (23/11/2015)
Thai Princess visit Hoi An Ancient Town (07/05/2015)
Hội An first run water puppet show (01/10/2015)
Hugarian national assembly speaker and his delegation to Hội An Ancient Town, Quảng Nam. (15/11/2015)
Indonesian troupe garners special award at int'l choir competition in Vietnam (04/05/2015)
Finding promoting ways for traditional handicrafts (04/04/2015)
Friendship Signing Ceremony between Hoi An and Szentendre (Hungary) (21/08/2014)
Hoi An to pedal towards eco-city status (20/02/2014)
Hoi An joins global Car Free day (24/09/2013)
Welcome "Pole to Pole Run Vietnam" to Hội An (22/12/2012)
Hoi An launches rubbish recycling programme (01/11/2012)
Green wall for all Hoi An relics (27/10/2012)
Japan to offer $4 mil for Japanese Bridge pollution treatment (01/10/2012)
Cooking in Hoi An in top 10 most interesting travel experience (24/09/2012)
The performing arts group of Hoi An city will have a performance in Osan city (Korea) (13/09/2012)
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text:
Léon Fauché (born Briey (Meurthe-et-Moselle); 1868–1950) was a French painter who in 1901, with Anquetin, organised the Salon des Refusés at the Pavillon des Arts Décoratifs, and founded the Association The Studio (L'Atelier) with Armand Point.

Fauché studied at the École des Beaux-Arts in Nancy and then with Aimé Morot and Chartran in Paris. He exhibited at the Salon des Indépendants with Toulouse-Lautrec, Dethomas and Anquetin. He also showed his work at the Salon of the Société Nationale des Beaux-Arts and The Volpini Exhibition, 1889.

References

1868 births
1950 deaths
19th-century French painters
People from Briey
20th-century French painters


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Il mondo è meraviglioso (The Animal World) – film documentario del 1956 per la regia di Irwin Allen
Il mondo è meraviglioso (Schön ist die Welt) – film del 1957 diretto da Géza von Bolváry
Il mondo è meraviglioso – film per la televisione del 2005 diretto da Vittorio Sindoni


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Iranian fuel starts arriving in Venezuelan waters despite U.S. warning
The tanker, named Fortune, reached the country's waters at around 7:40 p.m. local time (1140 GMT) after passing north of the neighboring dual-island Caribbean nation of Trinidad and Tobago
By Deisy Buitrago and Luc Cohen
CARACAS: The first of five Iranian tankers carrying fuel for gasoline-starved Venezuela entered the South American country's exclusive economic zone on Saturday, despite a U.S. official's warning that Washington was considering a response to the shipment.
The tanker, named Fortune, reached the country's waters at around 7:40 p.m. local time (1140 GMT) after passing north of the neighboring dual-island Caribbean nation of Trinidad and Tobago, according to vessel tracking data from Refinitiv Eikon.
"The ships from the fraternal Islamic Republic of Iran are now in our exclusive economic zone," tweeted Tareck El Aissami, Venezuela's economy vice president and recently named oil minister.
Venezuelan state television showed images of a navy ship and aircraft preparing to meet it. The defense minister had pledged that the military would escort the tankers once they reached Venezuela's Exclusive Economic Zone (EEZ) due to what authorities described as threats from the United States.
The tanker flotilla is carrying a total of 1.53 million barrels of gasoline and alkylate to Venezuela, according to both governments, sources and calculations by TankerTrackers.com.
The desperately needed shipments have caused a diplomatic standoff between the United States and Iran and Venezuela, which are under U.S. sanctions. Gasoline is scarce in Venezuela due to a near-complete breakdown of the OPEC nation's 1.3 million barrel-per-day refining network.
Washington is considering measures in response, a senior U.S. official said without elaborating.
The United States recently beefed up its naval presence in the Caribbean for what it called an expanded antidrug operation. A Pentagon spokesman said on Thursday he was unaware of any operations related to the Iranian cargoes.
The shipment has drawn condemnation from Venezuela's opposition, which is concerned about growing ties between Iran and socialist President Nicolas Maduro, who has overseen a six-year economic crisis. The shipments are bringing enough fuel for just a month of consumption at current rates in the nation, once a prominent fuel exporter.
"(The ruling party) is trying to turn an embarrassment into an epic victory," said Oscar Ronderos, a lawmaker on the opposition-controlled National Assembly's energy commission.
Earlier on Saturday, Iranian President Hassan Rouhani warned of retaliation if Washington caused problems for tankers carrying Iranian fuel to Venezuela, the semi-official news agency Mehr reported.
"If our tankers in the Caribbean or anywhere in the world face trouble caused by the Americans, they (the U.S.) will also be in trouble," Rouhani said in a telephone conversation with Qatar's Emir, Mehr reported.
The two OPEC nations have previously helped each other in the face of U.S. sanctions. In 2010-2011, state-run oil company PDVSA sent fuel to Iran, which was under sanctions aimed at stifling its nuclear weapons program.


The second Judges' Special Award winner, Lee Penfold is a Special Olympics basketball player and also an ambassador for the Special Olympics 2009 in Leicester. He is the 2,700 athletes' representative on the Games Organising Committee. Lee has played basketball since he was 16 when a family friend encouraged him to have a go. He has excelled at the sport; rising from club level to representing the district, the East Midlands and Great Britain, winning a hatful of medals along the way, including a silver at the Special Olympics World Games in China in 2007. Lee chose the Leicester and District Special Olympics Basketball Club to receive his £3,000 prize money.


What is bliss? According to the Vimuttimagga (ancient Buddhist meditation manual, also known as the path of freedom), bliss is contact with the lovable and ease-giving. It is brought on upon tranquility. Tranquility of the mind is bliss. When I look at my kids sometimes I can feel bliss. And if I allow myself to be part of their world, then I can certainly experience bliss. Just another one of the perks of being a mom :). Experiencing bliss is like an instant vacation with all the perks and non of the stress. And who doesn't want a vacation?!
Unfortunately being in bliss is not a daily occurrence for most of us.
I recognize it is easy to get carried away with the mundane on a regular basis. Too many chores, too much noise, too many expectations, too many words. Our environment can be, well , just too much. We are so tangled in our own web of "too much" we can't even see what is what. I encourage you to stop for a second and ask yourself when was the last time you experienced bliss. If the answer is more than a day, then it is too long. A life without bliss is an absent one.
It is possible that if we allowed ourselves the kindness of practicing mindfulness we would be able to live in bliss more often. It is possible that by loving ourselves with the intention of sharing that love with others we could live a mindful life. For most of us that is an active effort, but one worth making.
Today I invite you to examine your day-to-day. I invite you sit in silence and just breathe for five minutes. Don't expect anything, don't analyze. Don't make to-do lists in your head and don't reprimand yourself for making a to-do list in your head :). Just do nothing for five minutes today. If you don't have five minutes then you should do ten 🙂 . You deserve five minutes of blissful silence that might lead you to bliss.
I challenge you to do this every day for a week. Hopefully by then you will feel worthy of such pampering and treat yourself to bliss on a regular basis.


text:
Category Archives: Melinda Allen
May 16, 2018 by danceblogger	- 0 comments
Back to the Future: How to access stories on the Dance Insider & Arts Voyager
Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
April 30, 2018 by danceblogger	- 0 comments
20 years of giving a voice to dancers: Originals of the Species — Fresh Tracks from Laverdure, Kikuchi & Sugimoto, Ballos, Linehan, Bokaer and Allen
By Gus Solomons jr
Copyright 2004, 2018 Gus Solomons jr
Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary. For information on purchasing your own copy of our archive of 2,000 reviews of performances and art from around the world by 150 leading dance critics, e-mail paulbenitzak@gmail.com . To celebrate its 20th anniversary, this week the DI is offering one-year subscriptions for just $20. See below for more information.
NEW YORK — The latest edition of Dance Theater Workshop's Fresh Tracks, performed November 26-27, reconfirms that it is New York's premiere series for presenting challenging, emerging choreographer/performers. Two duets (by Jeremy Laverdure and Yuka Kikuchi and Yoko Sugimoto) and four solos (by Felicia Ballos, Daniel Linehan, Jonah Bokaer, and Melinda Allen) showcased sure-footed, expressive dances that ranged from humor to dramatic abstraction to indeterminacy to politics and restored our often tenuous faith that original young dance voices still exist.
To receive the complete article, first published on December 2, 2004, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? This week you can subscribe to the DI for one year at the discounted rate of $20, 33 percent off the regular rate. (Or $49 in lieu of $99 for institutions, with full access for all your teachers, students, dance company members, etcetera.) Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015.


Grade 6 Up-Adapted from the author's Secrets of the Universe: Discovering the Universal Laws of Science (Atheneum, 1987; o.p.), these titles each provide a brief introduction to the laws and principles governing a specific area of science. The clean layout and concise coverage include activities for further study, although they would not be appropriate for science-fair projects. The texts are almost identical to the corresponding chapters in the original, but they are supplemented here with clear, two-color line drawings and diagrams. In Liquids, the chapters focus on Archimedes's principle, Pascal's law, Boyle's and Charles's laws, and Bernoulli's principle, although other scientists are covered. Waves covers optics, the laws of electromagnetism, and electric current (Ohm's law and Joule's law). Libraries that already own Secrets of the Universe may want to skip these titles, but many will feel that they merit consideration because of their appealing format and focused subject areas.
FLeming R. J., Jamison J. E.
inclusion of brief quotations in an acknowledged review.
matter was developed by Lerner Publications Company.
Liquids and gases : principles of fluid mechanics / by Paul Fleisher.
1. Fluid mechanics—Juvenile literature. [1. Liquids. 2. Gases.] I. Title.
pay taxes on our income each year.
decide which ones will actually become laws.
may have heard about Archimedes' principle, for example.
and what could we do if we decided to change it?
France, Brazil, or the United States, a floating object displaces its own weight.
aside an amount of water exactly equal to its weight.
principle stays in effect whether people are watching or not.
than water will sink. You know that from experience.
nature as accurately and exactly as possible.
apply here on Earth also apply everywhere else.
through the brilliant discoveries of a single person.
many other people also contributed to that discovery.
so you turn on the water and fill the tub to the very top.
gallons of water will pour onto the floor.
about his new idea that he jumped out of the tub.
weight. Greek ships were very heavy, and yet they floated.
But even a tiny pebble sinks right to the bottom of the sea.
of water in order to float.
weighs 100 metric tons (110 tons) must push aside 100 metric tons of water to float.
pie plate on a sensitive scale. Weigh it and record its weight.
weigh it, and write down its weight.
ready to overflow if you add just one more drop.
more water out of it.
Weigh the pie plate with the overflow water in it.
as the object itself. That's Archimedes' principle.
or dense to displace its own weight, it will sink.
push some of the water out of the jar and into the pie plate.
its own weight in water, so it sank.
denser than water, it will sink.
much heavier. The brick has much greater density.
same amount of space, the greater the density.
water, so it will float.
water, and so it sinks.
another experiment to show how true that is.
into a small ball, squeezing it as tightly as you can.
canoe can displace its own weight of water, and so it floats.
Archimedes' principle very precisely to either sink or float.
the water it displaces. It sinks toward the bottom.
tight ball that will sink.
own weight of water, and it rises toward the surface.
much as the water it displaces. It stays just where it is, neither rising nor sinking.
amount of water in its tanks.
floating in water. It's true for any liquid or gas.
remembered still bears his name. Eureka!
hydrodynamics is known as Pascal's law.
down, and so the air pressure is less.
there is pressing down from above. This is true in a drinking glass, a swimming pool, or an ocean.
top of the jug, and the last should be very near the bottom.
Fill the jug with water and watch it squirt out of the holes.
You'll see that the water barely dribbles out of the top hole.
point is the deepest and has the greatest pressure.
Water pressure increases with the depth of the water column.
a mass of 1,000 kilograms (2,200 pounds).
pressure at the bottom of each one is exactly the same.
water reached exactly the same height as the larger one.
That meant that the pressures had to be equal.
be at exactly the same level as the water in the larger portion of the pitcher.
Equal columns of a liquid exert equal pressures.
to the bottom! That doesn't happen, of course. Water pressure pushes in all directions equally.
bottom of one cup with a nail. Fill the bucket with water.
angles to the object it pushes against.
not squeeze into a smaller space.
piston on the left, the water on the right rises.
10 kilograms (20 pounds) of force on the larger one (right).
in the container. Each square centimeter will have 1 kilogram of pressure on it.
move a 10-kilogram weight using 1 kilogram of force!
for free when you follow the laws of physics!
the brakes themselves. The brakes clamp against the turning wheel, slowing the car.
liquid, it also follows Pascal's law.
to measure pressure is called the pascal.
that harmless spray can into a bomb.
What causes the heated can to explode so violently?
set of rules commonly called gas laws.
another, it changes shape to fit whatever container it is in.
A gas can expand to fill any size and shape of space.
will completely fill any container it is put in.
Picture a closed room with nothing in it, not even air.
one small container to fill hundreds of helium balloons.
with the same amount of gas.
its original size, the pressure would be three times as great.
temperature of the gas is kept the same.
pressure. "Inversely proportional" means that as the pressure on the gas increases, the volume decreases.
small space, its pressure increases.
and into the tire you are inflating.
balls are bouncy. The balls are filled with pressurized gas.
making it spring back into the air.
that our lungs have less air pressure than the outside air.
forcing the air to rush out again.
buy one at any drugstore.
diver floats, as shown in the diagram above.
you pick it up. Then tighly screw the top onto the bottle.
rise back to the surface.
is transmitted evenly in all directions throughout the liquid.
increases everywhere inside the bottle.
apply pressure, a little more water goes up into the dropper.
air in the dropper, squeezes the air into a smaller space.
That allows a little more water to enter the dropper.
a hot-air balloon to rise.
diver to make it sink.
Frenchman Joseph-Louis Gay-Lussac. Charles's law is usually stated: If the volume of a gas remains constant, the pressure of the gas is directly proportional to its temperature.
volume will increase when the gas is heated.
balloon over the mouth of the bottle, making a tight seal.
what happens to the balloon.
in the bottle (right) causes it to contract.
pushes some of the air out into the balloon, inflating it.
Take the bottle out of the hot water and allow it to cool.
pushes the balloon into the bottle.
strong enough to hold the pressure anymore, and it explodes.
expand rapidly because of the heat. This expansion provides the force that pushes the piston in the cylinder, providing the engine's power.
the tire is the greatest, according to Charles's law.
decreases as the pressure increases.
and air conditioners all work.
time you check the tires of your bike or family car at a service station.
on a gas is decreased, the temperature of the gas decreases.
That's why the air released from a tire always feels cool.
coils, a pressurized gas is allowed to release its pressure.
place inside an insulated box that we call the refrigerator.
Compressed gas in the coils removes heat from the insulated refrigerator and releases it into the surrounding air via the compressor.
repressurized gas is then circulated back inside the refrigerator for more cooling.
heat that has been removed from the pressurized gas.
Freezers and air conditioners work in exactly the same way.
pump heat out of an area to be cooled and into the surrounding air.
gas loses 1/273 of its volume for each degree it is cooled.
can something that heavy manage to fly?
of a gas or liquid decreases as its velocity increases.
This special shape gives airplane wings their lift.
slightly faster than the air passing underneath the wing.
the plane off the ground and keep it airborne.
Bernoulli's principle works just as well with liquids.
suction in the side tube.
created by this pressure difference.
you'll need a strong blow-dryer and a table-tennis ball.
Plug in the dryer, turn it on high, and gently place the tabletennis ball in the stream of air.
ball hangs mysteriously in midair.
course. It's just that in this case, the air pressure is stronger.
helped discover the secrets of the universe.
was captured, Archimedes was killed by a Roman soldier.
and gases in many different forms. For example, he investigated blood pressure and flow, ocean currents, and the tides.
that can be observed in the uplift of an airplane's wings.
as Boyle's law. In 1661, he published The Sceptical Chymist.
chemistry as its own field, distinct from the other sciences.
nephew would become the president of France.
interest in the science of gases.
was a British scientist who began teaching when he was just twelve years old.
was his atomic theory, stated in 1808.
grew up during the French Revolution.
study of gases. Gay-Lussac also studied elements and chemical compounds, including a few with explosive properties.
part of a much broader spectrum of electromagnetic radiation.
brought him both the title of baron and great wealth.
Asimov, Isaac. Asimov's Chronology of Science and Discovery.
Henderson, Harry, and Lisa Yount. The Scientific Revolution.
San Diego: Lucent Books, 1996.
Scientist. Philadelphia: Chelsea House Publishers, 1999.
Physical World. New York: Golden Press, 1966.
OK: Usborne Publishing, Ltd., 1983.
Narlikar, Jayant V. The Lighter Side of Gravity. New York: W. H.
Nourse, Alan E. Universe, Earth, and Atom: The Story of Physics.
New York: Harper & Row, 1969.
Rosenfeld, Sam. Science Experiments with Water. Irvington-onHudson, NY: Harvey House, 1965.
York: G. P. Putnam's Sons, 1968.
Wilson, Mitchell. Seesaws to Cosmic Rays: A First View of Physics.
New York: Lothrop, Lee & Shepard, 1967.
object's mass by its volume.