During the mid-19th century, the works of Arthur Schopenhauer and Richard Wagner sparked an impulse toward German cultural renewal and social change that drew on religious myth, metaphysics, and spiritualism. The only problem was that their works were deeply antisemitic and entangled with claims that Jews were incapable of creating compassionate art. By looking at the works of Jewish composers and writers who contributed to a lively and robust biblical theatre in fin de siècle Vienna, Caroline A. Kita shows how they reimagined myths of the Old Testament to offer new aesthetic and ethical views of compassion. These Jewish artists, including Gustav Mahler, Siegfried Lipiner, Richard Beer-Hofmann, Stefan Zweig, and Arnold Schoenberg, reimagined biblical stories through the lens of the modern Jewish subject to plead for justice and compassion toward the Jewish community. By tracing responses to antisemitic discourses of compassion, Kita reflects on the explicitly and increasingly troubled political and social dynamics at the end of the Habsburg Empire.

In the 1930s, through the prose of Bruno Schulz (1892–1942), the Polish language became the linguistic raw material for a profound exploration of the modern Jewish experience. Rather than turning away from the language like many of his Galician Jewish colleagues who would choose to write in Yiddish, Schulz used the Polish language to explore his own and his generation's relationship to East European Jewish exegetical tradition, and to deepen his reflection on golus or exile as a condition not only of the individual and of the Jewish community, but of language itself, and of matter. Drawing on new archival discoveries, this study explores Schulz's diasporic Jewish modernism as an example of the creative and also transient poetic forms that emerged on formerly Habsburg territory, at the historical juncture between empire and nation-state.

From the author of Wittgenstein's Poker and Would You Kill the Fat Man?, the story of an extraordinary group of philosophers during a dark chapter in Europe's history On June 22, 1936, the philosopher Moritz Schlick was on his way to deliver a lecture at the University of Vienna when Johann Nelböck, a deranged former student of Schlick's, shot him dead on the university steps. Some Austrian newspapers defended the madman, while Nelböck himself argued in court that his onetime teacher had promoted a treacherous Jewish philosophy. David Edmonds traces the rise and fall of the Vienna Circle—an influential group of brilliant thinkers led by Schlick—and of a philosophical movement that sought to do away with metaphysics and pseudoscience in a city darkened by fascism, anti-Semitism, and unreason. The Vienna Circle's members included Otto Neurath, Rudolf Carnap, and the eccentric logician Kurt Gödel. On its fringes were two other philosophical titans of the twentieth century, Ludwig Wittgenstein and Karl Popper. The Circle championed the philosophy of logical empiricism, which held that only two types of propositions have cognitive meaning, those that can be verified through experience and those that are analytically true. For a time, it was the most fashionable movement in philosophy. Yet by the outbreak of World War II, Schlick's group had disbanded and almost all its members had fled. Edmonds reveals why the Austro-fascists and the Nazis saw their philosophy as such a threat. The Murder of Professor Schlick paints an unforgettable portrait of the Vienna Circle and its members while weaving an enthralling narrative set against the backdrop of economic catastrophe and rising extremism in Hitler's Europe.

The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists' associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Bronica Koller, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group.

1. Troglodytes, Hottentots, and Hebrews: the Bible and the genesis of German ethnography -- 2. The law and the people: Mosaic Law and the German Enlightenment -- 3. The eighteenth-century polemic on the extermination of the Canaanites -- 4. "Is Judah indeed the Teutonic fatherland?" the Hebrew model and the birth of German national culture -- 5. "Lovers of Hebrew poetry": the battle over the Bible's relevance at the turn of the nineteenth century

Identity, family, and community unite three autobiographical texts by New World crypto-Jews, or descendants of Jews who were forced to convert to Christianity in 17th-century Iberia and Spanish America. Ronnie Perelis presents the fascinating stories of three men who were caught within the matrix of inquisitorial persecution, expanding global trade, and the network of crypto-Jewish activity. Each text, reflects the unique experiences of the author and illuminates their shared, deeply rooted attachment to Iberian culture, their Atlantic peregrinations, and their hunger for spiritual enlightenment. Through these writings, Perelis focuses on the social history of transatlantic travel, the economies of trade that linked Europe to the Americas, and the physical and spiritual journeys that injected broader religious and cultural concerns into this complex historical moment.