Fin-de-siecle Vienna has become the glorified icon of innovative modernism in the arts and letters. This detailed account of the suburban life-worlds presents a very different image, one of harsh struggles for subsistence and survival, disparities between the social classes resulting in spatial and cultural segregation."

Fin-de-Siécle Vienna has become the glorified icon of innovative modernism in the arts and letters. Yet the misery of the masses in the suburbs stood in stark contrast to the urban social order of the wealthy elites who were facing the new 'collective subjects' of emerging mass politics. The aesthetically highly differentiated culture of these elites opposed a culture of the masses stigmatized as profane and vulgar. Furthermore, their skeptical discourse of reason rooted in the late bourgeois enlightenment was in stark contrast to the irrational ferment of a 'politics of feeling' that found expression in (German) nationalism and anti-Semitism.

This expansive Companion offers a set of fresh perspectives on the wealth of texts produced in and around what is now the United States. Highlights the diverse voices that constitute American literature, embracing oral traditions, slave narratives, regional writing, literature of the environment, and more Demonstrates that American literature was multicultural before Europeans arrived on the continent, and even more so thereafter Offers three distinct paradigms for thinking about American literature, focusing on: genealogies of American literary study; writers and issues; and contemporary theories and practices Enables students and researchers to generate richer, more varied and more comprehensive readings of American literature

Though long associated with a small group of coffeehouse elites around the turn of the twentieth century, Viennese “modernist” culture had roots that reached much further back and beyond the rarefied sphere of high culture. In Comical Modernity, Heidi Hakkarainen looks at Vienna in the second half of the nineteenth century, a period of dramatic urban renewal during which the city’s rapidly changing face was a mainstay of humorous magazines, books, and other publications aimed at middle-class audiences. As she shows, humor provided a widely accessible means of negotiating an era of radical change.

This book tells the story of how nationalism spread among industrial workers in central Europe in the twentieth century, addressing the far-reaching effects, including the democratization of Austrian politics, the collapse of internationalist socialist solidarity before World War I, and the twentieth-century triumph of Social Democracy in much of Europe.

Richmond in the late 19th century was not the genteel peaceful community historians have made it. Virginia's capital was cosmopolitan, boisterous and crime-ridden. From 1905 to 1915 there was an official red light district. The police had their hands full with drunks and riffraff, and a variety of street urchins and waifs--most of whom were very poor--found themselves on the wrong side of the law. The juvenile delinquents of Richmond--some barely out of infancy--were held accountable in the Police Court. A juvenile court system was not established until 1916. Presiding over the Police Court for 32 years was Justice John Jeter Crutchfield who, though unlearned in the law, functioned like a biblical Solomon but with great showmanship. The Police Court attracted many tourists and some of Virginia's literary figures cut their teeth writing newspaper coverage of the proceedings, vying with each other for the most hilarious slant. What emerges from the public record is an amusing and touching picture of what life was really like in the post-Reconstruction urban South.