Van Swieten-Symposium of the University of Vienna, 8th-10th May 1972

1991 ◽  
Vol 24 (1) ◽  
pp. 21-44
Author(s):  
S. P. Fullinwider

Recent explorations into Sigmund Freud's intellectual development by Frank Sulloway and Lucille Ritvo have directed attention to the significance of evolutionary theory for psychoanalysis. In this paper I shall pursue the exploration by showing how Darwin was received by members of the so-called Helmholtz circle (Hermann von Helmholtz, Emil du Bois-Reymond, Ernst Brücke) and certain of Freud's teachers in the University of Vienna medical school. I will make the point that the Leibniz–Kant background of these several scientists was important for this reception. I will argue that the Leibniz–Kant tradition came forward to Freud by two roads, Helmholtz's unconscious inference as foundation for a physiology of the senses, and Arthur Schopenhauer's not unrelated uses of the principle of sufficient reason to explain the possibility of lawlikeness in a universe of lawless energies. Finally, I will suggest ways in which Freud received and used the tradition.


Music ◽  
2021 ◽  
Author(s):  
Mario Aschauer

Bruckner was born in Ansfelden (rural Upper Austria) in 1824 and was originally trained as a schoolmaster. He only left this career path in his early thirties when he assumed the organist position at the Linz cathedral, his first full-time employment as a musician. It was also in Linz that he completed six years of training in harmony and counterpoint with Simon Sechter (1855–1861) as well as lessons in form and orchestration with Otto Kitzler (1861–1863) after which he commenced work on his first symphony in 1865. Bruckner’s three large masses also date from his Linz period. Concert tours to France in 1869 and England in 1871 brought Bruckner major successes as organ improvisor. In 1868 Bruckner became professor of counterpoint and thoroughbass as well as professor of organ at the Vienna conservatory. Success as a composer did not follow suit as quickly. His passionate admiration of Wagner—to whom he dedicated his Third Symphony in 1873—rendered Bruckner the target of hostility from the supporters of Brahms in Vienna, especially of music critic Eduard Hanslick. The latter was also instrumental in obstructing Bruckner’s employment at the University of Vienna until 1875, when Bruckner finally became lecturer of harmony and counterpoint at the university. Despite his fame as an organist and music theorist, Bruckner saw himself, above all else, as a symphonic composer and it is the development of the symphony as a genre that occupied most of his compositional interest throughout his career. Accordingly, the multiple versions of Bruckner’s symphonies have long been a main focal point of Bruckner scholarship. These revisions were variously motivated. Earlier works, including the three masses and symphonies 1–5, underwent reworking during Bruckner’s “revision period” (1876–1880), largely as a result of the composer’s evolving notions of phrase and period structure. Later revisions were often the results of performances or were made to prepare the manuscripts for publication. Bruckner’s former students, most notably Franz and Josef Schalk and Ferdinand Löwe, were involved in these revisions, although the extent of this involvement has never been entirely revealed. Starting in the 1920s, scholars began to raise questions about the validity of the revisions made during the preparations of the editions published during the 1880s and 1890s. While some accepted the authenticity of these texts, other influential figures—among them Robert Haas, coeditor of the first Bruckner complete edition—claimed that Bruckner’s students had urged the composer, wearied by rejection in Vienna, into making ill-advised changes or, worse yet, altered his scores without his knowledge and permission. The resulting debate, the Bruckner Streit, involved serious source-critical issues, but eventually devolved on ideological claims more than factual analysis. The process led to the first Bruckner Gesamtausgabe, which published the manuscript versions of Bruckner’s works starting in 1934, first under the editorship of Robert Haas and later of Leopold Nowak. However, these editions are now largely outdated due to the many manuscript sources that have become available since the mid-20th century. Haas’s work has also been criticized in more recent years for rather subjectively mixing sources. Therefore, two new complete editions have recently been started. Another topic that has fascinated Bruckner scholarship for much of the last century is the unfinished finale of the 9th symphony and its possible completion.


Author(s):  
Nina Rannharter ◽  
Sarah Teetor

Due to the complex nature of archival images, it is an ongoing challenge to establish a metadata architecture and metadata standards that are easy to navigate and take into consideration future requirements. This contribution will present a use case in the humanities based on the Digital Research Archive for Byzantium (DiFAB) at the University of Vienna. Tracing one monument and its photographic documentation, this paper will highlight some issues concerning metadata for images of material culture, such as: various analog and digital forms of documentation; available thesauri – including problems of historical geography, multilingualism, and culturally specific terminologies –; and the importance of both precise and imprecise dating for cultural historians and their research archives.


2017 ◽  
Author(s):  
Angela Wroblewski ◽  
◽  
Victoria Englmaier

Despite some successes, however, there are still barriers for women at universities, which are reflected in the so-called "leaky pipeline", i.e. a decreasing proportion of women the higher their position in the science system. The University of Vienna is also characterised by a pronounced leaky pipeline. The mentoring programme of the University of Vienna - muv - was launched to counteract this development and to support women in entering an academic career. The programme has been continuously evaluated and further developed. This report continues this tradition and provides input for a discussion on the further development of the programme.


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