Dear reader,

Thank you for your on-going interest for my little portraits.

I love Vienna, I love to write and I love the English language. Sadly I lack time for the latter kind of love. As I only work in an 80% employment I need time to pursue my dreams of working partially “independently”.

I hope that I can come back to this place one day at least with translations of those German portraits that could be of interest for you. Should you see some German pieces that interest you don’t hesitate to let me know via the comment feature.

Best,

Annette

„The foreign fairy child music needs to dress up with so many earthly costumes and needs so much stiffening once it decides to meet so many people that any moment of disturbance “from our world” could easily break its unselfconsciousness and take us out of our illusion.” [1]
Temperament in the auditorium seems to be a common thing in Vienna of 1853/54. That is why the Imperial Opera House had to counteract. What the music critic Eduard Hanslick (1825 – 1904) described in his wonderful ironic way as “aesthetic police” to safeguard the pureness of the music enjoyment.

Hanslick was born in Prague and his musical talents were nourished. But they were not sufficient enough to become a musician so he had to study law. 1846 he came to Vienna proceeded with his studies and wrote reviews of music performances. After three years as jurist in Klagenfurt he came back to Vienna and worked in the cultural ministry. More and more he went into music aesthetics. Among others he was as a member of the jury at the World Exhibition in Paris responsible for music. 1861 he became the first professor for music at the University Vienna after the reform of the university in the 16th century. Being polemic and using his power he could influence the fate of musicians. Dr. Clemens Hellberg, head of the management of the „Wiener Philharmoniker“, mentioned at the symposium to mark the 100th anniversary of the death of Hanslick: “The critic spread anxiety. And this lead to the fact that some artists did not play in Vienna any longer.” [2]

But the Hanslick descriptions of the Viennese “temperament” of the audience are no bad but best cabaret.
“The general manger of the Imperial Opera House did ban repetitions of musical parts of the operas and he could so eliminate the „da capo“ the greatest enemy of the dramatic connection. When Arnold (in Wilhelm Tell) seeks bloody revenge for the murder of his father and is on his way to the Rütli than the audience used to clap till he had to start with the most peaceful face again, listen to the report of the murder of his father again, get shocked again and seek revenge again.”
And there was this “second ban deserving thanks too. The ban to call upon a singer on the stage. How often did we see the hero knifed before our eyes coming back with great Hurrah making compliments! That should not damage our enjoyment any longer!”
And the “entering the stall during an act was banned … Raoul whispers in his first romance:”Quietly did I tell” – you prick your ears expecting the wonderful orchestrated entry of the A-major-accord – when all out of a sudden the peloton fire of ten folding seats answers you.”
Many more of these tragic & comic experiences that now were removed by peace describes Hanslick. And he closes that one species was overlooked in this aesthetic police codex – the early home returners – “whose heart was never warm but whose soup was always about to get cold.”

As I am no opera fan I cheated with the photo (People coming late can only enter during the break). Experts will know this – I took the photo in the Burgtheater. This is already part one of my cultural quiz in the next post here.

Hanslick-Sources:
Universität Salzburg > Lexikon Literatur in der Wiener Moderne > (University Salzburg > Encyclopaedia Literature of the Viennese Modernity) > Eduard Hanslick (in German)

aeiou Austria Encyclopaedia > Hanslick, Eduard

[1] „Eduard Hanslick. Sämtliche Schriften. Historisch-kritische Ausgabe“ (Eduard Hanslick. Complete Works. Historical-Critical Edition) Band I, 2, Aufsätze und Rezensionen 1849 – 1854, (Volume I, 2, Essays and Reviews 1849 – 1854) published and annotated by Dietmar Strauß, Böhlau Verlag, Wien, Köln, Weimar, 1994, Seiten 342 – 344 (Mai 1854)

[2] Foyer „Das Hanslick-Symposium in Wien vom 9. und 10. Oktober 2004“ (The Hanslick-Symposium in Vienna 9 – 10 October 2004) by Markus Gärtner in „Die Tonkunst online“ (The Art of Music online”) , issue 0411, 1.November 2004

Not only two female singers and two male singers survived the horrible fire in the Viennese Ringtheater in December 1881 but columns were under the survivors too. These theatre columns were still usable and cheap. That’s why they were included into the building of the church Kaisermühlenkirche at the Schüttauplatz. A place from where one easily can walk to the ”coldest part of Vienna”. Where a special track commemorates the ice extraction out of the Old Danube and the name reminds us of the discovery of the „Franz Josefs Lands“ in the Northern Arctic Sea.

Two clocks “survived” the fire of the Viennese Ringtheater too. They can be seen in the Clock Museum of the Wien Museum. As is the famous watch and clock collection of Marie von Ebner-Eschenbach.

And there is another Ringtheater memento. To commemorate the catastrophe the emperor gave private money for an imperial trust building (block of flats with a chapel for commemoration) at the Schottenring. Built from 1882 to 1886 by the architect of the Viennes town hall by Friedrich Schmidt. He lived in the house himself to encourage others to take a flat there. And for a small additional job – checking the building’s condition – his rent was reduced.

Not only with the topic Ringtheater but with many other portraits in my Viennese Portrait Gallery I knit a knowledge net with Viennese stories – and I have been doing this for a year now. A net that connects districts and events of the Viennese history. Just like “acquire it to own it” and first of all to enjoy it!!

Viennese History-Sources:
„Wien wäre anders, wenn… – Bekanntes und noch mehr Unbekanntes aus Wien“ (Vienna would be different if … – Known and unknown facts about Vienna) by Franz Hawla, Edition Volkshochschule, Verband Wiener Volksbildung 1999, Seite 113

Information Uhrenmuseum of the Wien Museum

„Friedrich von Schmidt (1825 – 1891). Ein gotischer Rationalist.“ (Friedrich von Schmidt (1825 – 1891). A Gothic rationalist.) Exhibition catalogue by Peter Haiko, Renata Kassal-Mikul, Historisches Museum der Stadt Wien, Wien, 1991

In my last Viennese portrait I talked at the end a bit about charming Viennese gentlemen. Today I want to look more deeply into this topic with a portrait of the protectors of women all over the world – the brothers Settmacher. They produced thimbles in the 14th district (Penzing) to protect women in all continents and some men too.

Ferdinand I., Josef I., Franz I., Ferdinand II., Josef II. and Franz II. produced thimbles from 1863 onwards. That male name symmetry might have been a guarantee for symmetrical products. And what products: in national colours or with borders of hearts/waves/stars/lilies of the valley/bay leaves/vine leaves or with pictures for instance from Franzl via Sissi to the Karlskirche, with Petit-point embroidery or with Salzburger Band. A crystal heart on top of it or a thimble as a give away. Made of aluminium, brass, silver-coated, gold-plated. Small charming pieces of art!

It started when Ferdinand I, a locksmith from the Erzgebirge, came to Penzing and founded the “Metal Ware Firm Ferdinand Settmacher“. He produced thimbles and umbrella parts. His brother Josef moved to Penzing too and Franz followed them. When Josef died his sons Ferdinand II and Josef II started managing the firm. A well had been built and they produced electricity themselves with diesel oil and a diesel engine. Moreover they expanded the production. “One of the largest buyer was the czarist Russia. Every month 700,000 thimbles – only of one kind – went to Russia.” [1] They sold thimbles to other firms as well; these firms complemented their production with these thimbles. For instance the Nadelburg thimbles are anonymous Settmacher thimbles.
In economic difficult times give away thimbles came into fashion. In 1927 one model was produced 2202000 times.
After World War II Hilda Settmacher, the daughter of Josef II, tried to manage the firm. In 1846 she meets Franz Groiss. And it happens – they fall in love and he becomes Franz II. And as always the ones who come to a family from outside are the sincerest and most committed members what his wonderful book about the firm (please see sources) shows.

More thimbles? Pictures, pictures…

Settmacher-Sources:
[1] „Fingerhutfabrik in Wien, gegründet 1863 / Thimble Factory in Vienna, founded 1863“ edited by Franz Groiss (Franz II.), translation by O. Adelhofer and E. Jahn, Eigenverlag, Wien 1990

District Museum Penzing (Photo Settmacher thimbles in the Museum)

The story of “Hansl Schmid, the Last Master of the Viennese Songs” („Hansl Schmid, dem letzten Herrn des Wienerliedes“) shows that you can answer the question in a flexible way whether one should earn ones living with his/her creativity or whether one should live with his/her creativity and be successful without any super star contest.

In 1897 Johann Schmid was born in Ottaktring. Together with friends his parents rent the restaurant in the Türkenschanzpark. Johann grows up with concerts of military musicians, Deutschmeister, dragoons, 84er. 1908 his parents give him a piano and he becomes an opera lover: from Walküre till the Tote Stadt. Although very musical Johann studies at the commercial college. He becomes a merchant and works in a fig-coffee firm, later he is head of sales of Dolus-Shoe Polish. With the owner, a singing lover without the voice for singing who consoles himself with visiting opera and musical performances Schmid meets many stars like Jan Kiepura or Richard Tauber at his first evening. Schmid could sing and he did so – the Viennese Songs, at the Heurige (wine tavern) when everyone was singing. And then there is this historical moment – a day out in the Liebhartstal. Where he doesn’t sing because of holding the “house singer” Matauschek in high esteem. But Matauschek asks him to step forward and sing together with him. Schmid with much courage sings together with Matauschek in two voices the Ottakringer Marsch. “This was the birth of the Viennese Songs singer Hansl Schmid.“ Who more and more sings in public but keeps on working – as head of sales of the cheese factory Drechsler.

31 December 1952 Schmid opens the Old Viennese Concert Coffee-house Schmid Hansl in Währing. It is planned as nightspot for the Viennese Songs and getting into contact for his friends and acquaintances and guests – musicians, actors, painters, singers and the lovers of the Viennese Songs. Not a place to earn much money. The previous owner had warned him: “I tell you very honestly you will have only some guests and they will have a small coffee and seven glasses of water and sit there till the know all newspapers by heart.” When opening the coffee-house Schmid had invested all his money leaving only 10 Schillings aside. The place was accepted! Visited by Tennessee Williams, Julia Migenes as well as Hans Moser, Paul Hörbiger, Fritz Muliar and Bruno Kreisky.

Johann Schmid was the first Austrian for whom a memorial (photo, in Türkenschanzpark) had been raised when he was still alive. The Viennese major Helmut Zilk organised this to honour Schmid’s merits for cultivating the tradition of the Viennese Songs.
1987 Schmid died in Vienna.

The Schmid Hansl today is being managed by his son and is a first address for “Viennese, Original, Fancy, Verse, Harmonica, Schmäh, Well Knowns, News, Button Harmonica, Viennese Dances, Special Guitars”. Versatile – traditional and modern like the Viennese Opera House – but much cheaper & cosy. And another advantage: you will be welcomed by the owner even as normal female guest with a perfectly indicated kiss on the hand and a unobtrusive bow.

Photos made in the Schmid Hansl: from top, a small part of the memories on the walls among others a painting of Schmid Hansl, below Prof. Marika Sobotka (8 March 2007) singing „From Viennese Songs to Evergreens“.

More Viennese Songs? Overview, film (At night in Vienna in a Heuriger (wine tavern), about 1936) und Information portal

Schmid Hansl-Sources:
„Hansl Schmid, dem letzten Herrn des Wienerliedes“ (Hansl Schmid, the Last Master of the Viennese Songs) by Harry Glöckner, Tusch, Wien 1983

Website of the coffee-house (with audio file „Mein Herz das ist ein Bilderbuch vom alten Wien“ (my heart is a picture book of old Vienna) and events) and information from his son.

Many events in which I participate actively/very actively don’t give me the time to paint new portraits. But very soon I proceed here with translations of the last portraits done in German and with a fairy tale of a railway station in a town called Vienna.

Annette Hexelschneider

Some architecture alumni from Stuttgart colleges and universities built important buildings in Vienna. As part-time Stuttgart citizen and part-time Viennese I enjoy this fact. And I will write about it from time to time. Today – the builder of the Viennese town hall.

In the middle of the 19th century the number of Viennese inhabitants jumped from 50,000 people up to more than 430.000. The old town hall didn’t had space enough to manage Vienna. What followed where years of metropolitan discussions much like the discussions about the hygienic needs. 23 places for a new town hall were discussed. And then finally a tender for the new building was finalized. 65 Austrian and foreign architects handed in their proposals. Members of the selection committee were among others the famous architects Ferstel and Semper. Project XIV with the title „Saxa loguntur“ (the stones talk) won. In a ceremony the sealed envelope with the architects’ name was opened and the winner was: Friedrich Schmidt (1825 – 1891), a German Viennese. Second till fifth places went to Parisian and Berlin architects only from place six onwards native architects were awarded. 1873 they started with the foundation stone; ten years later an area of 19,592 square metres had been covered and the cap stone could be set. Again ten years later the German Viennese became a honorary citizen of Vienna. 1886 he became a baron.
Humbly he steps back behind his work – 1896 the memorial for Schmidt had been uncurtained behind the town hall – photo.

The way there lead the born Württemberg citizen from studying in Stuttgart via his work as stonemason and later foreman at the Cologne cathedral, “years of travel” in Italy via the call into the building committee of the restoration of St. Stephen’s Cathedral to a professorship at the Academy of Fine Arts in Vienna (middle ages art, architectural class) to building two churches and a school in Vienna with his own architectural office.

He “won” the town hall mainly due to his well thought solution of the room functions; never on the other hand died the discussions down about the Gothic style. [1] For example by Otto Wagner “Because in the middle ages a town hall was naturally Gothic the one built in 1880 – having completely different tasks – must not necessarily lie in the Gothic style!” [2]
Yes it is a fairy tale castle but what a castle!! Especially when illuminated at night: whether classic or modern and way-out like during the Life Ball, as giant Advent calender or candy coloured during the Viennese Ice Dream – one cannot but gaze at it both carried away and amused.
And festive reception halls wherever you look. “On his/her way to the festive reception halls the visitor gets totally distracted from looking into the offices and work spaces.” [1] Distracted by the opulence and diversity of these rooms it can easily happen that one on the way to the general assembly of the Society for the History of Vienna follows happily a red carpet and suddenly arrives in the neighbour hall where this evening the Austrian Oscar winner Stefan Ruzowitzky gets celebrated. Vienna celebrates happily and much in the town hall. Whether once per year Viennese wine and winemakers or life as such with proms or Austrian books with a special book week – the town hall is deeply rooted in the life and a German architect has developed with his building a home for the local mentality.

And his adoption went that far that he starts the storeys only after ground floor, raised ground floor and Halbstock (another “in-between” storey) using typical Viennese bending-the-building-laws tricks. And suddenly you feel you have to wait longer for the elevator. I am not that adopted that I can stand this so I am only happy that there is no first, second and third basement and I would have to wait even longer for the elevator.

More town hall? Rathausführung per Mausklick (Virtual Town Hall Guide, in German), Life Ball-Beleuchtung (Life Ball Illumination), Advent, Viennese Ice Dream

Schmidt-Sources:
[1] „Das Wiener Rathaus“ (The Viennese Town Hall, in German) by A. Hauer, Stadt Wien, Presse- und Informationsdienst (MA 53), Wien, 1992

[2] „Eine Naissance der Architektur. Otto Wagners Häuser an der Wienzeile.“ (A Genesis of Architecture. Otto Wagner’s Houses at the Wienzeile, in German) by Dr. Iris Meder in „Die Münze“, Münze Österreich, Wien, 18. Jahrgang, 5. Ausgabe, Nov./Dez. 2007

„Friedrich von Schmidt (1825 – 1891). Ein gotischer Rationalist.“ (Friedrich von Schmidt (1825 – 1891) A Gothic Rationalist, in German) exhibition catalogue by Peter Haiko, Renata Kassal-Mikul, Historisches Museum der Stadt Wien, Wien, 1991

Once you have seen currents of people floating into the Städtische Bad Gänsehäufel* (Municipal Lido Gänsehäufel) at the Alte Donau (Old Danube) in summer you may not believe that this used to be the “coldest” part of Vienna in former times. The reason? Nature and patriotic innkeepers.

From 1882 to 1917 natural ice was extracted from the Old Danube. The ice was the only cooling substance for restaurants and butchers. So called ice choppers extracted the ice out of the frozen Danube and rafted it to ice cellars and ice caverns. What a job!
The Viennese Ice Firm built ice houses later in the district Old Danube and Kaiserwasser (Emperor’s Water). The Eiswerkstraße (Ice Firm Street, photo) tells it. The „Vereinigten Eisfabriken und Kühlhallen in Wien“ (United Ice Firms and Cold Storages in Vienna) founded as service for the food suppliers still exist today in the neighbour district – the Brigittenau. However without natural ice.

The Austro-Hungarian North Pole Expedition contributed to the “cold reputation” of that Viennese part too. On 30 August 1873 the team discovered under the command of professor Julius von Payer and Karl Weyprecht a group of islands in the Northern Arctic Sea the most Northern islands of Eurasia and named that place after emperor Franz Joseph I. This inspired the patriotic innkeeper Franz Magenstein to name his pub at the Old Danube “Zum Franz-Josefs-Land“. The Payer-Gasse (photo) tells it.

Ice extraction and ice conquest that is why that part had been something like Vienna’s historical cold pole.

* Städtisches Bad Gänsehäufel (Municipal Lido Gänsehäufel, in German) a place for about 30,000 people, we are in a cosmopolitan city, no lonely swimming!

More „correct“ Franz Josefs Land you can explore in the „Museum of Military History“ in the room „Seemacht Österreich” (Naval Power Austria, but not mentioned on the website).
Or as map, as text and as video .

Ice-Sources:
Museum of the District Leopoldstadt
Till 1938 the Franz Josefs Land was part of the Leopoldstadt, later it came to the newly founded 22. district Donaustadt.

Erster Wiener Wasserweg (First Viennes Water Way), City of Vienna Department 45 – Hydraulic Engineering.
Nice hiking tour (Alte Donau and Lobau, about 17 km, can be shortened, folder in German from Department MA 45).

Mit Anorak und Handschuhen in die Arbeit (Working with Anorak and Gloves).

Vereinigten Eisfabriken und Kühlhallen in Wien (United Ice Firms and Cold Storages in Vienna, in German)

This summer the term allergy celebrates its 102nd birthday. Maybe the pollen don’t dance too madly that day because it is a sad day for them. Someone “saw” their side effects. A Viennese of course – who else. In Vienna of course – where else. Clemens von Pirquet (1874 – 1929), a paediatrician, founded together with a colleague the science of allergies. The term was coined by Pirquet. He brought together the Greek words different & action. Although there are other readings. In addition: different & function, changed & action. May there be name readings, an allergic reaction is an allergic reaction. Whom it conquers it doesn’t give time to muse about the name. She or he gets tortured by this overreaction to the immune system on normally “harmless” substances like pollen & co.

Pirquet worked as paediatrician at the Viennese St.-Anna-Kinderspital (children’s hospital). When treating children contracted with diphtheria he was surprised by the side effects of vaccinations. That’s why his research and the allergy definition were at the beginning focused on the so called serum disease. The term allergy was published for the first time in print in the „Münchner Medizinischen Wochenschrift“ (Munich Medical Weekly) 24 July 1906.
Pirquet was aware that not only these vaccination reactions were allergic reactions but that there was an even more diverse range of allergies. Therefore the Berlin Charité could commemorate the 100th birthday of the term allergy with a rich exhibition from the first known symptoms of a cat hair allergy to dark forecasts about the allergic future of mankind in industrialised countries. [2]

Pirquet like Landsteiner was a typical Viennese medicine genius: in his relatively short live of only 54 years he accomplished very much. For example the development of a tuberculin test to start early with caring for the diseased. Beetz improved the hygienic “landscape” of Vienna and Pirquet fought against the “Viennese disease” as tuberculosis was called in Europe during the late 19th and at the beginning of the 20th century. [3]
After years of working & learning from Baltimore to Breslau he returned as board member to the St.-Anna-Kinderspital; developing orthopaedagogy and nurse welfare. He introduced a nursing internship for doctors to improve their understanding for care and nurses. Built a roof garden on the hospital as open air ward, invented a children nutrition system, fought against child poverty, for child care and medical services in the schools. [1][4].
He was interested in art too. On the day before his death he attended a party to honour children who’s drawings were awarded in an worldwide contest: “More girls than boys had been awarded. Everyone was smiling when he said to the boys that they saved the male reputation! Then he spoke of future times where women perhaps will have more importance.” ( Jugendrotkreuz-Zeitschrift, Mai 1929 / Youth Red Cross journal, May 1929) [1]

Love & consequence. He had the consequence for an astonishing speed of innovation urged by his love to the children in the hospital and Viennese children in need. And he had love & consequence in his marriage, that ended with a double suicide.

Photo: bust in the arched covered passageway in the University of Vienna; for more Viennese Pirquet places please consult [4]

Pirquet-Sources:
[1] „Clemens Freiherr von Pirquet“ by Gabriele Dorffner, Gerald Weippl. Vier-Viertel-Verlag. Strasshof-Wien 2004

[2] Charité zeigt Geschichte der Allergien (Charité Shows the History of Allergies, in German)

[3] Erfolgreicher Kampf gegen den bleichen Tod (Successful Fight Against the Pale Death, in German but with pictures)

[4] Er bohrt mir alle Kinder an (He Is Drilling Holes into all my Children, in German, but with pictures)

Minna Kautsky (1837 – 1912) was born in Graz and moved with her parents to Prague. She only gets one year of school education. But with the help of her father and well filled book shelves she can accomplish a kind of a private study. Her reading comprises theatre plays too and she develops a passion for the theatre. Minna becomes an actress. Marriage being 16, theatre engagements in Bohemia, Moravia and Germany, in-between children. Her first child is the “later leading theorizer of Marxism” Karl Kautsky. She cannot keep up such a demanding life for long, she collapses and gets a severe lung disease. Has to give up her theatre life being only 24. 1863 she moves with her husband and their children to Vienna. Her husband has got a position at the Hofburgtheater (imperial court theatre) as set painter.

During her illness she proceeds with her self study among others with reading Darwin. Finally she can learn – together with her children. The disease will remain to a certain extent forever but Karl’s enthusiasm gets transferred to Minna. She feels “young again, with inner power and a strong will.” [1] “And at my side I saw the young man who did only concentrate on how he could understand the theories of the great Master [Marx] profoundly; how he could develop himself and others to fighters for the right mission. He should not have had an impact on his mother? It was the beginning of an wonderful time, energy awakening, the life had beauty and a meaning [...]. I started to write, I had something to say.” [2]
Perhaps Freud had something to say too on this relationship. But I do not like them – these theories about the ambition of a mother and how she transfers it onto the son to satisfy her (remaining) male complexes. My opinion is not scientific but yet possible. What was first hen or egg? First she brought up and educated Karl: “Very early she already inspired me with vivid enthusiasm for high ideals.” [1] In the course of a family history times change and new social, cultural, technical developments bring along chances for both children and parents. Why should not mothers learn together with their children and enjoy this without Freud being “present”!
Of course when she starts writing the son and his connections with among others Engels, Liebknecht, Mehring, Luxemburg might have helped her to get published in working class newspapers and being shelved in reading rooms of workers’ education associations. But these “relationships” exist always and beyond a mother-son-relationship.

About her writings Adelheid Popp, an officer of the Austrian female worker movement, said: “Maybe there were better female writers than her: whether these would have found a better way into the hearts of the women one may doubt.” [1] For instance her novel “Helene”: “Starting as a nervous, vain young women [Helene] becomes a reliable social democrat who can earn the laurels of love. Her way through life accompany men – wrong ones and right ones.” [2]
Victor Adler editor of the weekly magazine “Gleichheit” writes Kautsky (23.9.1886): “By the way has your honoured mother a new novel suitable to be published as a serialised novel or even better a short novel? I got offered a translation of a Swedish author named Strindberg who is close to the Party. But I would not like to start with a translation.” [3]
Emma Adler writes Hermann Bahr (ca. beginning of March 1889): “I would be very grateful for your good will to murder the old Kautsky woman — but I fear you won’t do it. And even if this goose is out of the world her mental bastards will still be in the world!” [3]

Minna Kautsky published stories, short novels, women’s novels, essays, articles, reviews, novels, theatre plays. What will live on? Only the proverb “red Marlitt” (Marlitt from the German Kitsch author)? Hopefully an example how energizing ideals and visions can, accompanied by social changes, heal and educate you – just let you fly.

Photo: Schönburgstraße 14, one flat of her Viennese time (1863 – 1904)

Kautsky-Sources:
ARIADNE-Projekt „Frauen in Bewegung. Diskurse und Dokumente der österreichischen historischen Frauenbewegung 1848 – 1918“ (Women in Movement. Discourse and Documents of the Austrian Historical Women Movement 1848 – 1918)  Minna Kautsky

[1] „Minna Kautsky. Beiträge zum literarischen Werk“ (Minna Kautsky. Contributions to the Literary Work) Edited by Stefan Riesenfellner and Ingrid Spörk. Verlag für Gesellschaftskritik. Wien 1996

[2] “Fliegen und Zittern. Hysterie in Texten von Theodor Fontane, Hedwig Dohm, Gabriele Reuter und Minna Kautsky.“ (Flying and Trembling. Hysteria in writings by Theodor Fontane, Hedwig Dohm, Gabriele Reuter and Minna Kautsky.) by Lilo Weber. Aisthesis-Verlag, Bielefeld 1996

[3] „Zwischen Minna Kautsky und Hermann Bahr – literarische Intelligenz und österreichische Arbeiterbewegung vor Hainfeld (1889)“ (Between Minna Kautsky and Hermann Bahr – Literary Intelligence and the Austrian Workers’ Movement before Hainfeld (1889) by Werner Michler. In: „Literarisches Leben in Österreich 1848 – 1890“ (Literary Life in Austria 1848 – 1890) Edited by Klaus Amann. Böhlau, Wien 2000