Vienna School Research Articles

«Живые образы» против «обмирщения»: альтернативные интерпретации стиля японской скульптуры эпохи Камакура

In this article, I revise some ideas that were developed by Soviet and Russian scholars in regard to sculpture of the Kamakura period (1185–1333). N. A. Vinogradova and Y. A. Kuzhel’ use in their writings such notions as “proximity to common people” and “secularization” when describing the style of this sculpture. However, from this perspective it is impossible to make sense of such common customs of the period as putting dedication materials inside the sculpture or the creation of “naked” statues. Exploring the source of such interpretation, I suggest that it derives from the circumstances of the Soviet times preventing scholars from investigating too closely the religious context of the art. On the other hand, I make a point that the dialogue or opposition of the religious (abstract) and naturalistic (secular) is a common place of the art historical discourse, probably deriving from the Vienna school of art history. I suggest revising this interpretation of Kamakura sculpture according to the latest scholarship of Buddhist imagery. In this scholarship, we can frequently see the notion of the “living images”, meaning that Buddhist cult images can be regarded as living entities not only on popular level, but also in writings of Buddhist teachers on the subject. With references to religious studies written in Russian and English, I introduce theories and ideas of Japanese Buddhist teachers relevant to the understanding of sculpture of the Kamakura period. As it turns out, the word “living” is particularly relevant to the Kamakura statues as it is precisely during these times that the cult of statues as living Buddhas (shōjin butsu) has spread. According to Japanese scholars, this cult can be the very reason of the naturalistic rendering of the statues and the way the inner space was adorned. Thus, we can hardly speak about the “secularization” of Kamakura sculpture.

Everyday life at the Dvořák Seminar, on the basis of contemporary sources. Addenda to the history of the Vienna School of Art History

Everyday life at the Dvořák Seminar, on the basis of contemporary sources. Addenda to the history of the Vienna School of Art History

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

Female mascarons in the architecture of the Lviv secession

An important role in the formation of the architectural style of Lviv was played by the beginning of the twentieth century. As the capital of Galicia, which at that time belonged politically to the Austrian Empire, Lviv was strongly influenced by the Austrian Secession and the head of the Vienna School of Architecture O. Wagner. Nevertheless, Lviv architecture, to a certain extent, has preserved its originality and uniqueness. Secession is a phenomenon of the Lviv architecture of the early twentieth century. It determines the definition of sculptural decor as one of the main components of the “newest” artistic image of a building. Among the various types of plastic decoration, an important place is occupied by relief masks – mascarons, which are the most mysterious, attractive, and bizarre elements of the architecture of the Lviv Secession. The article notes the influence of various factors on the formation of new typological groups of mascarons not found in the architecture of previous eras. The artistic images of secession arise at the intersection of two key symbols and constant themes of art nouveau – eternal femininity and fabulous nature. In almost all cases, female mascarons are accompanied by plant motifs of the local flora.

'I Would Say I Am Austrian but …' - Multiple Spatial Belongings and Hybrid Identities among Young People in Vienna, Austria

Young people who live in or attend school in Vienna grow up in multicultural environments, as immigration has shaped the Austrian society over the last decades. In public debates, migrants and their descendants are repeatedly called on to “integrate”, while their feelings of belonging to Austria are questioned. Drawing from discussions on hybrid and multiple identities, this study explores the spatial dimension of identity constructions of students in Vienna aged between 14 and 19 years. Quantitative data from a comprehensive online survey and qualitative data from group discussions reveal that multiple spatial belongings on different scales are the rule and not the exception among young Viennese. Furthermore, on a national level, participants identify with Austria to a much larger extent than with any other country. Findings emphasise the need for a mixed-methods approach when researching questions of identity constructions. Fieldwork experiences furthermore show that young people are highly interested in discussing the topic, as they are confronted with these issues on a daily basis.

Metaphorical models and the translator’ s approach to scientific texts

Indeed, the utility of theory-constitutive metaphor seems to lie largely in the fact that they provide a way to introduce terminology for features of the world whose existence seems probable, but many of whose fundamental properties have yet to be discovered. Theory constitutive metaphors, in other words, represent one strategy for the accommodation of language to as yet undiscovered causal features of the world. (Boyd 1979:364)In this article we investigate the mechanisms behind the urge for better and new understanding. Our hypothesis is that these are generally related to and inspired by metaphorical reasoning. The existing cognitive model of a source domain of understanding is used to structure and categorise a target domain. The metaphorical model is an underlying schema which is not fully expressed propositionally and lexically. The traces and results of metapho¬rical thinking are in metaphorical lexicalisations. We challenge the princi¬ple of traditional Vienna school terminology theory which claims that because unambiguous communication is the ideal in scientific communica¬tion, it is preferable to replace a metaphorical term by its literal equivalent. We show how in the life sciences the gestalt-like metaphorical model which was at the basis of better understanding and new discovery continues to have an important role in didactic as well as in scientific texts which treat the same or related subjects. The discipline of terminology theory could work out guidelines for the description of metaphorical models starting from the metaphorical lexicalisations which are the traces which metaphorical think¬ing leaves in a language. Translators who are aware of the impact of metaphorical reasoning on lexicalisation in scientific language will develop the ability to distinguish between metaphorical models which are language and culture independent and those which are not.

Crisis of meaning in connection with mental distress of a modern man

In contrast with the contemporary spirit, which directs a person towards their own needs, satisfactions, and desires, logotherapy views the person and its life as an assignment. Man is not an individual "for himself" (according to Freud, the main internal motivational force is "the will of pleasure" and "the will of power" according to Adler), but a being of sense or a being for someone or something. According to Frankl, the purpose is defined as tasks, which life sets us in a precise moment and in a precise situation. These are tasks requiring a responsible reaction and a specific realisation of values. Each of them is unique. Each individual is responsible for a task, and only he can respond to it in a responsible man-ner. In this sense, life can be seen as a chain, whose links are the tasks themselves. Each in-dividual is unique, with a unique goal in life, which consists of individual, equally unique tasks. The centre of logotherapy is future - tasks and meanings. The founder of logotherapy is Viktor E. Frankl, who was a doctor of medicine and doctor of philosophy, and a professor of neurology and psychiatry at the University of Vienna. The third psychotherapeutic school in Vienna - logotherapy - is based on a holistic approach to an individual, which means that it analyses a person on a physical, mental, and spiritual level. Spiritual dimension is, among others, a place of realisation of responsibility and freedom or space of realisation of actual possibilities and tasks. Existential crisis, exis-tential vacuum, and noogenic neuroses are issues and mental problems, which originate from the spiritual dimension. This means failing to perceive and failing in life as an assignment. The empirical part of the research, which is based on the psychometric instrument LOGO-test, performed on two hundred re-spondents, gave us the results that even 24 percent of respondents are in various mental distresses and seriously existentially endangered. The paper highlights the most problematic areas and causes for such mental distress. The COVID-19 pandemic only deepened and revealed this crisis of meaning.

Persecuted in the Third Reich, revered in the USA: Frank Everett (birth name: Franz Ehrenfest) and his contribution to periodontology (1907-1976)

ABSTRACT The Viennese dentist Frank Everett was a pioneer of periodontology. He received numerous honours and shaped the teaching of generations of dentists. Despite his professional significance, Everett’s life has hardly been investigated. Few know that he was persecuted by the Nazis and had to start over in the USA. The article reveals the circumstances of his disenfranchisement in the Third Reich and argues out that his success in the States was based on a combination of personal characteristics, favourable conditions in the Chicago university landscape and the nimbus of the Jewish ‘Vienna School’ of oral pathology.

“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?

This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.

Carl Ferdinand von Arlt. One of the famous ophthalmologists of the 19thcentury-his life in Vienna.

Ferdinand von Arlt (1812-1887) was one of the greatest ophthalmologists of the 19thcentury. From 1856 to 1883 he was the head of the First University Eye Clinic in Vienna. The aim of this paper is to show the places where he lived during his working life in Vienna, because it has not been written about so far. The article is based on an analysis of the data from Viennese address books of that time, the archives of the University of Vienna, medico-historical books, scientific articles, and internet sources. During his life in Vienna, Ferdinand von Arlt changed his residential address four times. He lived at Glacis, in Wickenburggasse, Mölkerbastei, and Bellariastrasse. He also had acountry house not far from Vienna in Pötzleinsdorf. The paper describes in detail the places in Vienna where he lived and the eye clinic at which he worked. Abrief biographical review of von Arlt and his family is also given. Ferdinand von Arlt was an important representative of the Vienna School of Ophthalmology. The places where he stayed in Vienna were close to the eye clinic. The buildings in which he lived were in representative areas in the city of Vienna. Ultimately he had alarge modern apartment, as his family grew over time and with him lived his wife, brother, son, and daughter with their families. This work is acontribution to his rich biography and awish that the places where he lived Vienna not be forgotten.

A Tolnay–Panofsky-affér, avagy hűség az ifjúsághoz: A bécsi iskola, Max Dvořák és A Vasárnapi Kör

The conflict between Charles de Tolnay and Erwin Panofsky that grew unprecedentedly acrimonious in the history of the discipline – the so-called Tolnay–Panofsky affair – was more than mere personal bickering. The documents clearly reveal that the “affair”, which basically affected financial and professional positions, was based on embarrassingly ordinary, occasionally petty-minded questions instead of scientific arguments, and led to a break of relationship probably in spring 1943, also directs the attention to the science political consequences of the hierarchic establishment of American science financing and academia in general in the interwar years and the 1940s, and to differences between European and American scholarship. It can be gleaned that Tolnay’s efforts to be allotted raised stipends (often by a great degree, as the documents unanimously testify) and a confirmed position led to the deterioration of his relationship with the Princeton IAS leaders and community – in spite of the fact that the former leader of the Institute Flexner took Tolnay’s side, at times with threats to Panofsky and Oppenheimer and accusing Panofsky of professional jealousy. Though Tolnay received raised scholarship up to 4000 dollars for three years, the institute decided to part with Tolnay in 1948. In the background of the affair, however, one may discover conflicts based on the diverging views on art history by Panofsky and Tolnay rooted far deeper, in the elementary influences of the Vienna School of Art History and Max Dvořák on the one hand, and of the Sunday Circle and György Lukács, on the other. The art philosophical aspects and methodological consequences of these dissenting concepts of art history may bear significance for the practitioners of the discipline today as well.

From Nazi victim to honored scientist: The two lives of Jewish anatomist Harry Sicher (1889–1974)

Harry Sicher (1889–1974), longtime professor at Loyola University Chicago, went down in medical history as a pioneering figure in the area of oral anatomy. His groundbreaking textbook “Oral Anatomy” (1949) was published in numerous languages and editions, becoming the most widely read standard work in its area internationally. This was also true for various other works Sicher authored: orthodontists sought his knowledge about cranial and facial growth, oral surgeons used his pioneering work on anatomy for practicing dental block anesthesia, and his work “Bone and Bones” was read by surgeons and orthopedists. By the end of his life, Sicher had accumulated an array of high-profile awards and honors that brought him a great deal of posthumous fame.One aspect of Sicher’s life that remains largely unknown is that the Vienna native was forced to flee the National Socialist regime on account of his Jewish ancestry, which took him to the United States via England. The present article investigates this facet of his life: What were the factors behind Sicher’s forced migration? How did this process unfold? Which factors were decisive for allowing him to develop an illustrious career in the United States despite facing adverse conditions?We approach these questions on the basis of comprehensive archival sources and contemporary printed material. What comes to light is that Sicher was forced to overcome significant setbacks before starting anew in the United States. This included his dismissal from the University of Vienna and subsequent dispossession in 1938, a failed attempt to find a position after settling in England in 1938/39, and the painful loss of his mother, who was deported to the Treblinka extermination camp in 1942.After assuming a new position at Loyola University in 1942, Sicher’s career in anatomy started an upward path of ever-increasing success. Four factors proved to be decisive in this development: Sicher’s strong motivation to learn, his exceptional teaching skills, the unique qualities of his research, and the dense academic network that he was able to connect with, which included other representatives of the “Vienna School”.

The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

Античный портрет в трудах О. Ф. Вальдгауера и М. И. Ростовцева

The main trends of the Russian classical studies which developed and gained its international recognition in the early 20th century. They are presented by the works of Vasilii Latyshev, Vladislav Buzeskul, Mikhail Rostovtsev, and Thaddeus Zielinski. These were historical-philological and cultural-historical studies, as well as those of social history. History of the art of antiquity represented by the names of Oscar Waldhauer, Vladimir Malmberg, Boris Farmakovsky, and Mikhail Rostovtsev evolved from description of iconography to the research of historical and artistic problems. Russia, following European countries, demonstrated gradual separation of the history of ancient art as an independent discipline from archaeology, philology, and history. A good example of this process is the research of antique portraiture. This topic became one of the key ones for Oscar Waldhauer. A student of Adolf Furtwängler and Ludwig Curtius, the representatives of German school in the late 19th and early 20th centuries, the Hermitage scholar created his sculpture catalogue based on the method of “Kopienkritik”. This method, which up to now underlies the attribution of monuments, was substantially supplemented with his studies. Logic of the research led Waldhauer to Heinrich Wölfflin’s thesis about “the history of art without names”. In the essays on the history of portrait, Waldhauer was guided by the concept that the history of art presents the history of spirit, as well as the concept of “Kunstwollen”. It was adopted by him from the works of Franz Wickoff and Alois Riegl, art historians of the Vienna School. In Waldhauer’s understanding, portrait style is an expression of “spirit of the times”. While in Germany Ludwig Curtius and Hans Delbrück adhered to a physiognomic interpretation, those who followed the Vienna school came to a conclusion that portrait had never imitated the appearance of a model. The evolution of portrait is a subject to its own laws, autonomous from social development. Another significant contribution to the study of ancient portrait, undertaken in this period was Mikhail Rostovtsev’s work, dedicated to the bust of the Bosporan Queen Dynamis. M. Rostovtsev compared attributes and symbolic signs that cover the bust with the iconography of statues of Iranian gods and rulers originating from the Nemrud Dag mound. Identification of the monument was carried out thanks to its historical interpretation. M. Rostovtsev’s discovery of the dual nature of the Bosporan monarchy, which was a symbiosis of Greek and Iranian elements, is a brilliant analysis of various historical materials that laid grounds to defining the personage. General interest in the portraiture characteristic of historiography at the beginning of the 20th century, rethinking of concepts and the search for new methods lead to several discoveries. Later, Russian historiography followed a different autonomous path. While for Western European and Anglo-American science the 20th century became the “century of portraiture”, Soviet art history returned to this topic many years later, only in 1970–1980s.

THE INFLUENCE OF THE VIENNA SCHOOL OF OPHTHALMOLOGY ON THE BEGINNINGS OF MODERN OPHTHALMOLOGY IN CROATIA

The founder of the Vienna School of Ophthalmology was Prof. Dr. Georg Joseph Beer, who founded the First University Eye Clinic in the Vienna General Hospital in 1812. Prof. Ferdinand von Arlt led it for 27 years from 1856 to 1883. As the First Eye Clinic became too small, the Second University Eye Clinic was founded in 1883 at the same hospital in Vienna. Since 1885 it had been led for 30 years by Prof. Ernst Fuchs. Many well-known ophthalmologists were leading those Viennese eye clinics. However, Arlt and Fuchs were the main representatives of the Vienna School of Ophthalmology, which was always characterised by the high standards in the diagnosis and therapy of eye diseases. Many Croatian ophthalmologists were educated by them or their students, and later they established eye departments in the major cities in Croatia and transmitted acquired knowledge and experience. The first eye departments in Croatia were formed at the turn of the 19th and 20th century. The First University Eye Clinic in Croatia started to work in Zagreb in 1923. Our ophthalmologists transmitted the organisation of the clinics as they existed in Vienna, and that was the matrix form of all European clinics at that time. Therefore, the tradition of the Vienna School of Ophthalmology was passed on to the next generations. The paper also gives short biographies of Viennese and Croatian ophthalmologists and their mutual relations in education and work.

Faistauer, Schiele, Harta & Co.: Malerei Verbindet: Das Belvedere zu Gast im Salzburg Museum

Reviewed by: Faistauer, Schiele, Harta & Co.: Malerei Verbindet: Das Belvedere zu Gast im Salzburg Museum Katherine Arens Faistauer, Schiele, Harta & Co.: Malerei Verbindet: Das Belvedere zu Gast im Salzburg Museum. (Kunsthalle der Neuen Rezidenz, 12 July–1 October 2019). Salzburg Museum: Ausstellungskatalog 51. Salzburg: Salzburg Museum, 2019. 279 pp. Copiously illustrated and documented, this catalogue from the Salzburg Museum should be much more widely known than it probably is. It was edited by the Salzburg Museum as a project executed with the Belvedere Museum in [End Page 147] Vienna: "Das Belvedere zu Gast im Salzburg Museum," part of the Salzburg Museum "Edle Gäste" project, which brought works from other museums to Salzburg and connected them to the holdings of the museum there. As the text introduces the topic: "Die drei Künstler Anton Faistauer, Egon Schiele und Felix Albrecht Harta begegneten sich in Wien. Faistauer und Schiele waren seit 1906 Studienkollegen an der Akademie der bildenden Künste und Harta lernte sie drei Jahre später in einer Künstlerrunde im Café kennen. Woher kamen die drei Maler und in welchen Kreisen verkehrten sie? Wer waren ihre Freunde, Kollegen und Frauen und wo kreuzten sich ihre Wege?" (9). Among those names are Albert Paris Gütersloh, Oskar Kokoschka, Anton Kolig, Alfred Kubin, Elfriede Mauer, Anton Peschka, and Helene Taussig. What this volume accomplishes is nothing less than a full-blown map connecting the art of prewar Vienna to Expressionism (e.g. Der blaue Reiter), its post–World War I inheritors, and (looking forward) to the Vienna School of Fantastic Realism—a map not generally acknowledged in art history conventions that situate Expressionism in Germany and then prefer to skip to the vanguard of Abstract Impressionism incubated in the United States. Faistauer, Schiele, Harta & Co. tells another story, starting with over twenty pages of year-by-year biographies that not only identify the chosen dramatis personae but also those of their friends, co-workers, mates, and acquaintances who tie their work in Salzburg to Vienna and other European projects—and into literature (Albert Paris von Güterlsloh's novel Tanzende Törin, as well as the literary works of Hermann Bahr and the artists from Monte Verità in Switzerland) and other arts (for instance, the dancer Tilly Losch). Schiele is best remembered today, but Harta was known for his painting and his organization of the 1919 Der Wassermann exhibit (drawing Faistauer from Vienna as co-organizer; see the essay by Stephanie Auer in the volume—the catalogue celebrates this exhibit's centenary, 61–87). Faistauer is best known today for his religious art and for the murals he did for the Kleines Festspielhaus in Salzburg. Yet, as the advertising text for the volume summarizes: "Es war die Zeit, in der Kunst und Kultur ein wichtiger Bestandteil der Gesellschaft waren. Faistauer, Schiele und Harta waren Epizentren der österreichischen Kunst und der Szene ihrer Zeit" (https://www.salzburgmuseum.at/ausstellungen/rueckblick/ausstellungen-seit-2015/faistauer-schiele-harta-co-painting-connects-us/). After these introductions, there are essays on the diversity of styles [End Page 148] consciously chosen in the era (again by Auer), two essays by Eva Jandl-Jörg (the exhibit's curator) situating this art in Salzburg and Europe, an essay by Jesse Kerstin (curator of twentieth-century art at the Belvedere Museum; he consulted for the exhibit) tracing the various networks around Egon Schiele (extending the map connecting Salzburg and Vienna to European art), a discussion by Nikolaus Schaffer about Schiele and Faistauer as competitors, and an especially interesting essay called "Partnerinnen und Künstlerinnen im Umkreis von Anton Faistauer, Egon Schiele und Felix Albrecht Harta" by Franz Smola, documenting the large presence of women artists in interwar Salzburg and Austria (too many forgotten today). The introductions include many illustrations, especially portraits of the individuals discussed and the locations associated with them. But the body of the catalogue reproduces an enormous selection of art (paintings and graphics) out of the holdings of the Belvedere Museum and the Salzburg Museum, organized thematically: "Das Umfeld: Landschaft und Reisen"; "Das Private: Frauen und Familie"; "Die Natur: Blumen und Stilleben"; "Die Freunde: Künstler und Mäzene"; and "Die Gruppe: Salzburg und der...

Rogvolod’s polity and formation of an ethnopolitical organization on the territory of the Middle Dvina in the Хth century

The article discusses the first stages in the formation of an ethnopolitical community on the territory of the Belarusian Dvina, known from the annals as «Polochane». Using basic principles developed by the Vienna School of Historical Ethnography, the author identifies significant socio-political changes in the early medieval (9th–10th centuries) history of Eastern Europe due to the emergence of new elites. The formation of stable ethnopolitical communities is associated with the emergence of these elite groups . The absence of particular artifacts of northern European origin in Polotsk and the Polotsk okrug in the 9th – the first half of the 10th century suggests the independent formation of this center on the basis of local social structures. Significant socio-political changes in Eastern Europe arose during the Viking era (9th–10th centuries), and penetration of the North European military-trade groups into the territory of the Middle Dvina was associated with the beginnings of the active functioning of the West-Dvina branch of the Baltic-Black Sea route (the trade route «from the Varangians to the Greeks»). The development of this route became the main reason why Scandinavian leader Rogvolod came to the Polotsk region and formed a territorial and political organization, conditionally referred to as the «Rogvolod Polity». After the middle to the second half of the 10th century, a social transformation took place on the territory of the Middle Dvina, associated with the formation of elite military-trade groups and the formation of a brigade culture. The Rogvolod Polity, as the first stable territorial and political organization in the Dvina basin, created the institutional foundations for the subsequent consolidating ideology (the «core of tradition» according to R. Wenskus), embodied in the 11th century Polotsk princes Rogvolodovichi in the formation of the ethno-political community «Polochane».

Riegl, Worringer Și „Lecturile Infidele” Ale Stilului În Estetica Lui Lucian Blaga

Abstract This study aims to illustrate the original assimilation of style in Lucian Blaga’s philosophy. His concept (or idea) of style is developed from the Philosophy of style to the Trilogies, being tributary to the idealistic philosophy and to the Vienna School of Art History. Of course, this inspiration does not represent an innocent reading of different German studies. By invoking Alois Riegl’s “will of art” or Wilhelm Worringer’s dichotomy between “abstraction” and “empathy”, Blaga identifies the weaknesses from their work. Without giving up the contradictory and vulnerable aspects, he integrates and assimilates them in his philosophical and aesthetic system.

Autorité oblige: The Rise and Fall of Hans Kelsen’s Legal Concept of International Institutions

Abstract Hans Kelsen and his Vienna School in International Law developed a highly original legal concept of international institutions. It originated in the Interbellum and aimed at bolstering the new institutional structures created in the League era by promoting egalitarian legal structures and strong judicial controls of both member states and the organs of the institution. Against the background of this new approach to international organization, Kelsen, after World War II, developed a first and particularly harsh critique of the UN Charter.