Some of the previous reviewers of this book, both favourable and unfavourable, seem to have misunderstood it's content. This book is written as a Freudian interpretation of early modern cultural history. Written in the early 1960's, a time unfavourable to socialist criticism, this book is a radical non-socialist critique of early liberalism written from a psychoanalytic perspective.
This book is difficult and is not recommended as a general introduction to modern culture. It is written in a sometimes annoyingly pedantic style, and repays close study only from the most serious student of early modern history.

I like this book! It gives me endless ruminations and thought out insights using the work of psychoanalysis to explain and explicate the subject matter- Vienna at the turn of the last century. This fits extremely well considering that psychoanalysis erupted form that very place at that very time. The life of Vienna, in its myriad forms, can be well understood via psychoanalysis - in many ways modern Vienna too is still a psychoanalytic trove - this book needs slow and careful reading; it will need more than one "going-over". Highly recommended - but if you are opposed to psychoanalysis...keep away! Be warned!

Brilliant, profound, complex, challenging - as most serious reading is, this is intellectual and cultural history at its best. A classic, and rightly so. Be prepared to think deeply...

okay i've been trained both in sociology and philosophy and would say the book brings the poorest of both worlds.. never believed in intellectual history in general, but this kind of book, with its judgements about Kierkeggardian or Wittgensteinian 'individualism' as a 'natural pathology' of early twentieth century continental bourgeoise society, does nothing but buttress the self-complacency of our now liberal societies. Therefore despite some 'interesting' anectodes and impressions from Habsburg Vienna, the philosophical depth of the book doesnt go above our usual journalistic wisdom. I dont understand how other reviewers found this book brilliant or anything like that. I think recommendable as passtime only.

This book is an attempt to situate Wittgenstein, particularly the Wittgenstein of the Tractatus, in the context of the larger modern 20th century Viennese cultural milieux. It emphasizes the importance of language and communication, or the lack thereof, in fin-de-siecle Viennese politics and society, and relates the interactions and mutual influences of Viennese cultural critics such as Karl Kraus upon the positive philosophy of Wittgenstein and the Vienna Circle. It is not intended as an introduction to Wittenstein's thought and should not be read as such. This book is written for students of cultural and/or philosophical history who want a sense of the cultural origins of early modern positivism in philosophy.

From the turn of the century until the Nazi Anschluss Vienna was a city of amazing artistic and intellectual creativity. The psychological theories of Freud and Adler, the final development of "Jugendstil" or "art nouveau" in art and architecture, authors such as Schnitzler, Friedell, Kraus and Altenberg, the philosophic and scientific thinking of the Vienna Circle, the "Kaffeehaus" culture...this was all a part of Wittgenstein's Vienna. Vienna at this time was truly a phenomenon, exceeding any other city (including Berlin and Paris) in its intellectual and cultural ferveur. This book discusses this phenomenon with a view towards its effects on Wittgenstein and his philosophy. It is well-researched and scholarly in style, i.e. no tourist book. For a more biographical approach, "The Duty of Genius" by Ray Monk is also excellent.

This quotation from the introduction by Michael Hofmann, poet and translator of four Roth novels, highlights both the delights and limitations of this book. Like the Radetzky March, it has all the ingredients for a greatly exciting read and touches on all aspects of society in the Austro-Hungarian empire--worlds of the court, the army, journalism, night life, the law, popular entertainment, and even prostitution. Unlike the Radetzky March, however, it is sketchy, and doesn't draw you into the action or involve you with the characters. There's a curious disconnect between the characters and the reader, akin in many ways to the disconnect between most of the characters and each other, perhaps because there are many of them in this short novel, and perhaps because Roth himself felt disconnected, living in exile and dying of alcoholism at the time he wrote it.

The visit of the Shah of Persia and his one-night-stand with a young Viennese woman provide fertile ground for wonderful dialogue and lyrical descriptions, but the characters are like exhibits in the wax museum which plays a part in the conclusion of the novel. In short, this novel is intriguing primarily for its detailed and exacting recreation of an historical context, but its large scope and small size act as barriers to reader involvement.

I enjoyed this book very much. Roth is a much under appreciated author today and his style of writing is as modern as anyone's. While the plot meanders along a trite line, the heart of all Roth's work is the Austro-Hungarian Empire and all it's failings in morals, people and politics. This, along with Roth's Radetzky March, and you will have all you'll ever need to know about that important era.

The editorial reviewers have done more justice to this beautiful book than I can. It is everything they say it is: a bittersweet delight to read.

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This is not biography in its best form.

De La Grange has done us a service by compiling a very detailed but largely chronological history of the events of Mahler's life. You'll find a largely blow-by-blow description of his life: compositional struggles; arguments with cast members, managers, and officials; correspondence with friends and colleagues; listings of cast members in the opera performances he conducted; reviews of his performances by the various publications; health problems, etc. The detail is extremely valuable.

However, De La Grange falls short because he rarely steps back from the detail in order to find the larger themes in Mahler's life, and he leaves that effort to the reader. This is asking too much: this is a projected four volume biography, and it will probably be well over 3,500 pages before it's done.

I imagine it will take a later biographer to come along and sift through all that De La Grange has delivered in order to write a more informative biography.

I have an additional issue with an editorial decision that's been made here. The first volume was published in the 1970's, by another publisher. Oxford has not re-published it, but will publish a second edition of the first volume when the fourth volume is published. They have styarted with the 2nd volume rather than the 1st, out of deference to those who might still have the 1st volume. Fair enough. But the footnotes that refer to content in the 1st volume only refer to chapters, not specific pages, and are thus incomplete. Perhaps the reasoning behind this is because the original 1st volume will be superceded by the 2nd edition 1st volume, and they don't want to be specific to something they imagine will be obsolete. However, at the current rate it could well be 5-10 years before that 2nd edition 1st volume is out. Will Oxford then ask readers to buy a 2nd edition 2nd volume that has page numbers in the footnotes? (The whole idea sounds like very little deference to those who might have the original 1st volume.)

This is the Classic Mahler biography by the major Mahler scholar, Henry ouis de La Grange. Though this only covers the middle years, de La Grange's excellent use of primary sources let us learn first hand what Mahler was like as a musician, conductor, and human being. No other Mahler biography is so erudite and completely non-judgemental

How it is I do not know but the majority, vast majority, of books on this exciting period put me to sleep. Not Mr. Arnold. He has a fluid style which manages to entertain as well as inform. Why not 5 stars? The maps are crude and the Order of Battle does not include number of effectives present per regiment.

I found 'Napoleon Conquers Austria' to be a well researched and written book covering the 1809 campaign for Vienna. The author presented the campaign in such a fluid style that I lost track of time whilst reading the book. His account of the Battle of Wagram was excellent and there was 13 maps to assist the reader to follow the action. I think that the maps could have been better presented but they were sufficient, the illustrations (19) were interesting with some recent photos of the battlefields. Overall this was an easy to read account of this famous campaign and it was an enjoyable journey to take. I would recommend it to anyone who enjoys Napoleonic history.

Published in 1995, this 125 page volume is considered a 'delayed King's Gambit'. Move order for White usually consists of 1.e4 2.Nc3 3.Bc4 4.d3 5.f4 6.Nf3 and 7.O-O Unlike the King's Gambit though, the F pawn is protected on it's release by the Queen's Bishop since the Queen's Pawn is previously moved to d3. The King's Rook at some point should have a half-open F file to manuever on, which does have it's advantages. The downside to this opening is that it doesn't place pressure on Black's King Pawn immediately, giving Black more room to breathe so to speak in the very beginning. White has a choice of quiet strategic lines and violent gambits. Fun to pull out to surprise your opponent.

I am an avid fan of anything on World War II, so when I found this book it was like hitting the jackpot. This is the book that the movie "Friendship in Vienna" was based on. The movie is wonderful, the book even more so. It is about two girls, one Jewish, one Christian, in Vienna just as it is being taken over by Hitler. The Christian girl's father is a big part of the SS. Their friendship struggles to survive in the midst of a world that is being torn apart.

A unique approach to the genre of "escapee" literature. Accounts of wartime experiences of the Furst family vascillate between now late father, Desider, and daughter, Lilian, and are centered around the cities which represent the changing fortunes of the family. This is a personal family drama that floats along the borders of history and draws the reader into a subdued and melancholic vision of the post-war Jewish family.

Insight's City Guides combine stunning photography with literate text and a smattering of basic travel information. The Insight Venice guide is worth adding to your bookshelf, but its practical advice is getting a bit long in the tooth and its heft makes it less than ideal as a take-along guide. - Durant Imboden, Venice for Visitors, http://govenice.miningco.co

This was the first Arthur Book I bought for my four year old daughter...who very strongly believes in Santa . As I was nearing the end of this book while reading it to her, I realized where we were going with the ending. I understand if your target age is ten years old or so and they are doubtful, but I had to explain to my daughter after we finished the book why Santa didn't eat the stuff that Arthur had worked so hard on, and why the sister got rid of it all. I bought this book at a school book fair, and I was really looking forward to introducing her to Arthur Books. Now, I can't say that I'll ever buy another one.

Arthur worked hard and did a good jo

Not only a great children's book, but a great book for the parent. Loads of subtle humor if you look close enough (flavors of ice cream at the ice cream shop). A great book for all!