Due to peculiarities of historical development and specific Austrian mentality the culture of Viennese modernism (1890—1910) has combined both integrative and disintegrative tendencies in the play field of interaction. Viennese literati and artists have created a deliberately conditional and play-like cultural potential enabling transformations of both man and the world. Self-identification of Viennese modernism has been preserved thanks to the development of internal competitiveness that imparted to it the special quality of mobility and vitality, which has been termed “Austrian syndrome”. The integrative field of Viennese modernism includes essentially original philosophy (E Mach), psychology (Z. Freud), literature (“Young Vienna”), architecture (O. Wagner), painting (G. Klimt), music (A. Bruckner, G. Mahler) and theater, which became a specific socio-cultural model among the European countries of the late 19th — early 20th century. This model is the Foundation for the further development of Austrian modernism and postmodernism of the twentieth century. The synthesis thinking of the most prominent representatives of the literature of Viennese modernism, Hugo von Hofmannsthal and Arthur Schnitzler, was manifested in symbolist poetry, lyric drama, libretto for operas, psychological and game drama and prose. The self-identification of Viennese modernism, which arose during the period of separation from German politics, led to the emergence of the science of austristics, which studies the identity and independent way of development of Austrian culture in historical, typological and mental aspects, which in the conditions of modern integration processes in Europe is a balance of national and European identity of Austria.
Key words: Austria studies, Viennese modernism, integrativity, synthesis of arts, theatricality, disintegration, play, discourse of play, self-identification.
Reference to article:
Tsvetkov Yu. L. Integration and self-identification of Viennese modernism // Ivanovo State University Bulletin. Series «The Humanities». 2020. No.1. P. 42-55.