This chapter explores the cultural history of Vienna as a story of modernity, space, and power, from the late nineteenth century construction of the Ringstrasse to the postwar building of Red Vienna. It traces the city’s particular version of the geographical emotions of modernism, concentrating upon how the city’s architectural spaces helped shape an ‘inward turn’ in the mood or stimmung (Heidegger) of the modernism produced here, often producing notions of spatial phobias. It also analyses the importance of coffee houses as cultural spaces, and the ‘outsider’ figure of Jewish writers and thinkers in the city. After discussion of key Viennese figures such as Sigmund Freud and Robert Musil, it then traces how Anglophone visitors such as John Lehmann, Naomi Mitchison (in her Vienna Diary), Jean Rhys, and Stephen Spender (in his neglected long poem Vienna) represented the mood of the city in the interwar years. The chapter concludes with an analysis of Carol Reed’s 1949 film The Third Man.
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