By Janet Stewart
This publication seeks to increase our realizing of Adolf bathrooms and his function within the fight to outline the character of modernity in Vienna on the flip of the 19th century. publication hide; Half-Title; name; Copyright; commitment; Contents; Illustrations; Acknowledgements; Introduction(s); 1 Investigating and excavating; 2 the opposite; three The Self; four The exhibit and cover of distinction; five finding the narrative; end; Notes; Bibliography1; Index
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Extra info for Fashioning Vienna: Adolf Loos's cultural criticism
Example text
In the remaining chapters, the focus shirts to the interior; tracing the manner in which a variety of signifiers interact and combine in Loos’s texts, the study goes in search of further instances of paradox. A double perspective informs the analysis throughout. As well as carrying out a semiotic analysis of Loos’s texts, there is also an awareness of Loos’s own role as semiotician as he employs strategies for INVESTIGATING AND EXCAVATING 43 reading the artefacts of his culture and reconstructing his own modes of signification.
According to a review of one of Loos’s later and most controversial lectures, ‘Viennese woes’ (1927): Soon the first disturbances were heard. ’ Vigorous hissing ensued, which was drowned out by applause almost immediately. Minutes passed before Loos could continue. […] There were many noisy interruptions, each lasting a few minutes. (Wiener Allgemeine Zeitung [1927] 1985a:96) At the beginning of the twentieth century, journalism and the private-public space of the coffee-house provided the social and economic foundation for a life of flânerie; newspapers and journals provided the location in which images of modernity could be sold (Benjamin 1982:559).
27 The speaker also accumulated cultural capital through the lecture form which could be used as a vehicle for self-presentation or, in Habermasian terms, for ‘dramaturgical action’ (Habermas 1984:90–4). Referring to Erving Goffman’s (1971) study of self-presentation in everyday life, Habermas identifies this type of action as an encounter between audience and speaker, in which the speaker, by presenting certain features of his subjective world, is intent on being seen and accepted in a certain way by the audience.