The essay tells the story of three artefacts from Vienna, starting with the silent film Die Stadt ohne Juden (1924) through the theatrical sensation at the turn of the century Die Klabriaspartie (1890) back to the year of the world exhibition in 1873, in which a type photograph of a Jewish peddler was made. With their respective specifics, they can only be understood in the local context, but the artifacts are nevertheless woven into European contexts of experience and traditions of thought. Her investigation provides insights into the world of ideas of the Jewish in Viennese modernism and...