Josef wine lifter

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Wine lifter bust in Vienna's Schillerpark

Josef Weinträger (born March 9, 1892 in Vienna - Ottakring ; † April 8, 1945 in Kirchstetten , Lower Austria ) was an Austrian poet and storyteller.

Weinheber's work has always polarized supporters and opponents and is still the subject of aesthetic, ideological and political controversies today. He is valued as a cozy Viennese native poet, was revered as a poet prince, was one of the most widely read poets of his time, but is also considered a pronounced Nazi poet. Weinhub put his work in the service of National Socialism , which enabled him to become an important actor in the cultural policy of the Third Reich, and was considered by the National Socialists to be "the most important living lyric poet of the present".

life and work


Weinifte was the son of a butcher and a seamstress , his father bought and sold cattle along the Wien River to Vienna. Weinhub spent his childhood in a small house in Purkersdorf . After his parents separated, he was initially sent to a correctional facility at the age of six and later, from 1901 to 1909, to the Hyrtl'sche orphanage in Mödling . During his school days he was a co-founder and vice president of the Pennal fraternity Anninger . Since he had no university degree and the age of twelve orphan was, he worked as a casual laborer, worked as a servant brewing "on the cursed barley soils", chopped as Fleischhacker assistant horsemeat on, was coach and tutor . From 1911 to 1932 he was a postal worker, first in post office 61 at the Westbahnhof, after six months he applied to the kk post and telegraph directorate for Austria under the Enns (Vienna 3, Hetzgasse 2). Towards the end of the war, there were conflicts with his superior and he was banished to Post Office 102 in Hellgasse in Ottakring. But after just six weeks he was resumed in what would later become the Post and Telegraph Directorate for Vienna, Lower Austria and Burgenland .

From the feeling of his experiences of social declassification , Weinträger developed as a lonely and misunderstood lone warrior "the imperious consciousness, all on his own, gifted with language, self-sufficient and without the background of a bourgeois educational environment" to emerge as a poet, influenced by Rainer Maria Rilke , Anton Wildgans , Richard From 1912 he wrote poems for Dehmel and Walt Whitman , especially for the Ottakring cohort he co-founded and attended the Free Lyceum high school . The work of Karl Kraus gave Weinträger suggestions in the way of understanding language, and by reading the torch , Weinträger found perfection in his art of language. He was on friendly terms with fellow writers Mirko Jelusich (one of the key figures in Nazi cultural policy in Austria) and Robert Hohlbaum .

In 1918 Weinträger resigned from the Catholic Church in order to be able to marry the Jew Emma Fröhlich as a non-religious person. In 1927 he became a Protestant on the occasion of his second marriage . On January 26, 1944, Weinträger returned to the Catholic Church.

Weinheber's writing career began in 1919 with articles in the satirical and humorous magazine Die Muskete . In 1920 Weinheber's first volume of poetry, Der einsame Mensch, was published. After the unsuccessful volume of poetry Von both Ufern was published by Wiener Burgverlag in 1923, Weinheber could not find a publisher for the next three years until he published the volume of poetry Boot in der Bucht in Krystall-Verlag in 1926 . In 1924 the autobiographical novel Das Waisenhaus came out as one of his few prose works , which the Arbeiter-Zeitung had previously published in sequels.

In 1926 Weinträger decided: “I don't want to be a poet, I want to be 'the' poet. If poetry is said, it should mean wine lifter, wine lifter and poetry one and the same. "


Vienna literally (1935)

With his volume of poetry Adel und Untergang (1934), the 42-year-old wine lifter suddenly became famous after a decade and a half of bitter struggle for public recognition and became one of the most respected lyric poets of his time. The collection of poetry was published by the national and national Adolf Luser publishing house. After the title, Weinträger saw it as the order of the day to take up the fight of “the nobility” against doom. The poet is asked to “create meaning in front of empty altars in a meaningless world”. Weinhub developed the fixed idea of the artist's mission to preserve the divine in people in a secularized world.

Weinheber's collection of poems Vienna literally (1935), lyrical milieu and character studies, some of which are written in the Viennese dialect , became particularly popular . Influenced by the "eminent linguistic spirit of Nestroy ", which was imparted to him by Karl Kraus ( Nestroy and posterity, 1912), Weinträger drew a portrait of his hometown along the various layers of the dialect. In it there is the proverbial line “Was net Vienna, if net durt, where ka Gfrett is, ans wurdt” (It wouldn't be Vienna if there wasn't one where there was no trouble) or “When i, you understand what you have to do, i schoffert olles o "(If I, you understand, had something to say, I would do away with everything) and the poem Der Phäake about the excessive eating habits of a Viennese:

I have nothing else, so I like to have
a good Papperl , dear Lord,
to luncheon , I treat myself to
a dish of meat , a Krügerl beer ,
pushing on and off a Gollasch one,
(can, of course, a Bruck meat to be).

The casserole describes the “typical Viennese folk soul” who suspects everything in a crowd in front of a sausage stand , revolution, murder, theft, whereby it turns out that someone just wanted to change money.

"What is there? What is happening? ”-“ It seems to me that it is fun. ”
“ Sane, folks, we can't bless anything. ”-“ Go, print di fiari, trust! ”
“ Aha, an Diab ham s' arrestiert. "-" A wolfhound has bissn. "
" Sagn S ', sir, what happened then? "-" A Baumberl hot he gschmissn. "
" With so whos bless s' kan Wochmann net, the women can blush . ”
“ Heart attack? Terrible! "-" D 'rescue is scho durt around the corner, the hosts . "
" Danger of collapse when Würschtelstand! "-" Göl, the durt is the killer? "
" Of crooked Gschau! He is stretched on the platters and thrown utterly. ”
“ Well, finally an inspector , sixt? ”-“ Don't make a casserole! ”
“ He's hot eahm scho. Now, friend, peck. ”-“ You, there is nothing to laugh about!
You go with! "-" Because'm gspannt i. "-" You revoltiern the streets! "
" I've only do the Würschtlstand ten can change wolln ... "

In 1936, Weinträger received the Mozart Prize from the Goethe Foundation in Munich . In his acceptance speech he said: “I have now come to a certain extent to name. But fame seems to me by and large to be a misunderstanding. When I look at the judgments about my work today, I sometimes long for the sad, beautiful times of my being outcast. ”The publication of the essay In the Name of Art, announced by Verlag Langen-Müller for autumn 1936, in the wine lifter against the Blood and soil literature and polemicized against the National Socialist literary policy failed because of the tightening conditions of the Third Reich .

With O Mensch, gib Acht (1937), an "edifying calendar book for townspeople and country people", Weinheber set a monument to his rural homeland in 12 monthly cycles with 7 poems each, the poetry book leads through the rural annual cycle, the festivals of the church year and the rural Regional customs. The book had a total print run of 30,000 copies until 1941 and was then no longer published after criticism from the Reichsleiter of the NSDAP, Robert Ley .

Weinheber's main poetic work is the cycle Between Gods and Demons (planned title: Zwischenreich ) , which includes 40 odes, from 1938, allegedly a claused “literary polemic directed against the Third Reich and its milieu” (Friedrich Jenaczek), which he wrote in his house wrote in Kirchstetten (Lower Austria) from summer 1937 to summer 1938. His lyrical variations on musical instruments, which appeared under the title Chamber Music (1939) and lead into the sphere of intimacy, self-reflection, love and music, which are sung about or also imitated in this book, such as the sound characteristics of musical instruments, are also known :

First violin:
I, in love with the beauty of this world,
give it my own beauty.
The world is without an abyss.
My heart is pouring out. I am just a song: I sound.

In the magazine Der Augarten, the publication organ of the Viennese poets' circle founded by Mirko Jelusich in 1939 with the permission of the Reichsschrifttumskammer . a. Bruno Brehm , Hermann Graedener , Max Mell , Karl Hans Strobl and Josef Wenter , the nineteen poems On Language appeared in 1940 , and Janus and Der Leichnam were written in spring 1941 .

Poetic style

Weinhub used the most varied forms of poetry in his poems since antiquity , which he saw as a connection to Western humanitas . He learned Latin, Greek and Italian autodidactically. From this he developed the entire repertoire of forms of the linguistic craft with ancient, Romanesque and oriental verse and stanza types such as ode , hymn , sonnet , terzine and ghazel and described himself as a “ disciple of Horace ”, the ancient verse became the standard that guided him "Like the blind a sure hand". His editor Ernst Stein referred to him as " Hyperion from Ottakring ". Weinhaber conducted linguistic studies, for example about the meaning and meaning of the individual letters. As a translator, Weinträger translated ancient Greek and Latin texts into German and wrote adaptations of the sonnets by Michelangelo and Shakespeare .

The Schopenhauer - and Nietzsche -Leser wine lifter was filled with a deep pessimism , suffering and suffering of the world meant to him fundamental categories of existence since his youth. The reading of the Jewish philosopher Otto Weininger strongly influenced him, the contrast between "Spirit and Gender", which he presented in his main work Gender and Character as male autonomy, led him to believe that salvation from the "lower" world of sexuality , Drive , business and politics can only come through the "man-mind". He saw the present as “rotten time” that threatened to destroy “the human”, and he blamed liberalism, which pervades all areas of life .

Gird yourself like this: You have to walk
timelessly through injustice and right;
and when God calls, yes, to stand up
against a whole generation!

In his hymn to the German language (1933), Weinträger glorified it as the essential identity of the German language and the German people, for him it was “mother tongue and mother tongue at the same time” and, as “a bright mother, a dark lover”, increasingly merged with the national language Ideology : “You give the master the power of command and humility to the slave. You give the dark the dark and the light the light. You call the earth and the sky: German. (...) our language! Who we speak to you with grace, dark beloved! We who are silent in awe, holy mother! "

Time and again, Weinträger made a commitment to language, for example in 1941 at a reading to young students:

“Every people has its own peculiar powers and in each one millions of people put their thoughts and feelings down in language. The language is an unheard of spiritual document of the nation that speaks it. It is a real denomination, a confession that kneels down in the world's confessional. There is therefore no greater danger to a people than not to appreciate their language. A people does not perish because of lost wars, but because it is exhausted from within, gives up its language, the standard language of its poets and thinkers, and commits high treason against itself. "

Weinträger described the content of his work - "No one was such a people" he wrote about himself in 1943 with the words "loneliness, primal fear, piety".

time of the nationalsocialism

Confession book of Austrian poets (1938) on the connection of Austria to the German Reich (published by the Association of German Writers Austria )
The contributions in the confession book

As early as 1931, Weinträger joined the NSDAP in Austria for the first time (membership number 782.298), from which he expected support for his “struggle” as an artist. In 1933 he became head of the department for literature in the Austrian Combat League for German Culture . His anti-Semitism attributed the causes of his initial literary failure to the "Jewish infiltration of the Austrian cultural scene". As president of the association of down-to-earth artists , he named the “three-quarter Jews” Hugo von Hofmannsthal and the “full Jews” Stefan Zweig as “foreign minorities” and “racial enemies” among his colleagues . Weinifte was also one of the informants of the "Judenverlag hunter" Will Vesper and provided him with inside information, according to which he launched defamation campaigns against writers and publishers in his literary magazine Die Neue Literatur .

After the prohibition of the NSDAP in Austria in 1933, Weinträger moved closer to the politics of the corporate state and at the beginning of 1935 wrote a hymn entitled The Fallen, a tribute to the authoritarian Austrian Chancellor and founder of clerical Austrian fascism , Engelbert Dollfuss , who was murdered by illegal National Socialists in July 1934 . which was performed by the Burgtheatre actor Georg Reimers on the occasion of a ceremony in the Great Vienna Musikvereinssaal on January 12, 1935 in the presence of the entire government under Federal Chancellor Kurt von Schuschnigg . In the same year, the Weinträger Prize and Ring was presented to the German-Austrian Writers' Cooperative.

At that time, Weinträger was still skeptical about an annexation of Austria to the German Reich, after the experiences with political reality on his first two trips to Germany in 1936 had sobered him. Wilhelm Szabo described his attitude as follows: “According to all that I had heard rumors about wine lifter so far, he was to be regarded as an outspoken connection friend. I was all the more astonished to hear him speak the word almost passionately about Austrian independence. Better a small-scale, but independent Austria, as he said dryly, than a flourishing one that the Piefkes bought in it. (...) He showed a strong disappointment with the development in Hitler's Germany. " Wein Reseller addressed the archangel Michael in a calendar book with the request:" You light-haired and black, / what is German, serves you with silence - (...) ) Let's not scream for Germany's honor, / less 'Germany', that's more. "

In 1936 Weinträger became a member of the Association of German Writers in Austria , which split off from the PEN Club in 1934 because some writers had written a protest against the persecution of German writers in the course of the book burning in March 1933 . The members of the federation, in which members and sympathizers of the NSDAP came together to form an illegal cover organization, worked energetically towards the Anschluss in order to “pave the way for the liberation of their people and complete it”.

After the annexation of Austria, Weinträger participated in the Confession Book of Austrian Poets in 1938 (published by the Association of German Writers in Austria ), which enthusiastically welcomed the annexation. In the hymn to the homecoming, which was performed by Ewald Balser on April 20, 1938 (Hitler's birthday) during a festival performance in the Burgtheater , Weinheber wrote: “This in the name of the people! / This in the name of blood! / This in the name of suffering! ”And in April 1938 he wrote the following verses on the occasion of the referendum on the connection of Austria :

Germany, eternal and great,
Germany, we greet you!
Germany, holy and strong,
Führer, we greet you!
Home, happy and free,
home, we greet you!

In the late summer of 1938, after the initial disappointments of the Anschluss euphoria, Wein Leber contemplated emigration. When Otto Basil was arrested by the Gestapo in 1938 for “mocking the Führer” , Weinheber successfully campaigned for his release. Weinhaber soon took a political stance both through his speeches and through a reading trip to Switzerland and became part of National Socialist cultural policy. He wrote greetings to Adolf Hitler (the leader and ode to the streets of Adolf Hitler) and the ode blood and steel. In a lecture at the Greater German Weimar Poets' Meeting in 1938, he described Erich Maria Remarque's forbidden bestseller in the West as nothing new as “evil, devious” and “aimed at destroying the German essence” and countered Adolf Hitler's Mein Kampf as “the book that we Germans, all Germans in the world, have given back the consciousness of our being, our strength, our greatness and our duty ”.

For Hitler's 50th birthday on April 20, 1939, Weinträger wrote a radio play in which he declared the swastika to represent the union of men and women. The swastika is the apotheosis of the imperial regalia and is thus a refuge of loyalty to the “leader sent by God”. In 1941 Weinhebels accepted the Grillparzer Prize provided by the Hamburg Alfred Toepfer Foundation FVS from Propaganda Minister Joseph Goebbels , and he became the most famous poet of Nazi Germany.

On his 50th birthday in 1942, Weinheber received the Ring of Honor from the City of Vienna , on the occasion of a celebration in the Palais Lobkowitz , Richard Strauss presented him with two Weinträger songs, and on March 18, 1942, he was awarded an honorary doctorate from the University of Vienna . In Kirchstetten it was celebrated with a folk festival and in Neulengbach with a street renaming. In Weinheber's poem With Fifty Years (published posthumously in 1947 in Der Turm ) it says:

Perhaps that one late, when all this is long over,
understands the terrible, the torture and the scream
and how I willed it and how I did it badly;
of fear, repentance and renewed madness -
and how at last I am completely addicted to nothing.

On May 23, 1944, Raoul Aslan recited Weinheber's prologue for the 75th anniversary of the State Opera , which said: “We experience death as the transfiguration of being”. After the interruption in 1933, Weinträger rejoined the NSDAP in 1944 (with retroactive effect from January 1, 1941, as he had previously been refused entry with reservations). At the end of August 1944, Adolf Hitler added him to the God-gifted list of the most important writers of the Nazi Reich, which saved him from working in the war.

For Weinheber's biographer Albert Berger , Weinhaber became “although a party member, anti-Semite and supporter of the union”, but “by no means a simple Nazi poet”.

Wine lifter, who was ill with alcohol ( no way out! Ergo: leave me my wine! 1921), which earned him the nickname “Heurigenhölderlin” coined by Leopold Liegler , and who suffered from sleep disorders and depression , chose as the red one on April 8, 1945 Army (see Vienna Operation ) was already in the process of conquering Vienna, suicide through an overdose of morphine .


Weinheber's grave in the garden of his house in Kirchstetten

Weinheber's role and artistic emphasis sparked a long-lasting debate in the literary world in post-war Austria. His artistic career can be regarded as exemplary for “an aesthetic conception that, irritated by the signals of the avant-garde, committed itself to a classicist tradition oriented towards the 'old truth' with emphatic anti-modernism”. In the Soviet occupation zone Weinheber became blood and steel. Drei Oden (Eduard cue note, Potsdam 1941, series of publications by the press department of Reichsminister Dr. Todt , volume 4) and in the German Democratic Republic The Fallen. The legacy ( Langewiesche-Brandt , Ebenhausen 1941) was placed on the list of literature to be discarded.

Theodor Kramer , who went into exile in 1938, recalled Wein Leber in his 1945 requiem for a fascist :

So you were drawn to them who were marching;
who knows when you became
aware of the signs that adorned them on the march into nowhere ?
You lie down on the day of judgment.
I would have killed you with my own hand;
But none of us had the patience
to tell you the way in your language:
Your death is ours, it is also my fault.

In 1975, the anti-fascist Austrian poet Wilhelm Szabo published personal memories of Weinträger under the title Two Faces , which describe the contrast between Weinheber's compliant public stance and the “almost passionate outbursts of hatred against the Nazis” in private conversations and the incompatible “connection between art and power “Thematize. In 1947 Szabo published an elegy to a dead poet in the volume of poetry Das Unbefehligte .

His former editor Ernst Stein tried in the time , to apologize Weinheber affinity for Nazism by "political Non-hitting awareness" and "simplicity", "When it took overnight fame - soon after 1933 -, the man went to the double-edged success is based." Weinheber's volume of poems Hier ist das Wort was published posthumously in 1947 (still in print in 1944, but could no longer be published), which contains self-accusations. One critic called Weinträger "I ran amok". In 1947 the magazine Der Turm presented two previously unpublished, self-critical poems from Weinheber's estate, which contained self-reproaches and justifications, At the age of fifty and When I was still alive ...:

Who lived like me? And knocked so
hard on the wall of the world
and would be
right to the brim like me against any time ? When I was still alive
I had to go to the flowers. Over now.
Committed to rule by higher power,
I insist on power:
I live on.
It was night there. Not here. Here is the word.

In 1950 the book Confession to Josef Weinuchter was published. Memories of his friends, with contributions from 44 former Nazi supporters and authors of the Nazi era, who clearly claimed Wein Elevator as a kindred spirit and thus branded him as a Nazi poet, as u. a. Paul Alverdes , Franz Karl Ginzkey , Mirko Jelusich , Heinz Kindermann , EG Kolbenheyer , Karl Heinrich Waggerl , Hans Friedrich Blunck , Bruno Brehm , Wilhelm Schäfer , Will Vesper and the Germanist Josef Nadler , who wrote a wine lifter biography in 1952 and worked together from 1953 to 1956 published a first, “cleaned” complete edition of Weinheber's works with Hedwig Weinträger, which is faulty and problematic in many ways.

It was not until 1994 that a new edition of the Complete Works (re-edited by Friedrich Jenaczek after Josef Nadler and Hedwig Weinheber) in the third volume also made Weinheber's Nazi poems accessible for the first time.

In 1956 the Josef Weinuchter Society was founded, which subsequently "took part in the post-war propagation of an explicitly anti-modern image of the wine elevator" and "the posthumous iconization in the sense of the old national-conservative camp, which took on certain life-history developments"

In 1958 Paul Hindemith composed twelve wine lifter madrigals based on his poems, Ernst Pepping published the song cycle Der Wagen in 1942 . A circle of songs based on poems by Josef Weinheber from 'O Mensch, gib Acht' for mixed choir a capella, Felix Wolfes set the poems To a Butterfly (1952) and To a Dead One (1960) to music .

In 1997, the Lexikon der Weltliteratur (editor Gero von Wilpert ) rated Weinheber as “one of the most important Austrian poets of the 20th century, with a high level of formal art and linguistic culture as well as intellectual depth, shaped by ancient and classical German educational ideal and occidental-humanistic tradition . "

In 2005, Marcel Reich-Ranicki included four of Weinheber's poems (I love death, Biedermeier, December also Christmond and Im Grase) in his canon of German poetry and remarked: “In the canon of German literature I edited, authors do not become political in recognition of their own Good conduct recorded, but their literary achievements. This also applies to Josef Weinträger. "

In 2006 the yearbook of the Austrian Goethe Society said:

“Today's reader has to fight his way through a tangle of willful or involuntary misinterpretations if he intends to approach Josef Weinheber's work. Uninhibited access seems to be guaranteed only to a limited extent. Whether defamed as a pre-fascist oracular Holderline pig or belittled as the urban homeland poet of Viennese humiliation, whether dismissed as an empty virtuoso of form or because of his richly rumored bon mot 'In Ruah lose!' In response to Goebbels' question about the possibility of state influence for the benefit of poetry, reinterpreted as a resistance fighter - there was (and still is) no shortage of different readings of Weinheber's poems and just as numerous different assessments of his person to meet the respective need for opinion in the cultural industry, and self-service should be should be assumed. "

Even today, Weinträger is represented in Austrian school reading books with his poems and is often performed in programs of Viennese poetry. Actors like Michael Heltau ( Vienna in poetry, 2001), Hilde Sochor ( I am a child of the city, 2007) and Karlheinz Hackl , Heinz Holecek , Miguel Herz-Kestranek , Michael Dangl more recently and before that Albin Skoda , Ewald Balser , Mathias Wieman , Fred Liewehr , Richard Eybner or Paula Wessely and Attila Hörbiger and, above all, Oskar Werner (Truth and Legacy) have integrated Weinhaber poems into their recitation programs or recorded them on record.

In 2005, Roland Neuwirth from the Extremschrammeln set to music under the title All my poets, in addition to a poem by Ingeborg Bachmann, and Auf der Veranda by Josef Weinheber.

Political controversy

In 2009, the Greens unsuccessfully demanded that Josef-Weinträger-Platz be renamed Ottakring .

Weinhub has been an honorary member of the Academy of Fine Arts since 1942 . The revocation was last discussed in 2010, Rector Eva Blimlinger wanted to think about it. The removal of his bust on Schillerplatz in front of the academy, which was created by Josef Bock in 1940 and placed on a granite plinth by the sculptor Heribert Rath in 1975, was also requested .

In September 2010, the mayor of Vienna, Michael Häupl , who lives in the Ottakring district where Weinheber was born , said that anyone who wanted to understand Ottakring must have read Weinträger. The Greens criticized this statement.

In October 2010, the Ottakring district council decided to install additional plaques at the three Josef Weinheber memorial sites in Ottakring at the request of the Greens with the consent of the SPÖ and ÖVP. In 2013, however, these were not visible at Josef-Weinträger-Platz, for example, and an additional board was installed there in 2015.

Audio samples

The actor Oskar Werner was an enthusiastic interpreter of Weinheber and recited his poems a. a. on his tour in 1962 (together with poems by Goethe , Schiller , Rilke ) and 1967 in New York and also recorded Weinträger for the record in his poetry anthology Truth and Legacy (artist / chamber music / you sometimes look at me / aisle in the Spring / Adoration of the child / Mother with the child / With half a vote / The pensioners / Grinziger Weinsteig / Waasst? Net? Understand? / The presidentialist / In the court house / The wedding day / Street folk / Ballad of the little man / The housewife and that Girls / It wouldn't be Vienna / The waiter to the monastery / The Phäake / The casserole / Hymn to the Kahlenberg).

Albin Skoda's recordings of Weinheber's poems ( Disappeared Vienna, The Pensioners, The Little Man's Ballad, Hymn to the German Language, etc.) have been reissued as an audio book Albin Skoda speaks Josef Weinheber . In 1954, Ewald Balser recorded poems by Weinträger ( November - In this bitter time, Allerseelen, Caesar mors and others), which was published as an audio book under the title The Creator dies, Creation comes to years .

Honors and honors

Memorial plaque in front of the former orphanage in Mödling
Memorial stone on Kahlenberg

There are memorial plaques and memorials for Josef Weinheber, etc. a. as an inscription on the poet's stone Offenhausen , on which the names of around 400 ethnic and / or National Socialist poets are engraved as a "contribution in stone to saving the honor of the Nazi authors who were discredited and 'incriminated' 'in 1945", in the Ottakring district museum, at the Rudolf- von-Alt-Platz 5 (1968), on the terrace of the Kahlenberg near Vienna a memorial with the last lines of the poem: Hymnus auf den Kahlenberg (1964), in the Kirchstetten wine- lifting community (elementary school and wine-lifting house with library and museum , Josef- Weinträger -Kindergarten ), on the Feihlerhöhe in Purkersdorf (1967), a Weinhubbrücke in Kirchstetten, the Josef-Weinheber-Hof in Koppstraße, Vienna 16 (1969) and streets with his name in Mödling , Maria-Anzbach , Neulengbach , Böheimkirchen , Preßbaum -Bartberg, St. Pölten , St. Martin near Linz and Wels . In Vienna- Ottakring (16th district) the Josef-Weinheber-Platz is named after him.

In 1975, Weinheber's bronze bust made in 1940 by Josef Bock was set up on Schillerplatz in Vienna . After it was stolen, it was refilled in 1991 and fastened to prevent theft. This memorial was artistically redesigned under the title: Wine lifter excavated in 2019 on the initiative of the History Policy Platform and a group of students and teachers from the Academy of Fine Arts .

Catalog raisonné

  • The lonely man. Poems. EP Tal, Leipzig / Vienna / Zurich 1920.
  • From both banks. Poems. Burgverlag, Vienna 1923.
  • The orphanage. Novel. Burgverlag, Vienna 1925 (a preprint appeared in the Arbeiter-Zeitung in 1924 ).
  • Boat in the bay. Poems. Krystall-Verlag, Vienna 1926.
  • Nobility and decline. Poems. Adolf Luser Verlag, Vienna-Leipzig 1934.
  • Vienna literally. Poems. Adolf Luser Verlag, Vienna-Leipzig 1935.
  • A lonely heart. Poems. Paul List Publishing House, Leipzig 1935.
  • Poems. Verlag der Blätter für die Dichtung, Hamburg 1935.
  • Late crown. Poems. Albert Langen / Georg Müller, Munich 1936.
  • German greetings from Austria. Poems. Adolf Luser, Vienna / Leipzig 1936.
  • O man, be careful! An edifying calendar book for townspeople and country folks. Poems. Albert Langen / Georg Müller, Munich 1937.
  • Self-portrait. Poems from twenty years. Albert Langen / Georg Müller, Munich 1937.
  • Between gods and demons. Forty odes. Poems. Albert Langen / Georg Müller, Munich 1938.
  • Chamber music. Poems. Albert Langen / Georg Müller, Munich 1939.
  • Documents of the heart. Poems selected from the complete works. Poems. Albert Langen / Georg Müller, Munich 1944.
  • Here is the word. Poems. Otto Müller Verlag , Salzburg 1947.


  • Albert Berger : Josef Weinträger (1892–1945). Life and work - life in work. Müller, Salzburg 1999, ISBN 3-7013-1003-3 .
  • Friedrich Jenaczek: Josef Weinträger 1892-1945. Exhibition organized by the Josef Weinheber Society in the Austrian National Library, December 7, 1995-31. January 1996. Kirchstetten: Josef Weinheber Society. 1995.
  • Albert Berger: Gods, demons and earthly: Josef Weinheber's poetic metaphysics. In: Klaus Amann and Albert Berger (eds.): Austrian literature of the thirties. Böhlau, Vienna 1985, ISBN 3-205-07252-9 .
  • Friedrich Heer : Josef Weinträger from Vienna. In: Frankfurter Hefte , 8, 1953, pp. 590–602.
  • Christoph Fackelmann: Josef Weinheber's art of language and its readers. Approaches to the shape of the work from a historical perspective. Lit, Vienna / Münster 2005, ISBN 3-8258-8620-4 .
  • Fritz Feldner: Josef Weinträger. Documentation in pictures and words. Das Berglandbuch, Salzburg u. a. 1965.
  • Edmund Finke: Josef Weinträger. The man and the work. Pilgram, Salzburg 1950.
  • Franz Koch: Josef Weinträger. Langen / Müller, Munich 1942.
  • Eduard Kranner : When he was still alive. Memories of Josef Weinträger. Faber, Krems 1967.
  • Adolf Luser (Ed.): Josef Weinheber. Personality and creativity. With contributions by Karl Maria Grimme, Friedrich Sacher , Adalbert Schmidt and Josef Weinheber. With color pictures after paintings by Josef Weinheber, a portrait drawing by Edwin Grienauer and a portrait woodcut by Prof. Herbert Schimkowitz . Adolf Luser Verlag, Vienna / Leipzig 1935.
  • Josef Nadler : Josef Weinträger. Story of his life and poetry. Müller, Salzburg 1952.
  • Heinrich Zillich (ed.): Confession to Josef Weinheber. Memories of his friends. Akad. Joint publishing house, Salzburg 1950.
  • Josef Weinhaber: Dandelions. In: Benno von Wiese (Ed.): Deutsche Lyrik. Form and history. Interpretations. From the Middle Ages to the present . 2 volumes. Düsseldorf 1957.

Web links

Commons : Josef Weinuchter  - Collection of images, videos and audio files


  1. a b Alexander Martin Pfleger: Unrecognized language critic. Christoph Fackelmann's study examines the art of Josef Weinheber and its readers. In: , No. 6, June 2007.
  2. ^ Christoph Fackelmann: The art of language Josef Weinheber and its readers. Approaches to the shape of the work from a historical perspective. Lit, Vienna / Münster 2006, ISBN 3-8258-8620-4 .
  3. ^ A b Manfred Bauer: Josef Weinheber: Poet prince and Nazi poet. In: Purkersdorf Online, December 29, 2006.
  4. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 713–715.
  5. Josef Nadler: Josef Weinträger: History of his life and his poetry . O. Müller, Salzburg 1952, p. 33 .
  6. a b c d e Albert Berger: Josef Weinheber. About the nobility and the decline. In: Kritische Ausgabe , 2/2004, pp. 80–82 ( PDF; 134 kB ).
  7. ^ A b Edwin Hartl : Josef Weinheber as homo politicus. In: Isabella Ackerl (ed.): Spiritual life in Austria during the First Republic. Oldenbourg, Munich 1986, ISBN 3-486-53731-8 , pp. 42-53.
  8. Vienna Gfrett . In: Der Spiegel . No. 42 , 1966 ( online ).
  9. Hermann R. Leber: Magical ambivalence? An experiment about Weinheber's beginnings. In: Heinrich Zillich (Ed.): Confession to Josef Weinheber. Memories of his friends. Academic joint publishing house, Salzburg 1950.
  10. a b Vienna's street names since 1860 as “Political Places of Remembrance” . Final research project report, Vienna July 2013, pp. 199f. (PDF; 4.4 MB).
  11. a b c d Ernst Klee : The culture lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5 , p. 652.
  12. ^ Wine lifter, Josef . In: aeiou Austria Lexicon .
  13. ^ A b Murray G. Hall : Krystall-Verlag (Vienna-Leipzig). In: Austrian publishing history 1918–1938. Böhlau, Vienna / Cologne / Graz 1985, ISBN 3-205-07258-8 .
  14. a b Wilhelm Szabo : Two faces. Encounters with Josef Weinträger. In: Josef Weinträger (1892–1945). Exhibition catalog. St. Pölten 1992.
  15. ^ Entry on literature, Austrian in the Austria Forum  (in the AEIOU Austria Lexicon ).
  16. ^ Association of German writers Austria (ed.): Confession book of Austrian poets. Krystall Verlag, Vienna 1938.
  17. ^ Theodor Verweyen : Book burnings. A lecture on the occasion of the 65th anniversary of the "Action against the un-German spirit". Winter, Heidelberg 2000.
  18. ^ Peter Diem : The symbols of Austria. Kremayr & Scheriau, Vienna 1995, ISBN 3-218-00594-9 , p. 271, digitized online in the Austria Forum .
  19. Gerhard Scheit, “We experience death as the transfiguration of being”. Music location Vienna in the Third Reich. Lecture given on March 16, 2002 in Vienna's Old Town Hall. In: Café Critique.
  20. ^ Josef Weinträger: Complete Works. Edited by Josef Nadler and Hedwig Weinträger. Volume 2. Salzburg 1954.
  21. Albert Berger: Poet conflict under the Nazi regime: "The end presents itself as completion". Josef Weinheber's poetry from the forties ( Memento from September 4, 2006 in the Internet Archive ). In: Orbis Linguarum. Vol. 19/2002.
  22. Liegler was referring to Viennese dialect poetry and not to alcohol consumption. Cf. L. [eopold] L. [iegler]: Viennese dialect poems [review of Josef Weinheber: Wien literally]. In: Wiener Zeitung, August 26, 1935, 6. Can be read on the ANNO online platform. Austrian Newspapers Online.
  23. Manfred A. Schmid: Wine lifter: Lies like printed. In: Wiener Zeitung , November 12, 1999 (accessed December 5, 2013).
  24. ^ German administration for popular education in the Soviet zone of occupation: List of the literature to be sorted out. Zentralverlag, Berlin 1946.
  25. ^ Ministry of National Education of the German Democratic Republic: List of literature to be sorted out. Third addendum. VEB Deutscher Zentralverlag, Berlin 1953.
  26. ^ Heinrich Zillich (ed.): Confession to Josef Weinheber. Memories of his friends. Academic joint publishing house, Salzburg 1950.
  27. Christian Weinträger-Janota & Christoph Fackelmann: Foreword. In: Annual literary scholarship of the Josef Weinheber Society. New episode 2008/2009. Lit, Vienna / Berlin / Münster 2009, ISBN 3-643-50027-0 ( PDF; 144 kB ).
  28. ^ Gero von Wilpert (Ed.): Lexicon of world literature. Vol. 2: Biographical-bibliographical concise dictionary based on authors and anonymous works . Dtv, Munich 1997, ISBN 3-423-59050-5 , p. 1611.
  29. Ask Reich-Ranicki: Stick to your last. In: Frankfurter Allgemeine Zeitung , January 16, 2006.
  30. Green indignant: Haupl quoted wine lifter. In: Der Standard , September 8, 2010.
  31. Wine lifter memorial sites have additional signs. In: The community. Official organ of the Israelitische Kultusgemeinde Wien. October 2010, p. 15 ( PDF; 1.41 MB ).
  32. Additional board on Josef-Weinträger-Platz reminds of the Nazi era. In: Retrieved March 16, 2019.
  33. Karl Müller: Statement on the "Dichterstein Offenhausen" for the district administration Wels-Land (March 1998). ( Memento from September 24, 2009 in the Internet Archive ) In: Aurora-Magazin, October 12, 2000.
  34. Thomas Trenkler : One would have to be Brad Pitt. In: Der Standard , October 6, 2009.
  35. Wine lifter excavated art in public space - Vienna 2019 (accessed on November 26, 2019).

See also

  • Weinebene (there the profession of wine lifter is explained, from which the family name could be derived)