"We have always believed that Queen Victoria defined the mores of the nineteenth century. Yet Peter Gay, one of our most eminent cultural historians, asserts in this radical work that it is the sexually emboldened Viennese playwright Arthur Schnitzler (1862-1931), the most influential Austrian writer of his time, who provides a better symbol for the age." "In a set of nine closely linked chapters, each focusing on major topics of bourgeois life, Gay synthesizes three decades of far-ranging research, presenting a lucid reinterpretation of the nineteenth-century middle class - its passions, politics, religion, and anxieties - that we can only think we know well. Extending his examination back to 1815, at the close of the age of Napoleon, Gay chronicles a hundred-year period that witnessed not only the emergence of the middle class but also the birth of a culture that remains vital today. Throughout Schnitzler's Century, he does justice to the complexity of the era, showing that there was superstition as well as science, cruelty as well as humanity, anxiety as well as Eros. But digging deep into bourgeois life all the way from Philadelphia to Moscow, London to Rome, he has recognized a general Victorian style through the Western world, however colored each country was by characteristic local habits." "Schnitzler's Century is not revision for its own sake, but for the sake of the truth about the past. With the daring Viennese playwright Arthur Schnitzler as his companion, Gay provides startling perspectives on once-familiar subjects. Schnitzler's Century provides astonishing insights into an age that made us largely what we are today."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Peter Gay's inquiry into the ideas and sensibilities which dominated nineteenth-century culture is one of the great achievements in modern historical writing. This is the fifth volume. Peter Gay's The Bourgeois Experience: Victoria to Freud has revolutionized our thinking about the nineteenth century as a whole and particularly about its dynamo - the middle classes. Gay's achievement is to summarize the interior life, the mentality of the nineteenth century. In uncovering the roots of modernism, he shows us a hidden side of the Victorian era. The Victorians we meet in this volume are not the stodgy, complacent characters of drawing room comedy. They are instead a varied crowd, from the capitalists in the top tier of the bourgeoisie eager to be recognized as gentlemen or, better yet, dubbed as nobility, to those at the bottom of the pile, the clerks and craftsmen mortally afraid of sinking into the mass of the proletariat. What they share is an anxiety, driven by their concern to advance up the social pyramid or at least to maintain the status they have achieved. Some of the individuals in this richly peopled narrative turn on their own class, none more bitterly than Gustave Flaubert; others celebrate their success, whether in Manchester or Munich, by sponsoring symphony orchestras or establishing museums; still others become cultural hunters and gatherers, turning their newly acquired fortunes to the private accumulation of art, ranging from the "safe" works of the old masters to the daring innovations of the Impressionists. The stage is thus set for the explosion of modernism accompanied by an inevitable reaction against the subversive avant-garde of artists, composers, and writers as varied as Cezanne, Picasso, Stravinsky, Shaw, Ibsen, and Zola. No one reading this concluding volume of Peter Gay's magnificent reevaluation of the nineteenth century will ever again use the term Victorian as a synonym for dull.