The Viennese Waltz

Satiricized by Strauss II to highlight the deceptive aristocratic class, under Schoenberg, Mahler, and Weberns pens the waltz became the pivot between the conscious and unconscious, forcing a paralytic second state analogous with the stagnation of the Habsburg Empire. The Viennese Waltz shows how, between 1864 1928, the waltz altered from signifier of upper-class artificeto the link between man and nature and between Viennese and Other. Hood wields the Freudian concepts of the uncanny and the doppelgnger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subjects place in society.