Thomas Trummer In Austria's history there is no date with serious ...

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and dramatic play as a means of communication. Thus the pictures of
identity are not linguistic or cognitive, but passionate and performative.
Its root is the theological programme, its form follows the main medium
of this programme, namely the persuasive power of the rousing
sermon. In contrast to the written speech of the Enlightenment, Austria’s
identity is based on a community of listeners to a theological speech.
Kapfer takes Father Aviano as his example; he could also have chosen
Abraham a Santa Clara or other names from his extensive notes. It is
not the single case that is important, but the topic. From Kapfer’s perspective
and the way he analyzes history the preachers seem to be those
who are responsible for conveying that hostility against the enemies.
They represent the unity of church and state and, in addition to that,
smash the social boundaries between authorities and the people that
serves them. The parallels to today’s political practices are definitely
intended. It is characteristic that the preachers who serve in the interests
of politics use language that can be understood by anyone, as it
says in the brochure Prayer-Apostle-Saviour of Vienna about Aviano.
Unlike German and French intellectuals – just think of Heine’s Speech
to the Germans in this respect – who try to speak written language in a
refined style, these preachers speak the vernacular language close to
the people. About Aviano it appreciatively says: ‚Never did he blather
on cleverly, never did he make any concessions to vanity. He wanted to
be understood by everybody and wanted to achieve everything for
everyone.’ (Marco d’Aviano. Prayer-Apostle-Saviour of Vienna, edited
by the provincial of the Capuchin friars, Linz n.d., p.11.) This primer
lists the blessed Father’s theatrical merits. As he is such an exemplary
figure, he is given a monument near the Imperial Burial Vault during
the time between the two world wars: ‚Dramatic facial expressions,
the voice, and above all […] tears show the extraordinary excitement.’
(Ibid, p.12.) The 20 th century bronze sculpture portrays the preacher
in this sense. He is raising the cross heavenwards, giving a warning like
a flag, keeping away evil spirits like a light-producing torch. The focus
of his gestures is really outside his body and nevertheless he is allowed