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Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M. Larner Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES BENJAMIN BRITTEN AND LUCHINO VISCONTI: ITERATIONS OF THOMAS MANN’S DEATH IN VENICE By JAMES M. LARNER A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of James M. Larner defended on 17 April 2006. Caroline Picart Professor Directing Dissertation Jane Piper Clendinning Outside Committee Member William Cloonan Committee Member Raymond Fleming Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is lovingly dedicated to my wife Janet and my daughter Katie. Their patience, support, and love have been the one constant throughout the years of this project. Both of them have made many sacrifices in order for me to continue my education and this dedication does not begin to acknowledge or repay the debt I owe them. I only hope they know how much I appreciate all they have done and how much I love them. iii ACKNOWLEDGEMENTS I wish to thank the four members of my dissertation committee for their role in the completion of this document. The guidance of Kay Picart as director of the committee was crucial to the success of this project. -
“On Translating Thomas Mann. Edited with an Introduction and Commentary by Henry I. Mac Adam
SCRIPTA JUDAICA CRACOVIENSIA * Vol. 7 Kraków 2009 Edith Simon “ON TRANSLATING THOMAS MANN” Edited with an Introduction and Commentary by Henry I. MacAdam After all, every translator knows that translating is a sort of trick, a device like the sleight-of-hand operator’s to attract attention to something in order to distract it from something else. Lowe-Porter 1966, 196. Without her [Lowe-Porter’s] translations, the name of Tho- mas Mann might well be as little known to the English- speaking world as that of his brother Heinrich. Thirlwall 1966, vi. Introduction Among the literary papers of the late Edith Simon (1917–2003) is a typescript essay entitled “On Translating Thomas Mann.” Internal evidence suggests that it was written in the late 1960s, approximately 40 years after Mann’s monumental Der Zauberberg (1924) was translated into English as The Magic Mountain (1928) by Helen Tracy Lowe-Porter. Simon’s essay is critical of the quality of Lowe-Porter’s translation of The Magic Mountain and is full of suggested re-translations as well as a closer look at several images embedded in German culture, e.g. language; literature, mytho- logy/folklore – that Mann drew upon for “special effects” in the epic novel that ensured his nomination for and acceptance of the Nobel Prize for Literature in 1929 (the politicized head of the Nobel Committee cited Buddenbrooks as the reason for the award). Simon wrote her essay at a time when Lowe-Porter’s rendition of Mann’s major works was still garnering plaudits from reviewers. That essay by Simon, published here for the first time, and another shorter essay on writing historical fiction, are part of her creative legacy now archived within her art studio in Edinburgh, Scotland. -
DEATH in VENICE by THOMAS MANN Viviane Ramos De Freitas
THE PLACE OF DESIRE IN THE CIVILIZATION: DEATH IN VENICE BY THOMAS MANN Viviane Ramos de Freitas Orientador: Prof. Dr. Gregory Dart ABSTRACT This work establishes a dialogic exchange between Thomas Mann’s novella Death in Venice and Freud’s text “Civilization and its discontents”. The work examines the ways in which the Freudian developments on the opposition between the individual’s instincts and civilization underlie the protagonist’s conflicts in Death in Venice. Mann wrote Death in Venice between 1911 and 1912, more than a decade before “Civilization and its discontents” was published. Yet Mann’s hero, the 53-year-old artist Gustav von Aschenbach, seem to embody the modern civilized man divided by the neurotic conflict described by Freud. Moreover, this text explores the ways in which Eros is bound up with Death in Mann’s novella, in which homoerotic desire appears tied to disease, degradation, and death. By focusing on the Freudian theories on Eros and the death drive, as well as on the Nietzschean opposition between the Dionysian and Apollonian artistic worlds, the text aims to examine the imbrications between desire and art, desire and death, desire and civilization in Death in Venice. Keywords: Art. Civilization. Death drive. Eros. Homoerotic desire. RESUMO Este trabalho estabelece um dialogo entre a novela Morte em Veneza, de Thomas Mann e o texto “O mal-estar na civilização”, de Sigmund Freud. O trabalho examina de que formas as elaborações freudianas a respeito da oposição entre as pulsões do indivíduo e a civilização está refletida nos conflitos do protagonista de Morte em Veneza. -
Aschenbach Crosses the Waters: Reading Death in Venice in America
$VFKHQEDFK&URVVHVWKH:DWHUV5HDGLQJ'HDWKLQ9HQLFH TobiasLQ$PHULFD Boes Modernism/modernity, Volume 21, Number 2, April 2014, pp. 429-445 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/mod.2014.0039 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v021/21.2.boes.html Access provided by University of Notre Dame (30 Jun 2014 12:52 GMT) Aschenbach Crosses the Waters: Reading Death in Venice in America Tobias Boes The year 2012 marked the centenary of Thomas Mann’s novel- MODERNISM / modernity la Death in Venice, one of the foremost examples of transnational VOLUME TWENTY ONE, literary modernism. The term “transnational” is admittedly much NUMBER TWO, overused in contemporary criticism, but it applies perfectly in this PP 429–445. © 2014 case, for one of the great paradoxes of Thomas Mann’s career is JOHNS HOPKINS that although he was perhaps the most self-consciously “German” UNIVERSITY PRESS of all great modernist writers, he reached the height of his fame and influence only after he had been exiled from Hitler’s Reich and had made a new name for himself in the United States.1 Between 1933 and 1945, his books became increasingly difficult Tobias Boes is to obtain in his native country. At the same time, a new audience Associate Professor of German at the discovered his works in America, where the publisher Alfred A. University of Notre and Knopf advertised him as “the world’s greatest living author,” the the author of Formative Book of the Month Club distributed hundreds of thousands -
THOMAS MANN's INTERPRETATIONS of DER TOD in VENEDIG and TMEIR RELIABILITY by Herbert Lehnert
THOMAS MANN'S INTERPRETATIONS OF DER TOD IN VENEDIG AND TMEIR RELIABILITY by Herbert Lehnert One of the last comments by Thomas Mann on his Der Tod in Venedig is found in a letter to Franz H. Mautner, the author of a valuable study on the Greek elements in Mann's st0ry.l In this letter Mann claimed his memory to be the source of an Odyssey quotation in the text. Homer's verses, he writes, had been well preserved in his memory from his days as a boy. There is ample evidence, however, that the source for the Homer quotation in the text was Erwin Rohde's Psyche, a book from which Mann also took other material for Der Tod in Venedig.2 Why did he not name Rohde's book as a source of Der Tod in Venedig? Psyche is a most respectable book, written in a beautiful style rarely found among German scholars, and it is still recognized as the standard work on the topic, namely the Greek beliefs concerning the existence of the soul after death. Could he have forgotten the rather elaborate process, that we can reconstruct, of not only reading the book, but also pencil-marking some passages, excerpting some of these, and then using them in the story? This is quite possible after forty years, although he still owned the book when living in his last home in Switzerland, and placed it in his library among works on mythology which he used for Joseph. He had mentioned his early knowledge of classical legends much earlier in "Kinderspiele" (1904). -
Death and Beauty: Deliverance from Mortality in the Works of Thomas Mann and Yasunari Kawabata
1 Death and Beauty: Deliverance from Mortality in The Works of Thomas Mann and Yasunari Kawabata Divided by nearly a generation and by culture, it is not surprising that Thomas Mann and Yasunari Kawabata each took death as a major theme. As products of nations with great martial traditions and ones steeped in a variously Christian and Buddhist/Shinto tradition, and confronting the challenges that the twentieth century with its fascist movements and cataclysmic wars presented, the works of Mann and Kawabata serve to illustrate how modern man confronts destructive and transformative change by turning to the certainties and traditions of the past. If, as Mann’s biographer and Marxist critic Georg Lukács suggests, Mann described “the conflicts …in the psychological and moral realms” connected to the historical developments of his day (“Bourgeois” 471), Kawabata, for his part vowed to write nothing but elegies following Japan’s ignominious defeat in World War II (Petersen 155). Accordingly, death, with its intimate companions disease, loss and decay, becomes in both bodies of work a foreboding presence. Unremitting gloom is not, however, what Mann and Kawabata deliver. While the characters in the stories studied here struggle with the dark aspects of life, they also experience moments of surpassing beauty. These moments are often depicted through secondary characters of youthful innocence and purity, virginal youth unsullied by the corrupting influence of sexual experience. These archetypal characters represent a connection to traditional values; through them the main protagonists grasp meaning as their reality shifts and time presses on them. They offer a promise of redemption from the loss and pain that are the ultimate gifts of time, and from illness and death itself. -
I. Childhood and School Days
I. Childhood and School Days L¨ubeck, 1877 CHRONICLE 1875–1894 Thomas Mann, or to be precise, Paul Thomas Mann, was born on June 6, 1875, in L¨ubeck and baptized as a Protestant on June 11 in St. Mary’s Church. His parents were very refined people: Thomas Johann Heinrich Mann, born in L¨ubeck in 1840, and Julia Mann, n´ee da Silva-Bruhns, who had seen the light of day for the first time in 1851 in Brazil. His father was the owner of the Johann Siegmund Mann grain firm, further a consul to the Netherlands, and later the senator overseeing taxes for L¨ubeck, which joined the German Empire as an independent city-state in 1871. His mother came from a wealthy German-Brazilian merchant family. His older brother Hein- rich was born in 1871; the siblings born later were Julia, 1877; Carla, 1881; and Viktor, 1890. As was customary in his circles, instead of entering the public primary school or elementary school, from Easter 1882 on, Thomas Mann attended a private school, the Progymnasium of Dr. Bussenius, in which there were six grades. In addition to the three primary-school classes, there were the first, second, and third years of the secondary school. He was held back for the first time in the third year and had to repeat it. He transferred at Easter 1889 to the famed Katharineum on L¨ubeck’s K¨onigstrasse. Since he was to be- come a merchant, he did not attend the humanistic branch but rather the mathematical-scientific branch. -
Myth Plus Psychology' in Death in Venice
5 ΥMyth plus Psychology’ in Death in Venice ∗ Samira Sasani ∗∗ Zahra Sadeghi Abstract: In the twentieth century, writers turned their attention to the past and used myth in their works. It is a wrong notion to think of modernity as a rejection of tradition and just in search of novelty since there is a strong connection between modernity and tradition. Thomas Mann is different from his contemporaries in the attention he pays to the past as well as the present. This article examines the importance of the relation of Thomas Mann to both myth and psychology. The significance of the mixture between modernity and tradition, the contemporary elements and the mythological figures, myth and psychology in his masterpiece Death in Venice is going to be discussed. Keywords: Mythology, Psychoanalysis, Thomas Mann, Death in Venice , Aschenbach Introduction Tradition is the foundation of modernity and in this way, modernity, with all its quest for novelty and its dreams about new ways of being, is dependent on the past. In the nineteenth century, romantic revivals of the Middle Ages flourished in Europe and historiography paved its way through many works of literature. It began with Giambattista Vico’s discovery of the myth as the element of novelty fully expressed in his Scienza Nuova or the New Science . He has studied philosophy, philology, and classics that had great influence on his views about history, historiography, and their close connection with culture. Johann Gottfried Herder was another influential figure whose works and ideas are fully represented in German Romanticism. It is noteworthy here to mention Sigmund Freud and his insistence on the importance of our past and the danger of our refusal to remember our own preconscious past. -
Hamburg Ballet
2007 Spring Season Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Death in Ven ice A Dance of Death by John Neumeier A free adaptation of the novella by Thomas Mann The Hamburg Ballet Approximate BAM I h:1iVey Ineater IfdWpyIl6,1,."a-, P/~~ f/:f" running time: Feb 7-10,2007 at 7:30pm two hours and 30 minutes, Music by Johann Sebastian Bach and Richard Wagner one intermission Choreography and staging by John Neumeier Scenic design by Peter Schmidt Costume design by John Neumeier and Peter Schmidt Lighting concept by John Neumeier Concert piano Elizabeth Cooper BAM 2007 Spring Season is sponsored by Bloomberg. Forest City Ratner Companies is the presenting sponsor for Death in Venice. BAM Dance receives major support from The Harkness Foundation for Dance and Mertz Gilmore Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation, and Capezio-Bal/et Makers Dance Foundation. Hamburg Ballet Ballettintendant (Artistic Director) John Neumeier Managing Director Ulrike Schmidt Principal Dancers Silvia Azzoni , Helene Bouchet, Joime Boulogne, Laura Cazzaniga , Heather Jurgensen, Barbora Kohoutkova , Anna Polikarpova Thiago Bordin, Otto Bubenieek, Carsten Jung, Alexander Riabko , Lloyd Riggins, Ivan Urban Soloists Carolina Aguero, Kusha Alexi, Georgina Broadhurst, Catherine Dumont, Niurka Moredo Peter Dingle, Dario Franconi, Amilcar Moret Gonzalez, Arsen Megrabian, Stefano Palmigiano, -
A Comparative Investigation of Thomas Mann's Der Zauberberg and TS
Bourgeois Ambivalence: A Comparative Investigation of Thomas Mann’s Der Zauberberg and T. S. Eliot’s The Waste Land by Primrose May Deen Young A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The thesis explores important similarities and differences between responses to bourgeois society in Thomas Mann’s Der Zauberberg (1924) and T. S. Eliot’s The Waste Land (1922). It examines these texts’ presentations of the shifting morality of bourgeois culture, the prevailing sense of paralysis and fragmentation at the beginning of the twentieth century, and compares the authors’ use of allusions to myth, and their explorations of concepts of time. However, by considering the ambivalent responses to bourgeois society as they are presented within these texts, and a selection of Mann and Eliot’s other creative and critical works, the thesis also highlights significant differences in the authors’ responses to bourgeois society, which are indicative of the broader divergent traditions in which they positioned themselves. -
Buddenbrooks: the Decline of a Family
THOMAS MANN Budden brooks THOMAS MANN was born in Germany in 1875. He was awarded the Nobel Prize for Literature in 1929, and left Germany for good in 1933. Among his major novels are Buddenbrooks (1901), Th e Magic Mountain (1924), the tetralogy joseph and His Brothers (1933, 1 934, 1 936, 1 943), and Doctor Fa ustus (1948). He is equally well known for his short stories and essays. Thomas Mann died in 1955· INTE RNATIONAL ALSO BY THOMAS MANN Th e Black Swan Confessions of Felix Krull, Confidence Man Death in Venice and Seven Other Stories Doctor Fa ustus Th e Holy Sinner joseph and His Brothers Lotte in Weimar: Th e Beloved Returns Th e Magic Mountain Royal Highness Stories of Three Decades Th e Transposed Heads THOMAS MANN Budden brooks The Decline of a Family TRANSLATED FROM THE GERMAN BY joHN E. WooDs VINTAGE INTERNATIONAL Vintage Books A Division of Random House, Inc. New York fiRST VINTAGE iNTERNATIONAL EDITION, JULY I 994 Copyright © 1993 by Alfred A. Knopf, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in hardcover by Alfred A. Knopf, Inc., New York, in 1993. Library of Congress Cataloging-in-Publication Data Mann, Thomas, 1875-1955· [Buddenbrooks. English] Buddenbrooks : the decline of a family I Thomas Mann ; translated from the German by John E. Woods.- 1st Vintage International ed. p. em. ISBN o-679-75 z6o-9 I. -
Front Matter
Cambridge University Press 978-0-521-76792-7 - The Cambridge Introduction to Thomas Mann Todd Kontje Frontmatter More information The Cambridge Introduction to Thomas Mann Nobel Prize-winner Thomas Mann (1875–1955) is not only one of the leading German novelists of the twentieth century, but also one of the few to transcend national and language boundaries to achieve major stature in the English-speaking world. Famous from the time that he published his first novel in 1901, Mann became an iconic figure, seen as the living embodiment of German national culture. Leading scholar Todd Kontje provides a succinct introduction to Mann’s life and work, discussing key moments in Mann’s personal life and his career as a public intellectual, and giving readers a sense of why he is considered such an important – and controversial – writer. At the heart of the book is an informed appreciation of Mann’s great literary achievements, including the novel The Magic Mountain and the haunting short story Death in Venice. Todd Kontje is Professor of German and Comparative Literature at the University of California, San Diego. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76792-7 - The Cambridge Introduction to Thomas Mann Todd Kontje Frontmatter More information Thomas Mann in Lübeck, 1926. Buddenbrookhaus Lübeck. Reprinted with the generous permission of the Buddenbrookhaus Lübeck © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76792-7 - The Cambridge