A Comparative Investigation of Thomas Mann's Der Zauberberg and TS
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Idea of the West in the Magic Mountain Literary and Cultural Approaches
Master of Arts Thesis Euroculture University of Groningen Palacký University of Olomouc March 2012 Idea of The West in The Magic Mountain Literary and Cultural Approaches Submitted by: Gonca Topal S2043831 Supervised by: Professor W.E. Krul Dr. Jozef Matula Goettingen, Germany 20.03.2012 Table of Contents I. Introduction …....................................................................................... 1 I.i.Introduction to the Novel and Translations ........................................... 2 I.ii Methods of Analysis …......................................................................... 3 I.iii Specific Approach to the Novel and Past Studies ..….......................... 5 I.iv Defining 'The West' Through Literature …................….................... 8 II. Settembrini and Castorp …..................................................................... 11 II.i Initial Impressions on Settembrini …................................................... 11 II.ii Castorp's Links to Mann …................................................................. 14 II.ii.i Tradition …................................................................................ 16 II.iii Settembrini the Pedagogue …............................................................ 18 II.iii.i Classicism …............................................................................. 19 II.iv The Initial Advice …........................................................................... 19 II.v Settembrini's Links to Mann ….......................................................... -
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. -
RILKE and the MODERNIST TRADITION: a BRIEF LOOK at “ARCHAIC TORSO of ••• APOLLO”* Pyeaam ABBASI**
Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 24 Volume: 6 Issue: 24 Kış 2013 Winter 2013 www.sosyalarastirmalar.com Issn: 1307-9581 RILKE AND THE MODERNIST TRADITION: A BRIEF LOOK AT “ARCHAIC TORSO OF ••• APOLLO”* Pyeaam ABBASI** Abstract The twentieth century is associated with drastic changes as well as disintegration of old beliefs and grand narratives. Modern poets felt that it was high time they searched for new potentialities of language and made changes in form in order to express and explore changes the world was experiencing. The oneness of the world within and the world without is not peculiar to Rilke. He explores human consciousness as well as the interaction between human and the non-human world. This paper argues that his poetry is an invitation to the reader to participate and create. In “Archaic Torso of Apollo” the transfixed poet finds the torso full of life and vitality, a complete work of art and suggestive of the modernist tradition. As a modern poet Rilke would see the world within and the world without as the same aspects of each other. He believes that existence consists of interactions between things and the perceiving selves and that the inner world, familiar to our consciousness, is continuous with, even identical to, the material world we think of as exterior to our conscious selves. The interaction between the poet (subject) and the torso (subject) creates the sense of transformation. The article concludes that transformation seems to be the most critical change that the modern man needs to experience in the chaotic and disjointed world of the 20 th century. -
“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. -
Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
The Cultural Ecology of Elisabeth Mann Borgese
NARRATIVES OF NATURE AND CULTURE: THE CULTURAL ECOLOGY OF ELISABETH MANN BORGESE by Julia Poertner Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia March 2020 © Copyright by Julia Poertner, 2020 TO MY PARENTS. MEINEN ELTERN. ii TABLE OF CONTENTS ABSTRACT ………………………………………………………………………………... v LIST OF ABBREVIATIONS USED ………………………………………………………….. vi ACKNOWLEDGEMENTS ………………………………………………………………….. vii CHAPTER 1: INTRODUCTION ……………………………………………………………… 1 1.1 Thesis ………………………………………………………………... 1 1.2 Methodology and Outline ………………………………………….. 27 1.3 State of Research ……....…………………………………………... 32 1.4 Background ……………………………………………………….... 36 CHAPTER 2: NARRATIVES OF NATURE AND CULTURE …………………………………... 54 2.1 Between a Mythological Past and a Scientific Future ……………………. 54 2.1.1 Biographical Background ………………………………………... 54 2.1.2 “Culture is Part of Nature in Any Case”: Cultural Evolution ……. 63 2.1.3 Ascent of Woman ………………………………….……………… 81 2.1.4 The Language Barrier: Beasts and Men …….…………………… 97 2.2 Dark Fiction: Futuristic Pessimism …………………………………….. 111 2.2.1 “To Whom It May Concern” ………………….………………… 121 2.2.2 “The Immortal Fish” ………………………………………….…. 123 2.2.3 “Delphi Revisited” ……………………………………….……… 127 2.2.4 “Birdpeople” …………………………………………….………. 130 CHAPTER 3: UTOPIAN OPTIMISM: THE OCEAN AS A LABORATORY FOR A NEW WORLD ORDER ……………………………………………….…………….……… 135 3.1 Historical Background …………………………………………………. 135 3.1.1 Competing Narratives: The Common Heritage of Mankind and Sustainable Development ……………………………………….. 135 3.1.2 Ocean Frontiers and Chairworm & Supershark ………………... 175 3.1.3 Arvid Pardo’s Tale of the Deep Sea …………………………….. 184 3.2 Elisabeth Mann Borgese’s Cultural Ecology ………………………….. 207 iii 3.2.1 Law: From the Deep Seabed via Ocean Space towards World Communities ……………………………………………………. 207 3.2.2 Economics ………………………………………………………. 244 3.2.3 Science and Education: The Need for Interdisciplinarity ………. -
The Waste Land: a Personal Grouse
The Waste Land: A Personal Grouse Leon Surette University of Western Ontario Eliot¶s Waste Land must be the most discussed and analyzed poem of its length in the language, yet, for all that, it is perhaps still the most contested of all poems firmly ensconced in the canon. Initially receivedat least by its boostersas an articulation of the alienation, disillusion and scepticism of the young twentieth century, it has since been attacked from many anglesas reactionary, mystical, homosexual, anti-Semitic, elitist, phallocentric andperhaps most damaginglyas a con. The last criticism comes from the rather acid pen of Lawrence Rainey, who denounces the whole of Modernist art DV OLWWOH PRUH WKDQ ³D VWUDWHJ\ ZKHUHE\ WKH ZRUN of art invites and solicits its cRPPRGLILFDWLRQ´ (3).1 The Waste Land, Rainey says, was ³DQ HIIRUW WR DIILUP the output of a specific marketing-publicity apparatus through the enactment of a triumphal and triumphant occasion´ 7KHUHLVQRGRXEWWKDWWKHSXEOLFDWLRQRIThe Waste Land was orchestrated by Eliot, Pound, and Eliot¶s Harvard friend, Schofield Thayer, co-editor of The Dial, but if we are to condemn all artworks whose creators indulged in self promotion, the canon would shrink radically. Of course, the poem has its defendersindeed, they are legion; however, few any longer defend the poem¶V ³P\WKLFDO PHWKRG´DIHature emphasized by early boosters and by Eliot himself. 5RQDOG %XVK IRU H[DPSOH GLVPLVVHV WKH ³)UD]HU DQG :HVWRQ LPDJHU\´DV³VXSHULPSRVHGSLHFHPHDORQWRVHFWLRQVWKDWKDGEHHQ ZULWWHQHDUOLHU´an assessment with which it is difficult to disagree. +RZHYHUKHJRHVRQWRVXUPLVH³WKDW(OLRWKDGVRPHNLQGRIVKRUW- lived religious illumination during the process of re-envisioning the IUDJPHQWVRIKLVSRHP´ WKHUHE\SURVSHFWLYHO\GHIHQGLQJLWIURP Rainey¶s accusations of manipulative career buildingwhich it certainly was. -
Poetics and the Waste Land
Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree May 2016 Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom © Wassim Rustom 2016 Poetics and The Waste Land: Subjects, Objects and the “Poem Including History” Wassim Rustom http://www.duo.uio.no Abstract The aim of this thesis is to trace key elements of the poetics that produced The Waste Land, T. S. Eliot’s landmark work of modernist poetry. Part I of the thesis examines the development of the Hulme-Pound-Eliot strand of modernist poetry through a focus on the question of subjectivity and the relationship between philosophical-epistemological ideas and modernist poetics. It traces a movement from a poetic approach centred on the individual consciousness towards one that aims to incorporate multiple subjectivities. Part II offers a complementary account of Eliot’s shift towards a more expansive scope of subject matter and of the fragmented poetic structure of The Waste Land. The argument is based on Jacques Rancière’s analysis of the modern regime of poetics dominant in the West since the Romantics, which identifies “literature” with the “life of a people” and is characterized by an inclusive logic that poeticizes ordinary subjects, objects and fragments. To my parents Contents Introduction.........................................................................................................................1 Part I 1 Early Modernism and Turn-of-the-century Philosophy: Subjectivity and Objectivity...9 1.1 Subjectivity and Narrative Technique................................................................................ -
The Waste Land by T
The Waste Land by T. S. Eliot Copyright Notice ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2007 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/waste−land/copyright Table of Contents 1. The Waste Land: Introduction 2. Text of the Poem 3. T. S. Eliot Biography 4. Summary 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Topics for Further Study 11. Media Adaptations 12. What Do I Read Next? 13. Bibliography and Further Reading 14. Copyright Introduction Because of his wide−ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922—first in his own literary magazine Criterion, then a month later in wider circulation in the Dial— it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern. -
Albert Schweitzer: a Man Between Two Cultures
, .' UNIVERSITY OF HAWAI'I LIBRARY ALBERT SCHWEITZER: A MAN BETWEEN TWO CULTURES A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LANGUAGES AND LITERATURES OF • EUROPE AND THE AMERICAS (GERMAN) MAY 2007 By Marie-Therese, Lawen Thesis Committee: Niklaus Schweizer Maryann Overstreet David Stampe We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Languages and Literatures of Europe and the Americas (German). THESIS COMMITIEE --~ \ Ii \ n\.llm~~~il\I~lmll:i~~~10 004226205 ~. , L U::;~F H~' _'\ CB5 .H3 II no. 3Y 35 -- ,. Copyright 2007 by Marie-Therese Lawen 1II "..-. ACKNOWLEDGMENTS T I would like to express my deepest gratitude to a great number of people, without whose assistance, advice, and friendship this thesis w0l!'d not have been completed: Prof. Niklaus Schweizer has been an invaluable mentor and his constant support have contributed to the completion of this work; Prof. Maryann Overstreet made important suggestions about the form of the text and gave constructive criticism; Prof. David Stampe read the manuscript at different stages of its development and provided corrective feedback. 'My sincere gratitude to Prof. Jean-Paul Sorg for the the most interesting • conversations and the warmest welcome each time I visited him in Strasbourg. His advice and encouragement were highly appreciated. Further, I am deeply grateful for the help and advice of all who were of assistance along the way: Miriam Rappolt lent her editorial talents to finalize the text; Lynne Johnson made helpful suggestions about the chapter on Bach; John Holzman suggested beneficial clarifications. -
A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events. -
The Fragmentation of Imagism It Was 1912, and a New Mode of Poetry Was Taking Root
The Fragmentation of Imagism It was 1912, and a new mode of poetry was taking root. Sparked by the ideas of T.E. Hulme and from distaste of the drippy sentimentalism of the Romantic era (Britannica “Imagist”), Ezra Pound, Richard Aldington, and H.D. literally wrote the rules of Imagism. Their dry, concise look at an image or “complex,” as Pound described it, helped lay the foundation for modernist poetry. However, the Imagists’ granite rules could not ensure strict adherence to their form, not even from founding members of Imagism themselves. As the years went by, the Imagists themselves grew weary of their own form by both their own admittance and through their later works. Ezra Pound was the first leader of the Imagist movement, and his autocratic grip on the concept of Imagism may be partly to blame for the fragmentation of the movement. Pound makes it quite clear that, “At least for myself, I want [twentieth-century poetry] so, austere, direction, free from emotional slither (“A Retrospect” 23).” He carefully selected and edited poems for published volumes of Imagist poetry, but the appearance of the popular and wealthy poet heiress Amy Lowell swept in a new democratic format for the group’s publications. Authors were to select what they considered their best work, without the stamp of approval from Pound deeming it true to the Imagist credo (Bradshaw 159). Amy Lowell and Ezra Pound clashed quite famously over the direction Imagism would take, as seen in Lowell’s poem to Pound, harshly dubbed “Astigmatism.” The poem pulls no punches; the analogy is clear in Lowell’s image of the Poet smashing lovely flowers of all kinds, saying “They are useless.