THE PLACE OF DESIRE IN THE CIVILIZATION: DEATH IN BY

Viviane Ramos de Freitas Orientador: Prof. Dr. Gregory Dart

ABSTRACT

This work establishes a dialogic exchange between Thomas Mann’s novella 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 . 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. Mann escreveu Morte em Veneza entre 1911 e 1912, mais de uma década antes da publicação de “O mal estar da civilização”. No entanto, o herói de Mann, o artista Gustav Von Aschenbach, parece ser a personificação do homem moderno civilizado, dividido pelo conflito neurótico descrito por Freud. Além disso, o texto explora a ligação entre Eros e Morte na novela de Mann, na qual desejo homoerótico aparece associado à doença, degradação e morte. Através da leitura das teorias freudianas sobre Eros e pulsão de morte, bem como da abordagem nietzscheana sobre a oposição entre os mundos artísticos apolíneo e dionisíaco, o trabalho procura examinar a relação entre desejo e morte, desejo e arte, e desejo e civilização em Morte em Veneza. Palavras-chave: Arte. Civilização. Desejo homoerótico. Eros. Pulsão de morte.

RÉSUMÉ

Dans cet essai, un dialogue est instauré entre le roman de Thomas Mann Mort à Venise et l’essai de Freud Malaise dans la civilisation. L’auteur montre comment les idées de Freud sur l’opposition entre les instincts de l’individu et la civilisation se retrouvent dans les conflits

 Mestranda pelo Programa de Pós-Graduação em Literatura Inglesa pela University College London (UCL). E- mail: [email protected] Mots danscivilisation sur que ainsi la et désir mort, le que ainsi mort la et désir le l’art, et désir le deentre imbrications les interroge et vie de artistique mondes les instincts entre nietzschéenne des l’opposition mettant freudiennes En théories mort. les la et sur misère la l’accent maladie, la à lié semble homoérotique désir le que Thanatos et Eros entre étroits liens les examine l’essai est, plus Qui Freud. par décrit névrotique conflit du victime moderne, civilisé l’homme personnifie Aschenbach, von Gustav ans 53 de l’artiste Mann, de héros le que toutefois de publication la avant ans dix de plus 1912, de protagoniste du internes not only an exemplary writer who represents the interests of the German nation, but he he but nation, German the of interests the represents who writer exemplary an only not Asch block. writer’s of case acute an as itself manifests which crisis, personal a through going also is Aschenbach, von Gustav writer renowned the protagonist, the that read we below lines few A 197) p. 1998, (MANN, Europe.” of peace the over hang in Venice in fate hero of Mann’s warning p.97) ispredictive This ensue.”(FREUD, 2001b, is loss the “If instincts: powerful man’s of repression or suppression the of warns danger the against emphatically he and 87), p. 2001b, (FREUD, him” on imposes society which Freud, to According 134) p. 2001b, (FREUD, happiness.” of loss a is civilization in advance our for pay we price “the that say to further goes he discontents”, its and “Civilization up built were which system, totemic the of prohibitions the and animal totemic the killing against taboo the taboo, incest the with civilization of beginning the identifies Freud coe men protect to aimed that rules the presuppose laws these but same relations, toregulatetheiragainst mutual natureand and law the of inauguration the with founded was 1 IN THE SERVIC IN THE

co ad h rnnito o isics I “oe ad ao” FED 2001c), (FREUD, Taboo” and “Totem In instincts. of renunciation the and rcion pn h idvdas rnnito o sxa ad grsie ntnt. In instincts. aggressive and sexual of renunciation individuals’ the upon - clefs:

not compensated for economically, one can be certain that serious disorders will will disorders serious that certain be can one economically, for compensated not “a person becomes neurotic because he cannot tolerate the amount of frustration frustration of amount the tolerate cannot he because neurotic becomes person “a In the first lines of lines first the In Civilization problematic. been always has civilization the in desire of place The .

Art. Civilisation. Eros. MortVenise. à E OFE CIVILIZATION

Death in Venice in Death ot Venise. à Mort

Désir homoérotique

Viviane RamosFreitas de

we are told that “a “a that told are we

an écrit Mann aas dn la dans Malaise . Pulsion de mort.

s dionysien et apollinien, l’essai apollinien, et dionysien s dans le roman de Mann, en ceci en Mann, de roman le dans ot Venise à Mort

grave a threat se threat a grave civilisation.

nr 11 et 1911 entre

Il semble semble Il enbach is enbach emed to emed Death

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Revista Inventário- 11 ª edição- Jul.- Dez. - 2012- www.inventario.ufba.br. ISSN 1679-1347 3

Abjection patriotic a evokes that novel the work of author The a subject. Prussia, of Frederic on epic was biographical he his birthday, for fiftieth ennobled his In classics. national become books whose writer respectable coincidesWar, protagonist’s the with personal crisis. World First the of eve the on civilization, European the in crisis the that, fact the telling is it 1998, (MANN, collective Europeanandown sensibilitypsyche” by the his upon imposed tasks “the with concerned is He Europe. of writer representative a also is in whichthe and desire suppressed isstifled by morality. bourgeois of embodiment perfect a is art Aschenbach’s regard, this In instincts. the of mastery the on art his bases he harmony, balance, order, constraint, favouring In society. bourgeois of the supports largely and values bourgeois bourgeois affirms art formalist Freud. by Aschenbach’s described as Besides, 87), p. 2001b, (FREUD, ideals” cultural [society’s] of service the art artificial and calculated cold, his that expresses a sympathy lackand of humansufferings. passions for implied is It work. his of character repressive the sympat considers of kind every of he scepticism, which perfectionism, of moral all of “renunciation his Besides, 201). pursuit p. 1998, (MANN, talent” of essence in “innermost 201) p. of 1998, conception (MANN, feelings” the with formali essentially associates an of Freud favour in which creativity, impulse, and fantasy spontaneity, the t ascentan […] been haddevelopmententire his ofpurpose defiant and conscious“the that told are We community. the in stature his with concerned ultimately is protagonist Mann’s them, life austere decently “disciplined, their spent who officers military and servants civil prominent were forefathers legacy family the honours Aschenbach Finally, authority. education the by exemplary as with generations younger among esteem public of level high a attained also has He public. reading o dignity” p.206). (MANN, 1998, A Study in Abjection. Abjection. in Study A In multiple ways, Aschenbach is an artist in the service of civilization. civilization. of service the in artist an is Aschenbach ways, multiple In Mann’s hero is, thus, a typical case of inhi of case typical a thus, is, hero Mann’s stifles process creative His desire. of repression and restraint of art an is Aschenbach’s

enjoys the confidence and admiration of both the intellectual elite and the general the and elite intellectual the both of admiration and confidence the enjoys status quo status

The placeThe of desire inthe civilization:

. The formal and moral aspects of his art reflect the repressive structure structure repressive the reflect art his of aspects moral and formal The . in the service of the King and the state” (MANN, 1998, p. 202). Like 202). p. 1998, (MANN, state” the and King the of service the in Moreover, Aschen Moreover, Maya

hy with the abyss” (MANN, 1998, p. 207), p. 1998, (MANN, abyss” the with hy , the treatise the , bach’s conservative and formal style is held up up held is style formal and conservative bach’s st, classicist art. He “curbed and cooled his his cooled and “curbed He art. classicist st,

Death inVenice bition of sexual and aggressive instincts “in “in instincts aggressive and sexual of bition Intellect and Ar and Intellect

by Thomas Mann

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points to the to points A Study in Study A

He is a a is He the way way the -

his his imagination, as indicated bytreatise indicated his imagination,as his than more judgement his cultivated having Despite fastidiousness. perfectionist and scru by paralysed becomes he as fail it overcome to efforts his and 197) p. 1998, (MANN, point” dangerous he and difficult “a is reaches work only His threat. under Not is tether. his of creativity artistic his also end but 197), p. 1998, the (MANN, fatigue” to subject at “increasingly be to seems he where point CONFL NEUROTIC 2 THE 3 THE ERUPTION3 THE DE OF channelled are that energies libidinal erotic, the inhibited also he impulses”, fiery more “darker, he as that apparent becomes it However, impulse. Dionysian restraint and harmony flagra a shows clarity, of features Apollonian the in overreliance His artist. worlds, artistic Apollonian anc musician 202 p. 1998, (MANN, impulses” fiery more darker, “the repressed Aschenbach civilization, of service the in be could that art an of pursuit national him brought art] [his as “even that told are we when evident becomes that fact a desire, own his andby sacrificescivilization betweenthe imposed is torn protagonist Freud.Mann’s (MANN, 1998,p.201) al words, in joy his all it with taking by wings, its on art his up bear to on now from refusing by him, deserting by itself avenging now was emotion enslaved the that be it “Could him: from retreating are powers intuitive for his of favour in vehemently so impulses instinctual his renounced and desire his repressed Having desire. and imagination on hinges artist an of work the that aware is Aschenbach all, Above substance”. intellect “the above 20 p. 1998, (MANN,improvisation” ‘sparklingjoyful andthe Aschenbach’s portrait is that of an artist as an aging man, and we meet him at a at him meet we and man, aging an as artist an of that is portrait Aschenbach’s Aschenbach’s into the artistic creation. theartistic into estors. honour he took no pleasure in it himself” (MANN, 1998, p.201). In his In p.201). 1998, (MANN, himself” it in pleasure no took he honour nt disregard for the emotional, spontaneous and sensual qualities of the the of qualities sensual and spontaneous emotional, the for disregard nt Considering the Nietzschean opposition opposition Nietzschean the Considering

crisis dramatically acts out the neurotic conflict described by by described conflict neurotic the out acts dramatically crisis .

Aschenbach can be considered an essentially Apollonian Apollonian essentially an considered be can Aschenbach SIRE SIRE ICT

Viviane RamosFreitas de

Art and Intellectand Art l his appetite for the beauty of form?” of beauty the for appetite his l -

203) inherited from his maternal his from inherited 203) malist art, he feels now that his that now feels he art, malist , he laments that his work lacksworkhis that laments he ,

between the Dionysian and and Dionysian the between 1), a quality that he placesqualityhea 1),that repressed his Dionysian his repressed ples of distaste of ples exhausted,

Revista Inventário- 11ª edição- Jul. - Dez. – 2012 - www.inventario.ufba.br. ISSN 1679-1347 4

Revista Inventário- 11 ª edição- Jul.- Dez. - 2012- www.inventario.ufba.br. ISSN 1679-1347 5

period”. The combination of the boy’s perfect form with his “unique personal charm” charm” personal “unique his with form perfect boy’s the of nob combination the of The sculpture Greekperiod”. “a Greek of incarnation to the allusions as innumerable him and sees Aschenbach Eros mythology. god Greek the evokes 223) “god p. Tadzio’s 1998, 223). (MANN, p. 1998, (MANN, masterpiece” a by “confronted artist rapture and ecstasythe to compared are Tadzio of sight in experiences he exaltation and At first,contemplation ofTadzio’s his beauty be to purely seems aesthetic. The feelings ofjoy of beauty perfect the fourteen a Tadzio, by fascinated becomes he arrival, his of day the On Venice. in Lido f h Doyin hog te aaoy of “analogy the through Dionysian the of essence the describes Nietzsche states. Dionysian of images provide 241) p. 1998, (MANN, “enthusia as Aschenbach to references narrator’s The instincts. and passion of power the of revelation the them, with and, repressed cl is repressed the of experience: return a of concept Freudian repressed the instinct “[…] that argument Freud’s confirms protagonist Mann’s desires. repressed to but fulfilment, spiritual to “emotional intoxication” (MANN, 1998,p.237). him lead not does love Aschenbach’s experience, Platonic a as Form on itself, Beautyon “gazing is he imagines he Tadzio, admires he as regard, this In 239). p. 1998, (MANN, spirit” the to path lover’s the is “Beauty thus, form, spiritual visible only frequent the is Beauty His that beauty. of doctrine Plato’s dialogues Platos’s of from passages to termsallusions in feelings his interpreting by desire homoerotic his rationalises he as revealed is Tadzio, with infatuation his of aware becomes art, in or nature in seen, never has anything more beautiful. he think Aschenbach makes 219) p. 1998, (MANN,

Aschenbach’s need to flee his work eventually leads him to a beachfront hotel at the the at hotel beachfront a to him leads eventually work his flee to need Aschenbach’s shnahs oe o Tdi as bogt bu te insa iple long impulses Dionysian the about brought also Tadzio for love Aschenbach’s with infatuation Aschenbach’s of effects the of One character aesthetic the maintain to attempt Aschenbach’s ee cae t srv fr complete for strive to ceases never

The placeThe of desire inthe civilization: - year (MANN, transformed, strangely so now, him were to and returning service austere life’s his in out died the of dolours precious and early ago, long had had he Feelings - old boy who is staying with his family in the same hotel at the Lido. the at hotel same the in family his with staying is who boy old

thought of God” (MANN, 1998, p. 237). However, contrary to the the to contraryHowever, 237). p. 1998, (MANN, God” of thought 1998, p. 1998,

– 242)

e eonzd hm ih conf a with them recognized he t ad o i feig a “noiaig emotion” “intoxicating as feelings his to and st”

aifcin …” FED 20a p 4) The 42). p. 2001a, (FREUD, […]” satisfaction intoxication P haedrus

Death inVenice

and the and (ITSH, 00 p 2) and 22) p. 2000, (NIETZSCHE, ” al epesd y Aschenbach’s by expressed early

by Thomas Mann Tadzio is the upwelling of of upwelling the is Tadzio Symposium of his feelings, even as he he as even feelings, his of used and astonished smile. smile. astonished and used

heart, which had had which heart, ultimately argue ultimately

- like beauty” beauty” like of an an of lest lest Dionysian state” (NIETZSCHE, 2000,Dionysian p.32). (NIETZSCHE, state” self the by caused individuation of principle the soul the that can 238) and p. 1998, (MANN, states” proper its “forgets memory” and intelligence sensual our the bewitches of and “numbs heightening experience the that assertion Aschenbach’s excess. and mysticism exclusively th his to governed succumbs and which existence, moderation, aesthetic and rationality clarity, of principles Apollonian the abandons increasingly Aschenbach Tadzio, of spell the Under attribute. “collapse the with it associates “the joy the word sweetly” p.239).(MANN, of more 1998, feelsnow 249), p. 1998, (MANN, “war” a asart regardedhis “soldier”,who disciplined experience new con The 239). deeply p. 1998, (MANN, language” in dwells Eros that clearly “ discovery: a as Aschenbach artist aging the to comes Eros, of libidinal the endorses inspiration, artistic of nature foundation of the the as well on as fact,comment This narrator’s desire. homoerotic his is inspiration artistic his of source 24 p. 1998, (MANN, debauch” “ that notes Aschenbach Tadzio, by inspired artist’s essay his writing anfinished having After work. of artistic sources the knowing that ofte would claims inspiration narrator The creation. artistic of conditions and origins the on remarks makes he when question to Platonism hero’s the disreg achievement, and shape formsbody. asand hisstyle lineaments amodel, uponthe ofTadzio’s beauty boy’s the take can he that so ears, his in voice his of music the with presence, desireawakens his passion of erotic, The feeling of extreme pleasure and joy obtained by writing under the influence influence the under writing by obtained joy and pleasure extreme of feeling The spiritual of terms in work his of thinks Aschenbach while However, release the causes desires repressed Aschenbach’s of eruption the Furthermore,

libidinal energies that are potentially directed towards the artistic creation.His artistic the towards directed are potentially that energies libidinal trasts with the exhausting struggle that characterised his work. The The work. his characterised that struggle exhausting the with trasts i cncec see t b rpocig i a i atr oe id of kind some after if as him reproaching be to seemed conscience his the artistic creationthe artistic arding the sensual, or sexual motives involved, the narrator opens opens narrator the involved, motives sexual or sensual, the arding n confuse and shock readers and lead to a depreciation of the the of depreciation a to lead and readers shock and confuse n to write. He strongly wishes to work on an essayanTadzio’s on workin to wishes stronglyHewrite. to . 0).

of the the of

Viviane RamosFreitas de

shnahs eln o git niae ta the that indicates guilt of feeling Aschenbach’s Doyin ol o frls fu, music, flux, formless of world Dionysian e rniim individuations principium

- abandonment and “self and abandonment be associated with the collapse of collapse the with associated be

never had he known so known he had never , n Apollonian an ”, - oblivion of the of oblivion

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Freud, life consists in the “concurrent or mutually opposing action of these two instincts” instincts” two these of action opposing mutually or Accordi “concurrent the states. in inorganic consists life primeval, Freud, towards regression the cause and Eros, of aims articulate and constructive the against work powers destructive instinct’s or death The death energy. of “instinct the to opposition in conceived destructio be only can Eros Freud, For 118). p. (FREUD,2001b, unities” everlarger into it join to and substance living preserve “to goalis 4 sorts of cunning manoeuvres, like hiding in the church while Tadzio and his family attend attend mass. family his and Tadzio while church the in hiding like manoeuvres, cunning of sorts all employing Venice, through strolls their on family his and Tadzio follow to compulsion also is He 249). p. 1998, (MANN, ecstasy” drunken complete a “in head his leans and bedroom Tadzio’s outside stops he when as such extravagances, in indulgeshimself del wild to only not him leads state enamoured his However, grandeur. mythic with it endows he as exalted and transformed subjectively is him around world the result, a As delight. sublime restra his governed that being topieces: fe his all of convulsion Tadzio the causing that Aschenbach, at moment smiles the at remarkable is power Dionysian of outbreak The 241). p. (MANN, 1998, emotion” “intoxicating in Eros of energies revitalizing the up burns Aschenbach Diony the against Defenceless 1998). (DOLLIMORE, self and destruction control, of loss toward lover aging this sends time, same the at but, existence for self intense an about brings desires and instincts repressed of the self with his to coincideslead that forces life destructive of Aschenbach’sactivation in Eros of intrusion The experience. love Venetian ofthe instinct life and of theinstinct death anddestruction. between struggle the upon depends civilization of evolution the and 119) p. 2001b, (FREUD,

EROS AND DEATHEROS usion, but also to loss of control. Stimulated by the excess of pulsating life, Aschenbach Aschenbach life, pulsating of excess the by Stimulated control. of loss to also but usion,

Eros, the Greek god of l of god Greek the Eros, Aschenbach’s infatuation gradually dismantles the carefully constructed regulations regulations constructed carefully the dismantles gradually infatuation Aschenbach’s his in position Aschenbach’s illuminates instincts death and life of duality The n” (FREUD, 2001b, p. 118) whose aim is to disintegrate assemblages and to unbind to and assemblages disintegrate to is aim whose 118) p. 2001b, (FREUD, n”

The placeThe of desire inthe civilization:

even here: “I love you!”“I( love here: even honour of worth still nevertheless, sacred and ludicrous heart depraved, absurd, the here, of formula standing the whispered he over, all shuddering trembling, overwhelmed, down, hanging arms his back, leaning And

nd n well and ined ove, is also the Freudian name for the “life instinct”, whose whose instinct”, “life the for name Freudian the also is ove, - ordered life. At first, he is brought into a state of of state a into brought is he first, At life. ordered MANN, MANN,

Death inVenice - 1998, p. p. 244) 1998, disintegration and death. The em The death. and disintegration elings and smashing his innermost his smashing and elings

- awakening, indeed a mad desire desire mad a indeed awakening,

by Thomas Mann sian powers of passion, passion, of powers sian ’s

desire desire

driven by a mad mad a by driven

–

impossible impossible ergence ng to to ng - ih lmns f ret, erdto ad self and fundamental between anddeath association thesexual for degradation Aschenbach. cruelty, of elements with Aschenbach’s in plea sexual merges ritual orgiastic The 261). p. climax 1998, (MANN, god” the to homage its reaches passion in coupling, limitless of “orgy an in sexual himself finds he which during Bacchanaliandream, of impulses Dionysian the re The 247). p. 1998, (MANN, to underfoot” dignity and reason is man’s trample it pleasure “whose abandon, sexual and wine of god Greek the , “dark god” the of spell the under was lover” “beguiled “drunk”, the that remarks narrator “[…] the moral law [was] no longer valid […]” (MANN, 1998, p. 261), filled him with him filled 261), p. 1998, (MANN, […]” valid longer no [was] law moral the “[…] the where city, disordered the Moreover, Venice. leaving Tadzio of idea the by terrified aut Venetian the and Aschenbach Both epidemic. the about family Tadzio’s warning transgression, from refrains moral he since to him leads epidemic the of denial and concealment of policy leaked have to “seemed Venice in of outbreak the about truth” “the which in moment the with coincides revelation Dionysian the that significant is it that, with connection In secret. Be behaviour. own his for ally an as work 258) p. 1998, (MANN, “intemperance, criminality” growing and licence the shameless that thinks He epidemic. the by caused chaos the by encouraged f considers cholera the in order civilized of disruption the by caused crisis of state the in mirrored are passion unbridled Aschenbach’s of effects anarchic “Civilization lifetime’s renunciation ofdesire. a of consequence a is death and degradation own his towards powerlessly I self. of sense coherent his dissolves and pleasure of possibilities irresistible the to points experience Dionysian His consummation. sexual and pleasure sensual of power Dionysian the of orgiastic his that fact s shnah lne it ursrie ad uncensore and unrestrained into plunges Aschenbach As h opsto bten eie n cvlzto, xlrd y ru in Freud by explored civilization, and desire between opposition The The revelation. devastating a of effect the has dream Dionysian Aschenbach’s vual te radw o mrl tnad ad h atsca forces antisocial the and standards moral of breakdown the avourable n is icnet” i daaial atd u i Mn’ nvla The novella. Mann’s in out acted dramatically is discontents”, its and

out” (MANN, 1998, p. 261). Aschenbach complicity in the authorities’ the in complicity Aschenbach 261). p. 1998, (MANN, out” t is strongly implied that the fact that Aschenbach is driven so so driven is Aschenbach that fact the that implied strongly is t horities harboured the secret for reasons of cupidity. Aschenbach is Aschenbach cupidity. reasonsof for secret the harboured horities dream shatters him indicates that he could not bear the revelation the bear not could he that indicates him shatters dream

sides, his prohibited passion is congruous with Venice’s criminal Venice’s with congruous is passion prohibited his sides,

Viviane RamosFreitas de - niiain wih it a the at hints which annihilation, - stricken Venice. Aschenbach Venice. stricken

d behaviour, the the behaviour, d

velation of of velation sure

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Venice. Aschenbach’s pitiful figure becomes not only a symbol of his loss of control but it it but control of loss his of to symbol way a only his not becomes in figure ship pitiful Aschenbach’s the Venice. on disgust with him filled that man elderly dandified the resemble make wearing hair, his dying begins passion, He barber. hotel the to Dionysian visits long and frequent of pay to starts dream the After deterioration. Asc physical and degradation own boy. im he as hope, the triumph of his instinct of destruction over his instinct of life. Indeed, Aschenbach’s Aschenbach’s Indeed, life. of instinct his isolation over destruction of instinct his of triumph the by marked is life Aschenbach’s way, same The civilization. European the in Eros over Death 1998, (MANN, threat” “grave the and crisis European the novella,Mann’s of context the that,in state to possible is it basis, that On 122). p. 2001b, (FREUD, civilization of evolution the for Death, with struggle and pointless as artist, dying the helpless itself, War. ascivilization World ontheeve the First of to seems civilization, European of service the in physical desire Aschenbach’s to per His Venice 102). p. 2004, (SHOOKMAN, of malaise” city decaying cultural collective the “a with malaise personal Aschenbach’s associates also it but links deterioration, only not relation This person tohis or external world “whether tothe referred it tell cannot he and pointlessness”, and helplessness of feeling “afear, or apprehension ofsense (MANN, fatal tor 1998,p.264),tohis an the diseaseputs end […]” him tormented [that] thirst endurable longer no “[…] the relieved strawberries the that little way a same Veni The death. his of sought unconsciously fromAschenbach that streets contend to evidence enough narrow strawberries insalubrious the overripe of buys one in he located shop reflecting, greengrocer’s without and thirst, of moment a In chance. a takes he cholera, with infected becoming of dangers the of aware consciously i he although that fact the significant then, is, It life. former his to back going of thought the “self of prospect the repudiate to comes surrenderalso athis hints toself ebc bcms nraigy besd ih okn atatv t pes Tdi, and Tadzio, please to attractive looking with obsessed increasingly becomes henbach -

p n desn i a afce ad xesv wy H, hn ioial co ironically then, He, way. excessive and affected an in dressing and up The image of the city stricken by decay, decadence and death also reflects the hero’s the reflects also death and decadence decay, by stricken city the of image The In “Civilization and its discontents”, Freud str Freud discontents”, its and “Civilization In increasing an by seized is he dies, Aschenbach before just novel, the of end the At the Furthermore, , his solitary existence and his individualism open to question the protagonist’s protagonist’s the question to open individualism his and existence solitary his ,

The placeThe of desire inthe civilization: agined that everybody would die and he could be left alone with the beautiful the with alone left be could he and die would everybody that agined

p. 197) posed by the impending war point to the predominance of of predominance the to point war impending the by posed 197) p. aging artist’s sexual passion affected him so profoundly, that he he that profoundly, so him affected passion sexual artist’s aging - destruction. - recovery” (MANN, 1998, p. 259) and is disgusted at at disgusted is and 259) p. 1998, (MANN, recovery”

sonal existence, a life of renunciation of his of renunciation of life a existence, sonal Death inVenice esses the fundamental role of love, in its its in love, of role fundamental the esses al existence” (MANN, 1998, p. 265). 1998,p. (MANN, existence”al mented passion.

by Thomas Mann

e Tee is There ce. mes to to mes s hs laig i woe en, h clue f lftm, eattd n destroyed” and devastated In lifetime, p.259). (1998, a of culture the being, whole his “leaving thus resistance, intellectual profound his defeated has experience such that feels he passion, (MANN, intellect” dignified and composed the of “enemy the as novella Mann’s in described is Dionysus desire. Venice degradation,associated, butwith and notwithlove, destruction death. him to appears sexuality which in way the by endorsed is idea This love. for capacity repression of desire and moral resoluteness causes him to inhibit knowledge and and knowledge inhibit to him causes His resoluteness moral death. and physical lifeless. desire actual, bloodless, of his repression is to art related is whose death and symbolic exhausted, Aschenbach’s out, dried are energies who artist, creative the of death the death, symbolic a at hint novella Mann’s of beginning structureand ofbourgeoismorality. society social, gained and author beliefs educational and radical political youth’s his abandoned Aschenbach anarchic bohemian, an as artist the of figure the to contrast In morality. conventional questions the of figure the to him “upper Aschenbach’s describes Mann position. social of favour in sophistication artistic his and desires his renounce 5 is that culture a predicated repression. onsevere of impossibility the represents death his civilization, of service the impuls his restricts radically who artist the emblematises Aschenbach that extent the To impulses. instinctual such of renunciation the by posed dangers the as well as judge, infallible Dionysus 2000,p. (NIETZSCHE, the before appear to have stage some at culture, will call civilization now education, we which everything “[…] authority: of position his by endorsed

CONCLUSION as ilmnts h Feda cnlcig eain ewe cvlzto and civilization between relation conflicting Freudian the illuminates also , The opposition opposition The The ashes implied in the name “Aschenbach” and the symbols of death at the the at death of symbols the and “Aschenbach” name the in implied ashes The Venice in Death forces, instinctual theindicatepowerof texts Nietzschean andFreudian the Both h it o Birth The

between culture and the Dionysian forces, exposed in exposed forces, Dionysian the and culture between

can be read as Mann’s condemnation of the artist who chose to chose who artist the of condemnation Mann’s as read be can

eenl nelcul arn” MN, 98 p 27, who 207), p. 1998, (MANN, vagrant” intellectual “eternal 98 p 20. fe Acebc’ dem f Dionysian of dream Aschenbach’s After 260). p. 1998, Tragedy f - bourgeois status” (MANN, 1998, p. 208) by opposing opposing by 208) p. 1998, (MANN, status” bourgeois

t b pouig n r ta rfet te repressive the reflects that art an producing by ity 107).

Viviane RamosFreitas de

, Dionysus’s power over the civilized order is order civilized the over power Dionysus’s ,

Death in Death

art of of art es in es se

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Aschenbach’s pursuit of beauty as formal perfection makes him neglect the moral ambiguity moral the neglect him makes perfection formal as beauty of pursuit Aschenbach’s trap. own his into fall Aschenbachmakes though, Mann, 207). p. 1998, psychology”(MANN, s morally “a presents which art bloodless a in form of discipline emptyresults His formalism form.artistic the the of eliminatethe subversivepotential to attempts of imposition Aschenbach’s 207). p. 1998, (MANN, immoral…?” eventually lead physical tohis him death. ( impossible” morally forbidden, “evil, the encourages t insight, Psychological WorksPsychologicalSigmund of WorksPsychologicalSigmund Freud, of p. 275 WesternDeath, Desire, in andLoss Culture DOLLIMORE,In: Wrecked Mann. Jonathan. Jonathan. DOLLIMORE, byThomas desire: REFERENCES: own desire. the of role important revela the the through freedom, and change evinces Aschenbach’s for guide a as also boy beautiful thus, death, His realm. mythological or religious unut with rich immensity an “into pointing him, to beckoning and smiling sea, the (MANN, of 267) p. 1998, vastness” nebulous the of front “in Tadzio of vision His fulfilment. and freedom nov the throughout death of connotations negative the to Contrary hero. his of redemption Mann’s at hints death Aschenbach’s Ultimately, him. humanised and transformed experience love his how reveals his ownmaking. real self to disinclination personal a in result ofhiswork, onthebasis ofcriticism, lack beauty. resolutenessand themoral Moreover, or denyign to andof him art, leads ______. FREUD, terable expectation” (MANN, 1998, p. 267) suggests that Tadzio guides him to a kind of kind a to him guides Tadzio that suggests 267) p. 1998, (MANN, expectation” terable nature of his feelings, his failure to analyse his motives, made him slide into an abyss of of abyss an into slide him made motives, his analyse to failure his feelings, his of nature – Mann asks, “…is form not two not form “…is asks, Mann oee, Aschenbach’s However,

293. Civilization and its discontents. In: and discontents. Civilization its hus bringing him to ignorance and ethical simplification, which ultimately ultimately which simplification, ethical and ignorance to him bringing hus Sigmund. Beyond thePleasureSigmund.

The placeThe of desire inthe civilization:

ella, the moment of the hero’s death suggests that he finally attains attains finally he that suggests death hero’s the of moment the ella,

mgnd ortc ilge t h ed f ans novella Mann’s of end the at dialogue Socratic imagined Freud, ore what is sensual, or sexual, in his perception of Tadzio’s of Tadzio’s perception his or in sexual, sensual, is what ore - criticism. Aschenbach’s belated acknowledgement of the the of acknowledgement belated Aschenbach’s criticism. -

faced? Is it not at on at not it Is faced? Volume 21. London:21. Volume Vintage, 2001b. London:18. Volume Vintage, 2001a Principle. In: Principle.

. London:Lane,. Allen The Penguin Press, 1998. The Standard Edition of theComplete of Edition The Standard

Death inVenice implistic view of the world and of human human of and world the of view implistic The Standard Edition of theComplete of Edition The Standard MANN, 1998, p. p. 1998, MANN, e and the same time moral and and moral time same the and e

by Thomas Mann 207) forces that that forces 207) . p.1 p. 57

– tion of his of tion

– 64.

146.

Greenwood Press, 2004. SHOOKMAN, Ellis. UniversityOxford 2000. Press, NIETZSCHE, Friedrich. Luke.DavidLondon: 1998.p.197 Vintage, MANN, Thomas. Venice. Death in In: Works SigmundFreud, of ______. Totemand Taboo. Thomas Mann’sThomas Death Venice in

The Birth ofTragedy The Birth

Volume 13. In: The Standard Edition of theComplete of Edition Psychological The Standard

Viviane RamosFreitas de

London: 2001c, pp. Vintage, Death Ven in –

. Tradução Oxford: Douglas Smith. de 267. 267.

ice andotherstories : a reference g : areference

vii vii uide. –

. Tradução de 162.

London:

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