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THE INTERPLAY of SEIN and BEDEUTEN in THOMAS MANN's JOSEPH UND SEINE BRUDER Submitted for the Degree of Phd by Charlotte

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THE INTERPLAY of SEIN and BEDEUTEN in THOMAS MANN's JOSEPH UND SEINE BRUDER Submitted for the Degree of Phd by Charlotte THE INTERPLAY OF SEIN AND BEDEUTEN IN THOMAS MANN’S JOSEPH UND SEINE BRUDER submitted for the degree of PhD by Charlotte Irene Annette Nolte UNIVERSITY COLLEGE LONDON ProQuest Number: 10608900 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10608900 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 2 MEINER MUTTER 3 ABSTRACT OF THESIS The interplay and theme ofSein andBedeuten in Thomas Mann’s novel tetralogy Joseph und seine Briider has hitherto received compar­ atively little critical attention. I attempt to show that this issue unites the tetralogy’s stylistic and thematic structure. My introduction deals extensively with the theoretical foundation and with the cognitive implications ofSein andBedeuten. The first two chapters contain a closely contextualized examination of stylistic devices. They deal with central pairs of opposites (and their inherent duality), with (leit)motifs and central metaphors. In these two chapters I attempt to show how Mann uses these stylistic devices to re­ inforce and reflect the constant interplay ofSein andBedeuten. Chapter Three is concerned with the psychology of characters other than Joseph. It examines the concept of mythical consciousness and of identification and imitation as a source of identity. Mann por­ trays people whose ego-consciousness is only partially or not at all de­ veloped. I try to show how he succeeds in this portrayal of minds which appear so different from the self-consciousness and awareness of the modem individual. The second half of the chapter deals with the central female character of the novel’s third volume, with her role and function as both personal and transpersonal figure. Chapter Four is entirely devoted to the central character of Joseph, whom Mann uses to draw a microscopic picture of the development of consciousness in mankind. In the final volume Joseph becomes the Provider, in whom the separation between the individual and the col­ lective, between being and meaning has finally been overcome. He be­ comes a symbol of a genuine union of opposites, where conflicting ele­ 4 ments are joined in a synthesis, in which they maintain their inherent nature and in which neither agency dominates. Chapter Five investigates the development of the narrator, which often parallels that of the characters. It also examines how the central theme is not only expressed by but embodied in the narrative voice. In the Conclusion the tetralogy’s concept of reality, the issues of mediacy versus fact, of metaphor and meaning, the movement from the actual to the symbolic which we observe in the novel, particularly in the changing concept of sacrifice and the divinity, are given a final con­ sideration in terms of the interplay ofSein andBedeuten. 5 TABLE OF CONTENTS PAGE PREFACE 8 BIBLIOGRAPHICAL NOTES 8 SURVEY OF SECONDARY LITERATURE 9 (i) Source Material 10 (ii) Religion and Ethics 11 (iii) Narrative Aspects 16 (iv) Myth and Enlightenment 18 (v) Psychology and Psychoanalysis 22 (vi Sein andBedeuten 29 INTRODUCTION 34 (i) Philosophy 35 (ii) Psychology: Consciousness and Identity 39 (iii) Myth and Psychology 1. Development 43 2. The Dialectic of Myth and Psychology 46 (iv) Hollenfahrt 1. Exposition 52 2. Der Roman der Seele 57 CHAPTER ONE: CENTRAL PAIRS OF OPPOSITES 60 (i) Two Central Symbols 61 1. The Moon 65 a) Symbol of the Unconscious b) Lunar Grammar and Matriarchal Consciousness 69 c) Joseph and the Moon 73 2. The Sun 78 a) The Night-Sea Crossing and Osiris 79 b) Atum-Re, Amun-Re, and the Concept of Trinity 85 ii) Darkness and Light 8 8 1. The Dialectic of Darkness 89 2. Light and the Changing Concept of Sacredness 92 (iii) Geist andSeele 95 1. Geist and the Tree of Life 97 6 p a g e 2. The Soul, the Tree of Knowledge, and the Well 99 CHAPTER TWO: MOTIFS AND METAPHORS 104 (i) Die Rollende Sphdre 105 1. Spheric and Linear Concepts 106 2. The Ouroboros 108 3. Leitmotif and Narrative Structure 111 (ii) Geschichte as a Central Metaphor 114 (iii) The Veil 118 1. Illusion and Deception—the Veil of Maya 119 2. The Motif of Dressing and Undressing— the Tearing of the Veil 123 CHAPTER THREE: PSYCHOLOGY OF CHARACTERS 128 Introduction 129 (i) Mythical Consciousness, Identification, and Imitation in the World of Jaakob 1. Jaakob and Esau 131 2. Lea’s Sons: Collective Action and Individual Responsibility 135 (ii) The Women in the Novel 143 (iii) The Great Mother 1. Mut-em-enet as a Personal Figure 147 2. Mut-em-enet as a Transpersonal Figure 150 3. Beknechons and Dudu: The Terrible Father 155 CHAPTER FOUR: JOSEPH AND THE PROCESS OF INDIVIDUATION 160 Introduction 161 (i) The Puberty of Ego-Consciousness 1. Identity, Individuality, and Persona a) Psychology 166 b) Tch und die Mutter sind eins’ 169 c) The Destruction and Burial of the Harvest-God 173 2. The Active Fight of the Hero 176 (ii) The Father 1. The Son of the Father 186 2. The Symbolism of the New Year and the Djed-Column 191 3. Osarsiph and Adon: the Living ‘God’ Replaces the Dying ‘God’ 193 7 PAGF. (iii) Tch bin’s’: Mythical Formula and Self-Recognition 197 CHAPTER FIVE: THE NARRATOR AND NARRATIVE ASPECTS 205 Introduction 206 (i) Narrative Perspective and Style 210 1. The Initial Role of the Narrator 211 2. Joseph as Narrator 216 3. The Continuing Role of the Narrator 221 (ii) Narrative Self-Consciousness 223 (iii) The Concept of Fest and Celebration 233 CONCLUSION THE NOVEL’S CONCEPT OF REALITY: METAPHOR VERSUS FACT 240 BIBLIOGRAPHY 254 8 PREFACE I would like to express my deep gratitude to my supervisor Professor M. W. Swales for his patient and constructive criticism, for his care and most of all for the unceasing encouragement he has given me over many years. Particular thanks go also to Dr. Viiu Menning, who first turned me into a student of literature and was dedicated enough to proof-read my thesis. I am also indebted to the staff of the Institute of Germanic Studies for their help and friendly advice. Finally I would like to express my gratitude to Mr. Reg Freeson, who bore with me through quite a few ups and downs, always supporting me and countering my self-doubts with optimism and humour. BIBLIOGRAPHICAL NOTES References to Thomas Mann’s published works are to the Frankfurter Ausgabe in thirteen volumes, 1974, and are given in Roman numbers, followed by Arabic page numbers (e.g. IV, 9). Essays will be identified by short titles. References to other primary sources are given in footnotes. References to the works of C. G. Jung are, unless otherwise indicated, taken from the Gesammelte Werke. Sources of quotations are indicated by the volume number, followed by a Roman number if published in more than one volume, followed by the number of the paragraph from which the quotation is taken (e.g. GW 9/1, 67). 9 SURVEY OF SECONDARY LITERATURE Hermann Kurzke in his bookThomas-Mann-Forschung 1969-1976 states that, in general, Thomas Mann criticism concentrates too much on detail and fails to draw general conclusions from the individual in­ sights. He writes: Tm Verhaltnis zu Aufwand und Exaktheit der Detail - analysen sind die Ergebnisse und Synthesen oft erstaunlich mager. Fur viele scheint Thomas Mann eine Art germanistischer Exerzierplatz zu sein, auf dem man Griffe drillt,ohne nach ihrem Sinn zu .’1fragen He comments on the paralyzing effect which such criticism often has, ‘weil hinter den Einzelkenntnissen oft kein organisierender Sinn aufzufinden ist’ (ibid., p. 22). Thus more often than not critics tend to make one particular strand of criticism absolute, to make it into an end in itself, without asking what it achieves within the text as a whole. The impression created by this method is that the particular aspect that pre­ occupies the critic provides the complete answer to all the questions that arise in the reader’s mind. Not surprisingly, such a critical enterprise fails to convince—and this is particularly the case with theJoseph nov­ els because of the many antinomies and the dialectic playfulness that inform the tetralogy. With regard to the Joseph novels we can distinguish four principal strands of criticism: exploration of the sources used by Mann; discus­ sion of the novel’s religious concept andMenschheitsbild; discussion of its narrative structure and form; and analysis of the interplay of myth and psychology in the tetralogy.2 Yet while these strands do represent 1 Hermann Kurzke, Thomas-Mann-Forschung 1969-1976: Ein kritischer Bericht (Frank­ furt am Main: Fischer, 1977), p. 19 (= Kurzke I). 2 cf. Hermann Kurzke, Thomas Mann: Epoche — Werk — Wirkung (Munich, Beck, 1985), p. 243 (= Kurzke II). 10 valuable approaches to Mann’s art, they all display the shortcomings which Kurzke highlights, as I shall briefly try to show in my summary. It is my view that all these major strands of criticism can be brought to­ gether, as indeed they are in the novel itself, in terms of one sustained concern which unites, both thematically and stylistically, the multiple facets of the novel. That concern is the interplay ofSein andBedeu­ ten, to which I shall return later in this introduction.
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