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Stephen Samuel Reid University College London Phd Thesis Textual Carnival: A Revaluationof Narrativein ThomasMann's Der Zauberberg StephenSamuel Reid UniversityCollege London PhDThesis :' I .v. \UNW.) for Mum and Dad I Contents Acknowledgements 2 Abstract 3 Foreword 5 introduction 7 Narrative Heteroglossiain Der Zatiberberg 26 Ambivalent Pedagogy 77 Up Skirts and Down Cleavages 117 Irony revisited 156 Der Zauberberg and the Modernist Canon 203 Der Zauberberg: A Humanist Project 241 Bibliography 267 2 Acknowledgments But for the efforts of a large number of individuals this study would have been all the poorer. I am indebted to Professor Martin Swales, my supervisor at University College London, for his guidance and comments, enthusiastic support and unstinting willingness to read and re-read my work. Many others have also made a significant contribution by assisting me with my work. Special thanks must to go Dr Roger Pensom at Hertford College, Oxford, for showing me how to read and for debating with me the issues at the heart of this thesis and to Prof. T. J. Reed for his support and encouragementin the early stagesof the project. Help given by Mr Chris Wells at St Edmund Hall, Oxford, and Prof Dr Michael Neumann, EichsVitt; The Thomas-Mann-Archiv, ZOrich; Heinrich-und-Thomas-Mann-Zentrum,LiIbeck; Staatsbibliothek zu Berlin and the Royal Belfast Academical Institution in granting me a sabbaticalyear in which to complete my researchhas been much appreciated. I should also like to mention Gabi Weber, Jfirgen Mahrenholz and Joachim Discher who have assistedgreatly. Finally to my parents I owe a debt of gratitude for their encouragementand support, for assistancewith the preparation of the text, for allowing me to abusetheir hospitality and, of course, for keeping quiet! 3 Abstract Der Zaziberberg was composed during years of unusual social, political and intellectual instability (1912-1924). It is a novel pervadedby a profound awareness that such turmoil calls into question inherited traditions and values, and it confronts head-onthe challenge of either defending or abandoningthe old, and of bringing new values into focus. It is the purpose of this dissertation to demonstrate textual processesthat destabilise an ostensibly secure narrative viewpoint and reach out for the articulation of a new intellectual climate. I analyse Der Zauberberg in terms of the diverse strands present in the narrative which, I argue, contribute to an ovenvhelming sense of heteroglossia in Bakhtin's sense. Within this heteroglot universe no languageis accorded precedenceover the other, but instead there is a profound sense of slippage in which discoursesmove between characters,and even usurp some of the discourseof the narrator. The narrative voice, then, becomesa highly complex presence. First, the narrator is a pedagogical voice redolent of the eighteenth century Bildungsronian, but on closer observation this voice is seen to disintegrate into a variety of perspectivesranging from the voyeuristic to the salacious,the scientific, the ideological - and hence into self-contradiction. The senseof uncertainty which arisesfrom this perpetual slippage leads to a new ironic import which, rather than simply engenderingcritical distance, contributes to a web of ambivalencein which the reader is invited to accept and reject statesof affairs simultaneously. As an untidy pandemonium of languagesand ideologies competing Nvithone another for dominance,Der Zauberberg is a definitive example of Modernism, and I use my analysis of it as a means to explore modernist works by Broch, Hesse and D6blin. 4 However, in conclusion I seekto demonstratethat for all its ambivalenceand slippage of perspective Der Zatiberberg rescues itself from being nothing more than anchorlesstextual play and reinstatesa strong senseof human dignity and purpose. A note on sources The page numbersgiven as the source of quotations from Der Ziuberberg refer to the paperback edition of the novel (Frankfurt am Main, Fischer Taschenbuch Verlag, 1991 and subsequentreprints) which follows the original 1924 edition of the text. While the pagination is not identical with the 13 volume edition of Mann's works (1974), 1 have, for the reader's convenience (given the wide availability of the paperbackedition), cited the paperbackedition as source. 5 Foreword Thomas Mann's Der Zaziberberghas, since its publication, attracted a high degreeof critical acclaim. There has been a massiveprofusion of secondaryliterature devoted to the text, its genesishas been religiously documentedand its thematic and stylistic featureshave been debatedat length. The irony, the humour, the political background and the biographical significance of the novel are not in any doubt and it would be nigh on impossible to offer a brand new reading of the text. Nevertheless,there is more to say about Der Zatiberberg. For all the critical attention it has received the novel has seldom been subjectedto a systematic analysis of its narrative structure, and it is this spacein the critical responseto the novel which the following study Nvill attempt to fill. At the heart of the text's ostensibly secure narrative prose are a range of unsettling and disruptive processeswhich require closer attention, for criticism has largely ignored the overwhelming sense of heteroglossia which the narrative exudes and has not addressedin detail the highly inconsistent and conspicuously unstable voice that claims to be in control of the narrative project. The upshot of this has been that critics Nvhoseem to have a clear grasp of the humanist project at the heart of the novel tend to stabilise the narrative around a didactic message- to see it as a recognition of the need to acknowledgethe presenceof darker forces but accord them no hegemony over life. Such a reading is helpful; but in my view, our road as readers to the discovery of the humanist project at work in Der Zauberberg is more complex than an act of simple assentto the italicized "message" of the 'Schnee-Kapitel'. What I shall in the end want to claim is that the very untidiness and slippage of perspectivewhich characterisethe narrative form the real basis for the novel's capacity to understand the value of individuals and to assert in the face of ideological uncertainty that, however complex and inconsistent they may be, human beings are neverthelessof the utmostvalue. 7 Introduction The publication of Der Tod in Venedigcan be seento mark a development in Mann's literary style in which the novel of ideas is raised to a new level of complexity by the ' technique of ambivalence. Reed states that from Der Tod in Venedig on, cambivalenceis the central technique of Mann's art, suggesting,but not affirming 12 It is from layers of meaning that lie beneaththe surface of immediate experience . the point of view of ambivalence that Thomas Mann most successfully explores the themescommon to both Der Tod in Venedigand Der Zauberberg, the phenomenonof death and the resulting triumph of disorder over the ordered structuresof civilization. Where Der Tod in Venedig was the Greek tragedy, Der Zauberberg was to be its 3 comic counterpart,the satyr play. In his Lebensabri# of 1930 in which Mann reflects on his life up to the award of the Nobel Prize he notes that Der Zauberberg was to function 'als Satyrenspielzu der novelistichen Trag6die der EntvviirdigUngA. He goes on to reiterate his intention of relocating the themesof Der Tod in Venedigin a comic environinent: 'Die Faszination durch den Tod, der Sieg höchsterUnordnung über ein auf Ordnung gegründetesund der Ordnung geweihtes Leben sollte hier verkleinert 1 Reed, T. J., The Uses of Tradition (Oxford, 1995), p. 178. 2 ibid. 3 There are numerous reference in Thomas Mann's correspondenceto Der Zauberberg as a comic counterpartto Der Tod in Penedig: Thomas Mann an Hans von Hulsen: '[ich arbeite] an einer Erzählung, die in Davos spielt und eine Art Gegenstück Tod in Venedig bilden Im Stil ist bequem humoristisch[ ]', zum wird. sie ganz anders, und ... 9.9.1913. Quoted in ed. H. Wysling, Thomas Mann Selbstkommentare:Der 7-aiihýýLbee_£r (Frankfurt a.M., 1995), p.7. Thomas Mann an Josef Ponten: 'Romantik und Aufklärung, Tod und Tugend: das Thema des >Tod in Venedig< [ l', 6.6.1919 (ibid. 19). noch einmal ... p. ThomasMann an Oskar A- H. Schmitz: 'Das Buch war ursprünglichrecht bescheidenkonzipiert, nur als Art Satyrspiel in Venedig<[ ]', 20.4.1925 (ibid. 63). eine von zum >Tod ... p. Thomas Mann in 'Lübeck als geistige Lebensform': 'Was ich plante, war eine groteske Geschichte, worin die Faszination durch den Tod, die das Motiv der venezianischenNovelle gewesen war, ins Komische gezogenwerden sollte: etwas wie ein Satyrspielalso zum >Tod in Venedig<'. Mann.T., 'Lübeck als geistige Lebensform' in EssaysBand 3 (Frankfurt a.M., 1994), pp. 16-39, p.3 5. 4 Mann, T., 'Lebensabriß' in Essgys1926-1933 (Frankfurt a.M., 1994), p.203. 8 ins Komische herabgesetzt 15 Two issues this und werden . core of study will therefore be the role of ambivalence in the narrative of Der Zauberberg and the importance of comic tradition to an interpretation of the text. Yet how was Mann to reconcile the intellectual weight of the concerns that animate his novella with the attempt to draw on the traditions of the Europeancomic novel? He ivrites to Hans von Hülsen: 'Im Styl ist sie [die Erzählung d.h. Der Zauberberg] ganz anders,bequem und humoristisch (obgleich wieder der Tod geliebt wird), aber das macht die Sachenicht leichter. Im Gegenteil, ich finde, das Tragische 6 ist das Leichtere'. A year later the complexity of his task was manifesting itself in the profusion of the narrative: 'Ich schreibe noch an meiner Davoser Novelle, die 7 tüchtig lang wird, - kaum zur Hälfte habe ich sie'. To avoid the narrative becoming intellectually over-loadedthe project had to be abandonedto allow Mann to work out his political views and attitudes to German nationalism in the Befrachfungen eines Unpolitischen in face of the intellectual concernsraised by the Great War, and so Der Zauberberg was not completed until 1924. While the narrative spansthe time 1907- 1914, the novel Nvas written in a period beginning in Wilhelmine Germany, encompassingthe Great War, the hyperinflation of the early 1920sand ending in the Weimar Republic.
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