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Der Tod in Venedig

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Mann was a member of the Hanseatic Mann family and portrayed his family and class in his first novel, Buddenbrooks. Mann also was influenced by Sigmund Freud and his views on dreams, as well as by philosopher Friedrich Nietzsche, who had visited Venice several times. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing Death in Venice. Aschenbach ist von der Form dieses noch nicht pubertierenden Kindes entzückt, fasziniert und gefällt sich in stiller, stets angsthaft beobachtender Huldigung.

Mann gave Mahler's first name and facial appearance to Aschenbach but did not talk about it in public. His analysis and critique of the European and German soul used modernized German and Biblical stories, as well as the ideas of Goethe, Nietzsche and Schopenhauer. Dieser Aschenbach reist zu wiederholtem Male eines Sommers nach Venedig, wo er in seinem vornehmen Hotel unter anderen Menschen eines vielleicht zwölfjährigen polnischen Knaben ansichtig wird, dessen Körpers Wohlgelungenheit ihn an hellenische, vollkommene Götterstatuen erinnert, hingegen des Knaben dreie Schwestern ihn nicht im Geringsten reizen. This story was uncovered by Andrzej Dołęgowski, Thomas Mann's translator, around 1964, and was published in the German press in 1965.The soundtrack of the 1971 film based on the novella made use of Mahler's compositions, particularly the "Adagietto" 4th movement from the Symphony No. A fight starts between the two boys, and Tadzio is quickly bested; afterward, he angrily leaves his companion and wades over to Aschenbach's part of the beach, where he stands for a moment looking out to sea, then turns halfway around to look at his admirer.

Damion Searls translation in Mann, Thomas, New Selected Stories, New York: Liveright Publishing Corporation, 2023, p. He didn't pursue him through all of Venice—that he didn't do—but the boy did fascinate him, and he thought of him often. In wunderschön gewählter, ja: zu Diamant geschliffener Sprache geleitet Thomas Mann den Leser durch Aschenbachs leidenschaftlichen Irrtum bis zum traumverlorenen Ende auf sanften, in das unendliche Meer hineinragenden Sandbänken am Ufer der zerrinnenden Welt; nachhaltig beeindruckt schließt der Leser das Buch, diese tote Form, um den tiefreichend belebten Bildern ergriffen-andächtig nachzusinnen.Zwar stirbt er am Ende des erzählten Geschehens an der zu jener Zeit in Venedig grassierenden "Indischen Cholera", aber diese Notiz wird erst mit den letzten Worten des Textes lapidar, nahezu beiläufigen Tones nachgereicht. Immer wieder bedenkt der von der äußeren Erscheinung des Knaben hingerissene Aschenbach die Form so dichterisch-philosophisch, als sei sie etwas an sich Seiendes, etwas Wunderbares, ja: Göttliches: sie sei als Gottesgedanke die eine und reine Vollkommenheit. As the story opens, he is strolling outside a cemetery and sees a coarse-looking, red-haired foreigner who stares back at him belligerently.

The novella is intertextual, with the chief sources being first the connection of erotic love to philosophical wisdom traced in Plato's Symposium and Phaedrus, and second the Nietzschean contrast between Apollo, the god of restraint and shaping form, and Dionysus, the god of excess and passion. The main character is Gustav von Aschenbach, a famous Silesian author in his early 50s who recently has been ennobled in honor of his artistic achievement (thus acquiring the aristocratic " von" in his name). Convinced that he needed to make a mark with a new piece that would appeal to current tastes, he poured all his mastery into Death in Venice … The story was written between July 1911 and July 1912 … Mann had intended it for S.Die feine Figur des schönen Knaben symbolisiert das hohle Ideal einer vollkommenen Form, die jedoch noch ohne nennenswert gediehenen Inhalt ist. The result is a fairly close approximation to the old man on the ship who had so appalled Aschenbach. Death in Venice ( German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912. Der Begehr sucht immer und stets einzig die Form und das Spielen mit ihr, denn geistiger Inhalt als die Form relativierend stört ihn nur. FIRST PRINTING IN EXCEEDINGLY SCARCE ORIGINAL WRAPPERS of arguably Thomas Mann’s most celebrated work.

In Venedig steigert sich der alternde Schriftsteller Gustav von Aschenbach in eine Liebe zum schönen Jungen Tadzio. The author considers the result "disastrous" and sees "a reworked, sanitized version of the text" by Mann. The title helps create the obvious set-up, of death hanging like a sword of Damocles, of a protagonist who could move out from under the sword but chooses not to out of the adoration of a child he does not know and who his caretakers - alerted to the man's voyeurism - clearly do not want him to know. Content you previously purchased on Oxford Biblical Studies Online or Oxford Islamic Studies Online has now moved to Oxford Reference, Oxford Handbooks Online, Oxford Scholarship Online, or What Everyone Needs to Know®.Later, after spying the boy and his family at a beach, Aschenbach overhears Tadzio, the boy's name, and conceives what he first interprets as an uplifting, artistic interest.

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