Author: Thomas Mann
Publisher: W. W. Norton
Release Date: 1994
Clayton Koelb's masterful translation improves upon its predecessors intwo ways: it renders Mann into American (not British) English, and itremains true to Mann's original text without sacrificing fluency. ForAmerican readers, this is the translation of choice. "Backgrounds and Contexts" includes Mann's working notes, which allowstudents to observe the author's creative process. The notes areavailable here for the first time in English. Illuminating selections from Mann's essays and letters are alsoreprinted, as are period maps of Munich, Venice, and the Lido. "Criticism" includes six essays—by Andre von Gronicka, Manfred Dierks, T.J. Reed, Dorrit Cohn, David Luke, and Robert Tobin—sure to stimulateclassroom discussion. A Chronology and Selected Bibliography are also included.
"Death in Venice," by Nobel Prize-winning author Thomas Mann, is one of the most popular and widely taught works of German literature. It is also a complex work of art that challenges its readers. This reference is a convenient guide to the novella. In addition to providing a plot summary, the volume helps students and general readers discover the literary and intellectual qualities of Mann's famous story. The guide alsos surveys Mann's life and works, compares "Death in Venice" to Mann's other fiction, as well as to works by other writers, summarizes the events Mann relates, and discusses the genesis, editions, and English translations of his novella. Mann's literary and non-literary influences are considered, along with his narrative style, and the historical, cultural, and sociological factors surrounding "Death in Venice." The guide also explains how the issues Mann treated remain current today, and reviews the critical and scholarly reception of his text.
Author: Philip Kitcher
Publisher: Columbia University Press
Release Date: 2013-11-12
Published in 1913, Thomas Mann’s Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Lucchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella’s central character to Western thought’s most compelling questions. In Mann’s story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach’s own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann’s, Britten’s, and Visconti’s treatments illuminate the tension between social and ethical values and an artist’s sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained, and whether the breakdown of discipline undercuts its worth. Haunted by the prospect of his death, Aschenbach also helps reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.
In this addition to the critically acclaimed Cultural Exegesis series, a nationally recognized scholar and award-winning author offers a sophisticated theological engagement with the nature of language and literature. Roger Lundin conducts a sustained theological dialogue with imaginative literature and with modern literary and cultural theory, utilizing works of poetry and fiction throughout to prompt the discussion and focus his reflections. The book is marked by a commitment to bring the history of Christian thought, modern theology in particular, into dialogue with literature and modern culture. It is theologically rigorous, widely interdisciplinary in scope, lucidly written, and ecumenical in tone and approach.
Author: David Forrest
Publisher: Cambridge Scholars Publishing
Release Date: 2017-06-20
Coming to terms with Britten’s music is no easy task. The complex, often contradictory language associated with Britten’s style likely stems from his double interest in progressive composition and immediate connection with a broad, popular audience – an apparent paradox in the splintered musical culture of the 20th century – as well as from complicated truths in his own life, such as his love for a country that accepted neither his sexuality nor his politics. As a result, the attempt to describe his music can tell us as much about our own biases and the inadequacies of our analytic tools as it does about the music itself. Such audits of our scholarly language and strategies are vital in light of the still-murky view we have of twentieth century music. This opportunity for academic self-reflection is the reason Britten studies such as this book are so important. The essays included here challenge assumptions about musical constructs, relationships between text and music, and the influences of age, spirituality, and personal relationships on compositional technique. Part One offers nine essays originally compiled for a symposium designed to recognize the composer’s unique and varied contributions to music. The authors include performers, musicologists, and music theorists, and their work will appeal to a wide diversity of readers. The topics and methodologies range from archival research and analysis of text and music to theoretical modelling using techniques such as set theory, metric theory, and prolongation. While the papers were initially conceived in isolation from one another, the collaborative focus of the symposium created opportunities for authors to expose points of intersection. This deliberate reconciliation of lines of inquiry has yielded a more balanced and unified collection of essays than typically found in a simple record of proceedings. Furthermore, the chapters presented here benefit from the wealth of Britten research produced since the 2013 centenary. Part Two provides an account of the symposium performances and lecture recitals that accompanied and enriched the academic presentations. The reader will encounter fully the journey taken by symposium presenters, participants, and attendees by reviewing the concerts, lecture recitals, and papers in the context of the full symposium program.
Author: Kristina Muxfeldt
Publisher: Oxford University Press
Release Date: 2012-04-01
Vanishing Sensibilities examines once passionate cultural concerns that shaped music of Schubert, Beethoven, Schumann, and works of their contemporaries in drama or poetry. Music, especially music with text, was a powerful force in lively ongoing conversations about the nature of liberty, which included such topics as the role of consent in marriage, same-sex relationships, freedom of the press, and the freedom to worship (or not). Among the most common vehicles for stimulating debate about pressing social concerns were the genres of historical drama, and legend or myth, whose stories became inflected in fascinating ways during the Age of Metternich. Interior and imagined worlds, memories and fantasies, were called up in purely instrumental music, and music was privately celebrated for its ability to circumvent the restrictions that were choking the verbal arts. Author Kristina Muxfeldt invites us to listen in on these cultural conversations, dating from a time when the climate of censorship made the tone of what was said every bit as important as its literal content. At this critical moment in European history such things as a performer's delivery, spontaneous improvisation, or the demeanor of the music could carry forbidden messages of hope and political resistance--flying under the censor's radar like a carrier pigeon. Rather than trying to decode or fix meanings, Muxfeldt concerns herself with the very mechanisms of their communication, and she confronts distortions to meaning that form over time as the cultural or political pressures shaping the original expression fade and are eventually forgotten. In these pages are accounts of works successful in their own time alongside others that failed to achieve more than a liminal presence, among them Schubert's Alfonso und Estrella and his last opera project Der Graf von Gleichen, whose libretto was banned even before Schubert set to work composing it. Enlivening the narrative are generous music examples, reproductions of artwork, and facsimiles of autograph material.
Author: T. J. Reed
Publisher: Clarendon Press
Release Date: 1996-09-19
Genre: Literary Criticism
T.J. Reed's study has long established itself as the standard work in English on Thomas mann, and offers as comprehensive a view of Mann's fiction and thought as is available in any language. It is based on a coherent close reading of Mann's oeuvre, literary and political, and also on manuscripts and sources, and was part of the first phase of literary scholarship that opened up the resources of the Zurich Thomas Mann Archive. Further documents that have appeared since then - Mann's diaries, notebooks, and other correspondences - have not fundamentally altered the individual interpretations or the overall picture the study offers, and in some respects have emphatically confirmed them. A further chapter added to this edition covers the new documentation, gives a vigorous account of the main curents in Mann scholarship and criticism over the last two decades suggesting how we should now see the writer, the man, and the political figure, and above all the complex relationship between the three.