Der Tod in Venedig

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But all is not well in Venice, even as Aschenbach feels a kind of degradation within himself, a turning away from the role he has so consistently played throughout his life. Beyond the sense of his own pending frailty, Aschenbach has arrived at Venice in the midst of a plague of cholera, news of which the hotel & the city have desperately tried to forestall. Still, the scent of carbolic acid becomes increasingly present in an attempt to disinfect the city. Y después se pierde aún más en simbolismos y literariedades sobre la peste que está azotando el lugar y que afecta a la población por la deficiencia y negligencia del estado solo para decir que el gobierno prefiere quedarse callado si se aseguran más dinero en el bolsillo.

This man was ready to sacrifice on the altar of art, the strength he had garnered from his sleep. This is his story. Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information. Mulți au pretins că trebuie să privim din unghi simbolic și gondolele întunecate „ca niște sicrie”, și „aerul putred, de mlaștină” de deasupra străzilor strîmte, și figura bătrînului de pe vasul care-l aduce pe scriitor în oraș. Eu aș citi literal (și nu alegoric) întreaga desfășurare a epidemiei, fiindcă ea poate fi comparată cu evenimente reale și foarte apropiate de noi. Să vedem... Mann being a fairly obviously repressed individual, one can read a certain parallel between the disease that infects Venice, with Achenbach's almost insane passion (insanity features in Mann's notes). Mann seems to see these homosexual pederastic impulses that one surmises he felt himself, as at the same time degrading and ennobling. Ennobling, so the reasoning seems to go, in the sense of that when a person degrades himself for love, it can be seen as a kind of sacrifice of dignity for a higher cause (being, in this case, "love"). Gilbert Adair: The Real Tadzio: Thomas Mann’s „Death in Venice“ and the Boy Who Inspired It. Carroll & Graf, 2001 (Deutsche Übersetzung: Adzio und Tadzio, Edition Epoca, 2002) (zu Władysław Moes)

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Solitude produces originality, bold & astonishing beauty, poetry. But solitude also produces perverseness, the disproportionate, the absurd, and the forbidden.” Mann also remarks on Tadzio's narcissism with acute insight. According to The Real Tadzio: Thomas Mann's Death in Venice and the Boy Who Inspired It, the latter was indeed a pretty narcissistic person who enjoyed the attentions of older men, so Mann was pretty spot-on with his portrayals. Das Motiv des Todesboten gipfelt in der Figur des anmutigen Tadzio. Im Schlussbild der Novelle meint der Sterbende, Tadzio lächle ihm zu und deute vom Meeresufer aus mit der Hand „ins Verheißungsvoll-Ungeheure“. Diese Geste macht aus Tadzio eine Hermes-Inkarnation, denn zu den Aufgaben dieser Gottheit gehörte es, die Seelen der Verstorbenen in die Totenwelt zu führen. Jochen Schmidt: Die Geschichte des Genie-Gedankens in der deutschen Literatur, Philosophie und Politik 1750–1945. Band 2, Darmstadt 1985, S. 247 f. Freshly dyed and rouged, he again shadows Tadzio through Venice in the oppressive heat. He loses sight of the boy in the heart of the city; then, exhausted and thirsty, he buys and eats some over-ripe strawberries and rests in an abandoned square, contemplating the Platonic ideal of beauty amid the ruins of his own once-formidable dignity.

The Publisher Says: Death in Venice tells how Gustave von Aschenbach, a writer utterly absorbed in his work, arrives in Venice as a result of a 'youthfully ardent thirst for distant scenes,' and meets there a young boy by whose beauty he becomes obsessed. His pitiful pursuit of the object of his abnormal affection and its inevitable and pathetic climax is told here with the particular skill the author has for this shorter form of fiction. Thomas Mann's Death in Venice resembles a portrait of the artist as an older man, a figure forced to confront & evaluate his path in life, regretting much of what he sees. Throughout, Gustav Aschenbach speaks of an artist's being conditioned to rather ruthlessly pursue truth as he envisions it, with that pursuit being an intellectual one that almost precludes much in the way of overt emotion or revealed passion. Philip Kitcher, Deaths in Venice: The Cases of Gustav von Aschenbach. New York: Columbia University Press, 2013.

Alexander Honold, Arne Klawitter (Hrsg.): Thomas Mann, „Der Tod in Venedig“ und die Grenzgänge des Erzählens. Interkulturelle Analysen. Schwabe, Basel 2023. ISBN 978-3-7965-4578-8. Robertson, Ritchie (2002). The Cambridge Companion to Thomas Mann. Cambridge University Press. p. 244. ISBN 9780521653107. Hans Dieter Mennel: Psychopathologie und Zeitanalyse in Thomas Manns Roman „Zauberberg“. In: Medizinhistorische Mitteilungen. Zeitschrift für Wissenschaftsgeschichte und Fachprosaforschung. Band 36/37, 2017/2018 (2021), S. 199–220, passim.