Jeffrey Meyers has written acclaimed biographies of many of the most influential authors of the twentieth century, but none has affected him as deeply as Thomas Mann. From his first youthful encounter with Death in Venice, Meyers has cultivated a lifetime obsession with Mann's elegant style, penetrating irony, and insight into the life of the artist.Admirers of Thomas Mann and of Jeffrey Meyers's biographies will find in this remarkable book the best introduction to one of the greatest writers of the modern age.
According to the customary literary-historical and theoretical notion, the fact that the first modern novel represents a parody or travesty of the chivalric ideal merits no particular attention. Failing to become attuned to the real role of the chivalric ideal at the beginning of the era of the modern novel, commentators missed the chance to adequately review the role of chivalry at the end of that period. The modern novel did not only begin, but also ended with a travesty of the chivalric ideal. The deep need of a significant number of modernist writers to measure their own time according to the ideals of the high and late Middle Ages cannot, therefore, be explained by a set of literary-historical, spiritual-historical or social circumstances. The predilection of a range of twentieth century novelists for a distant feudal past suggests that there exists a fundamental poetic connection between the modern (or at least the modernist) novel and the ideals of chivalry.
Thomas Mann's Felix Krull, written between 1910-13 and continued (though never completed) in 1951-54, uses contemporary accounts of these figures as a starting-point from which to explore the aesthetics of society. The early Krull marks an important stage in Mann's development in a number of respects.In writing it, Mann acquired a more flexible conception of identity and a new understanding of the relation between artist and public. Krull also signals a deeper engagement with Goethe and a shift in Mann's work towards a more open treatment of sexuality. The novel presents art as being central to the development of the individual and to social interaction. While Krull is nominally a confidence man, he is more of a performance artist, a purveyor of beauty who relies upon the complicity of his audience. The later Krull takes up where Mann left off and continues the justification of art as an essential human activity. This study draws upon unpublished material in order to provide a comprehensive reading of Felix Krull. It examines the novel within the context of Mann's work as a whole, and, in doing so, it seeks to demonstrate the remarkable continuity of Mann's creative achievement.
Study of the critical reception of one of the most famous and widely read works of modern literature. Thomas Mann's 1912 novella Death in Venice is one of the most famous and widely read texts in all of modern literature, raising such issues as beauty and decadence, eros and irony, and aesthetics and morality. The amount and variety of criticism on the work is enormous, and ranges from psychoanalytic criticism and readings inspired by Mann's own homosexuality to inquiries into the place of the novella in Mann's oeuvre, its structure and style, and its symbolism and politics. Critics have also drawn connections between the novella and works of Plato, Euripides, Goethe, Schopenhauer, Platen, Wagner, Nietzsche, Gide, and Conrad. Ellis Shookman surveys the reception of Deathin Venice, analyzing several hundred books, articles, and other reactions to the novella, proceeding in a chronological manner that allows a historical perspective. Critics cited include Heinrich Mann, Hermann Broch, D. H. Lawrence, Karl Kraus, Kenneth Burke, Georg Lukàcs, Wolfgang Koeppen, Mario Vargas Llosa, and Thomas Mann himself. Particular attention is paid to Luchino Visconti's film, Benjamin Britten's opera, and to other more recent creative adaptations, both in Germany and throughout the world. Ellis Shookman is associate professor of German at Dartmouth College.
Thomas Mann is among the greatest of German prose writers, and was the first German novelist to reach a wide English-speaking readership since Goethe. Novels such as Buddenbrooks, The Magic Mountain, and Doktor Faustus attest to his mastery of subtle, distanced irony, while novellas such as Death in Venice reveal him at the height of his mastery of language. In addition to fresh insights about these best-known works of Mann, this volume treats less-often-discussed works such as Joseph and His Brothers, Lotte in Weimar, and Felix Krull, as well as his political writings and essays. Mann himself was a paradox: his role as family-father was both refuge and façade; his love of Germany was matched by his contempt for its having embraced Hitler. While in exile during the Nazi period, he functioned as the prime representative of the "good" Germany in the fight against fascism, and he has often been remembered this way in English-speaking lands. But a new view of Mann is emerging half a century after his death: a view of him as one of the great writers of a modernity understood as extending into our 21st century. This volume provides sixteen essays by American and European specialists. They demonstrate the relevance of his writings for our time, making particular use of the biographical material that is now available.Contributors: Ehrhard Bahr, Manfred Dierks, Werner Frizen, Clayton Koelb, Helmut Koopmann, Wolfgang Lederer, Hannelore Mundt, Peter Pütz, Jens Rieckmann, Hans Joachim Sandberg, Egon Schwarz, and Hans Vaget.Herbert Lehnert is Research Professor, and Eva Wessell is lecturer in Humanities, both at the University of California, Irvine.
In Thomas Mann's War, Tobias Boes traces how the acclaimed and bestselling author became one of America's most prominent anti-fascists and the spokesperson for a German cultural ideal that Nazism had perverted. Thomas Mann, winner of the 1929 Nobel Prize in literature and author of such world-renowned novels as Buddenbrooks and The Magic Mountain, began his self-imposed exile in the United States in 1938, having fled his native Germany in the wake of Nazi persecution and public burnings of his books. Mann embraced his role as a public intellectual, deftly using his literary reputation and his connections in an increasingly global publishing industry to refute Nazi propaganda. As Boes shows, Mann undertook successful lecture tours of the country and penned widely-read articles that alerted US audiences and readers to the dangers of complacency in the face of Nazism's existential threat. Spanning four decades, from the eve of World War I, when Mann was first translated into English, to 1952, the year in which he left an America increasingly disfigured by McCarthyism, Boes establishes Mann as a significant figure in the wartime global republic of letters.
