Der Tod in Venedig

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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. Helen Tracy Lowe-Porter's authorized translation, published in 1922 in Mann's Stories of Three Decades, [11] has been less well received by critics due to Lowe-Porter's treatment of sexuality and homoeroticism.

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.Tadzio was based on a real boy named Władzio whom Mann had observed during his 1911 visit to the city. By completing your purchase, you agree to Audible's Conditions of Use and authorise Audible to charge your designated card or any other card on file. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing Death in Venice. 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.

Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city.However, Aschenbach's feelings, although passionately intense, remain unvoiced; he never touches Tadzio or speaks to him, and while there is some indication that Tadzio is aware of his admiration, the two exchange nothing more than occasionally surreptitious glances.

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. Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession. 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. Der Begehr sucht immer und stets einzig die Form und das Spielen mit ihr, denn geistiger Inhalt als die Form relativierend stört ihn nur.Soon the hot, humid weather begins to affect Aschenbach's health, and he decides to leave early and move to a cooler location. I have begun work on a strange thing which I brought with me from Venice, a novella, earnest and pure in form. Diaghilev often stayed at the same hotel as Aschenbach, the Grand Hotel des Bains, and took his young male lovers there. Given Mann's obsession with the works of Richard Wagner, who famously adapted and transformed von Eschenbach's epic into his opera Parsifal, it is possible that Mann was crediting Wagner's opera by referencing the author of the work that had inspired the composer. Und so nennt denn auch der Name 'Tod' im Titel der Novelle nicht lediglich Aschenbachs Sterben in Venedig.

Aschenbach ist von der Form dieses noch nicht pubertierenden Kindes entzückt, fasziniert und gefällt sich in stiller, stets angsthaft beobachtender Huldigung. 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. Death in Venice ( German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912. 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. This boy was tremendously attractive, and my husband was always watching him with his companions on the beach.There is something unhealthy about this level of intrusive fantasy, even if he did not act on it, which would have been even more unhealthy and frankly dangerous. 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. Von der fließenden Sehnsucht nach der Form findet Aschenbach eine stehende Formel der Sehnsucht, nämlich das Bekenntnis: "Ich liebe dich!