Relevant bibliographies by topics / Mann, Thomas (1875-1955)

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Academic literature on the topic 'Mann, Thomas (1875-1955)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Mann, Thomas (1875-1955)"

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Strobach, Niko. "Zum Umgang mit der Zeit in Thomas Manns Josephsroman." Berliner Theologische Zeitschrift 37, no. 1 (September 28, 2020): 234–49. http://dx.doi.org/10.1515/bthz-2020-0014.

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Zusammenfassung Ziel dieses Beitrags ist es, eine Passage aus dem Abschnitt »Von langer Wartezeit« aus dem ersten Band des auf Gen 25–50 basierenden Romanwerks »Joseph und seine Brüder« von Thomas Mann (1875–1955) als argumentativ strukturierten Text zu präsentieren, der Bedenkenswertes zum Umgang mit der Zeit mitteilt.
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Sokolova, E. V. "ALL-RUSSIAN SCIENTIFIC CONFERENCE "TEXTS AND CONTEXTS: DOCTOR FAUSTUS BY THOMAS MANN" (JUNE 23-24, 2021, MOSCOW STATE UNIVERSITY)." RZ-Literaturovedenie, no. 4 (2021): 129–46. http://dx.doi.org/10.31249/lit/2021.04.09.

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Thomas Mann (1875-1955) wrote his «novel of the epoch» «Doctor Faustus» (1947) living in USA during the Second World War while inevitable approaching of the «German catastrophe» and soon after it. The conference reports consider this text in various socio-cultural contexts and interdisciplinary perspectives including musicological. The philosophical, aesthetic, thematic and theoretical-literary relevance of this literary text today was reliably demonstrated.
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Navntoft, Rasmus. "Thomas Mann - Gennem krigens sygdomme mod en ny humanisme." Slagmark - Tidsskrift for idéhistorie, no. 70 (March 9, 2018): 47–64. http://dx.doi.org/10.7146/sl.v0i70.104412.

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The German author and Nobel Prize winner Thomas Mann (1875-1955) perceived World War I as a moral battle against the civilization project rooted in the European enlightenment. Like many other German intellectuals of that time, Mann stresses an opposition between the concept of culture and that of civilization – this conflict is seen as inherent in the European soul – and defends Germany’s right to remain a culture that does not evolve into a civilization. The concept of culture can contain irrational features such as mystical, bloody and terrifying teachings, whereas civilization is characterized by reason, enlightenment, skepticism and hostility towards passion and emotion. In his major work The Magic Mountain (1924) however, Mann tries to overcome this opposition and displays, through the metaphors of the text, that a new humanism is dependent upon a mystical and completely illogical balance between culture and civilization. The main character of the novel does not succeed in finding this balance. But, nonetheless, Mann continues to see the possibilities of a new humanism through this perspective in order to point out a humanistic hope in the shadesof two European world wars.
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Virchow, Chr, A. Naef, H. Schäfer, and J. Virchow. "Thomas Mann (1875-1955) und die Pneumologie - Zur Indikation des thoraxchirurgischen Eingriffs im April 1946." DMW - Deutsche Medizinische Wochenschrift 122, no. 46 (November 1997): 1432–37. http://dx.doi.org/10.1055/s-0029-1233745.

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Mehring, Reinhard. "Drei Wege zum Tod. : Novellen von Thomas Mann, Joseph Roth und Ingeborg Bachmann." Zeitschrift für Germanistik 34, no. 1 (January 1, 2024): 189–94. http://dx.doi.org/10.3726/92165_189.

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In seinem Frühwerk erdichtete Thomas Mann (1875–1955) eine Reihe morbider Gestalten, die mehr oder weniger als thanatophil oder todestrunken bezeichnet werden können. Eine frühe Gestalt, Paolo, antizipiert dabei allerdings bereits in der Novelle Der Wille zum Glück1 eine Überwindung der ,,Sympathie mit dem Tode“, die Mann dann im Zauberberg, parallel zur vielbeschworenen ,,Überwindung des Nihilismus“, als ,,Ergebnissatz“ seines Werkes forderte. Paolo stirbt ,,beinahe in der Hochzeitsnacht. Es mußte so sein. War es nicht der Wille, der Wille zum Glück allein, mit dem er so lange den Tod bezwungen hatte?“ (S. 61) Als Antizipation des Gesamtwerks ging Der Wille zum Glück dem Romanwerk voraus; auch deshalb nahm Mann – selten beachtet – diesen frühen Text zeitlebens in keine seiner Sammlungen auf. Weist Der Wille zum Glück auch mit dem italienischen Schauplatz, dem Glücks- oder Sehnsuchtsort Rom, auf den Tod in Venedig voraus, antwortet Mann mit Die Betrogene in seinem novellistischen Erkundungsgang der Möglichkeiten gelingenden Lebens doch letztlich versöhnlich: Im Betrug der Natur am Glück, des Gattungszwecks am Individuum, ist die Annahme individueller Grenzen gleichsam eingepreist.
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Pereira Caldas, Pedro Spinola. "O murmurante evocador do passado: A Montanha Mágica e o romance de formação após a Primeira Guerra Mundial." História da Historiografia: International Journal of Theory and History of Historiography 7, no. 16 (December 31, 2014): 107–20. http://dx.doi.org/10.15848/hh.v0i16.802.

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Este artigo busca compreender como A montanha mágica (1924), romance de Thomas Mann (1875-1955), é uma elaboração diante do desafio imposto pela Primeira Guerra Mundial à literatura, mais precisamente como seria possível, com a crise inaugurada com o conflito, escrever um romance de formação. A literatura especializada já discute há algum tempo sobre a caracterização e definição de A montanha mágica como romance de formação, e, frequentemente, quando se decide pela identificação do romance com este gênero específico de romance, a obra de Mann é classificada como paródia. Meu objetivo consiste em mostrar como a paródia é somente uma das compreensões de tempo presentes no romance. Tentarei, portanto, mostrar como, além de uma relação paródica com o passado, podemos perceber, sobretudo com o auxílio do estudo de cartas, diárias e ensaios de Thomas Mann produzidos entre 1914 e 1924, como o passado pode ser superado, mas, sobretudo, angustiado. Assim, procura-se, neste estudo, compreender, a partir de A montanha mágica, a angústia como uma forma pela qual o passado escapa de ser superado ou manipulado pela paródia. Ele também pode surpreender e nos afetar, suspendendo tentativas de controle e uso.
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Pronin, V. A., and D. D. Usenok. "Werther test." Science and School, no. 2 (April 30, 2024): 31–39. http://dx.doi.org/10.31862/1819-463x-2024-2-31-39.

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The great German writer Johann Wolfgang Goethe became an idol for next generations of writers. The plots of his works were rewritten many times and became a reason for reflections. “The Sorrows of Young Werther” became the most popular work among contemporaries, and gave rise to a fashion for the form of the epistolary novel, as well as established a model of Werther’s behavior as an example to follow. If in the 19th century Goethe was a stable, unchallenged authority for many literary generations, then in the era of modernism writers polemicized regarding the German genius status and his works. In the article, the authors try to trace how the 20th century literature reflects on Goethe and his hero using the example of the long short story “The Narrow Gate” (1907) by Andre Gide (1869–1951), “Tropic of Cancer” (1934) by Henry Miller (1891–1980) and «Lottа in Weimar» (1939) by Thomas Mann (1875–1955).
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Musso, Carlos Guido. "La montaña mágica de Thomas Mann (1875 -1955)." Evidencia, actualizacion en la práctica ambulatoria 15, no. 1 (April 1, 2012). http://dx.doi.org/10.51987/evidencia.v15i1.6226.

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Musso, Carlos Guido. "Obras maestras del arte universal y la medicina: "Muerte en Venecia" de Thomas Mann (1875-1955)." Evidencia, actualizacion en la práctica ambulatoria 11, no. 1 (March 1, 2008). http://dx.doi.org/10.51987/evidencia.v11i1.5954.

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Dissertations / Theses on the topic "Mann, Thomas (1875-1955)"

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Trummer, Beatrice. "Thomas Manns Selbstkommentare zum "Zauberberg"." Konstanz : Hartung-Gorre Verl, 1992. http://catalogue.bnf.fr/ark:/12148/cb35602216h.

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Darmaun, Jacques. "Thomas Mann et le problème juif." Paris 10, 1985. http://www.theses.fr/1985PA100112.

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Joseph, Erkme. "Nietzsche im "Zauberberg" /." Frankfurt am Main : V. Klostermann, 1996. http://catalogue.bnf.fr/ark:/12148/cb366895740.

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King, Lissette N. (Lissette Nicol). "A figure of enormity : Thomas Mann's Der Erwählte as political allegory." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60610.

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Thomas Mann's novel Der Erwahlte explores the concepts of sin, contrition, and eventual redemption through the life of the sinful pope Gregorius. The concept of enormity provides the link between the seemingly esoteric subject of his novel and the history of Germany under Nazi rule. He draws a direct, if subtle, parallel between German fascism and Gregorius' sins. The hero's sin, his penance, and his redemption are all overwhelming, thus providing the connection with German national character and history as understood by Mann. By examining the deep structure of the novel's imagery and plot in conjunction with Mann's political speeches, this thesis reveals these underlying similarities, and the essentially positive message which the novel finally conveys. The use of language and the Gregorius legend to express Mann's deep-rooted belief in the fundamental unity of European culture is also examined.
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Hamacher, Bernd. "Thomas Manns letzter Werkplan "Luthers Hochzeit" : Edition, Vorgeschichte und Kontexte /." Frankfurt am Main : V. Klostermann, 1996. http://catalogue.bnf.fr/ark:/12148/cb37701934k.

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Gérard, Delphine. "Les configurations triadiques de personnages dans l'oeuvre de Thomas Mann." Lyon 3, 1997. http://www.theses.fr/1997LYO31009.

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Les configurations triadiques de personnages apparaissent comme un element constitutif de l'oeuvre narrative de thomas mann, comme une cle de lecture permettant de preciser les mecanismes de progression du recit et de cerner la pensee mannienne dans ses ressorts psychologiques les plus subtils. Denominateur commun a des thematiques aussi diverses que l'adultere, l'antagonisme art/bourgeoisie, l'homosexualite et l'inceste, les configurations triadiques de personnages revelent l'existence d'interrelations fecondes entre la realite vecue par thomas mann et sa transcription litteraire. Point de rencontre privilegie entre le vecu et la fiction mais aussi entre le conscient et l'inconscient, "sismographe" de chocs affectifs parfois traumatisants, la structure triadique reflete avec fidelite la complexite emotionnelle d'un ecrivain qui, au gre d'une ardente recherche spirituelle, s'efforca de pallier la profonde dualite de son existence. Multiples et chatoyantes, les configurations triadiques de personnages apparaissent comme le lieu par excellence d'un desir de synthese qui se solde par un echec avant d'aboutir, dans la tetralogie de joseph et ses freres, a l'esperance d'une humanite pleinement realisee, symbole de l'androgynie et de la "coincidentia oppositorum". Toutefois, la ternarite apparait, en derniere instance, comme le miroir d'une ambivalence fondamentale chez thomas mann, la resolution des contradictions etant en realite une victoire evanescente, appelee a etre sans cesse reconquise et soumise au risque d'etre sans cesse reperdue
Triadic configurations of characters turn out to be a constitutive element of thomas mann's narrative work, a key enabling the reader to clarify the ways in which the narrative proceeds and to understand thomas mann's thought in its most subtle psychological motivating forces. Common denominator to various themes such as adultery, the art/middle class antagonism, homosexuality and incest, the triadic configurations of characters reveal the existence of fecund interrelationships between reality as experienced by thomas mann and its literary transcription. Privileged place where life and fiction, but also consciousness and unconsciousness, meet, "seismograph" of sometimes traumatic affective shocks, the triadic structure faithfully reflects the emotional complexity of a writer who, as he followed an ardent spiritual quest, endeavoured to compensate for the profound duality of his existence. The numerous, sparkling triadic configurations of characters prove to be the pre-eminent place where a desire for synthesis operates. It ends in a failure before resulting, in the joseph and his brothers tetralogy, in the hope for a fully realized humanity, a symbol of androgyny and of "coincidentia oppositorum". Yet, ternarity finally appears as the reflection of a fundamental ambivalence in thomas mann, the resolution of contradictions being actually a fading victory, bound to be conquered again and again and liable to be lost again and again
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Bonnaure, Édouard. "L'Image de Goethe dans l'oeuvre de Thomas Mann." Paris 4, 1985. http://www.theses.fr/1985PA040091.

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Winkelmann, Cathrin. "Distance and desire : homoeroticism in Thomas Mann's Death in Venice." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23858.

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The intention of this masters thesis is to examine how homosexuality is represented in Thomas Mann's 1913 novella Death in Venice, and to demonstrate how Mann was able to incorporate such a taboo issue in a story that Wilhelmine Germany would come to embrace.
The study consists of four chapters which examine four contexts in which the story, for the purposes of this thesis, should be interpreted. The first is historical, in which the previous reception of the novella, as well as the author's own struggle with his identity, is investigated. In the second, Mann's philosophical paradigms to represent homoeroticism, drawn largely from classical Greece and Nietzsche, are examined. Freud's views of homosexuality and sublimation furnish the basis for the third chapter, in which sublimated imagery of sexual desire in the text is considered. Finally, the narrative strategies employed by Mann that render the story palatable to his heterosexual, bourgeois reading audience are illustrated in the fourth chapter.
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Mazzola, Andrea Luigi. "Una tragedia musicale: musica e filosofia nel Doctor Faust di Thomas Mann." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86154.

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Morgan, Thomas Winston. "Homoeroticism and Thomas Mann's Death in Venice." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4798.

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In the late 1970s and early 1980s, previously unpublished portions of Thomas Mann's diaries were released for publication. These excerpts contained passages that removed all previous doubt as to Mann's sexual proclivities, affirming his homosexual inclinations. It had been suspected that Mann was homosexual before this time, but there was no conclusive proof until the release of the now-famous (or infamous) diary entries. Now that there is written proof of Mann's sexual orientation, literary scholars can more persuasively argue the often overlooked or circumvented homosexual aspects of his writings. This thesis is an investigation of the homoerotic elements in Thomas Mann's novella, Death in Venice. The present study draws out the homoerotic elements of the text and places them in a socio-historical context. Textual analysis, as it concerns coded homosexual desire, as well as a biographical schema of Mann highlight the homoerotic characterizations in the novella. The analysis is based in an historical context, a time when homosexual expression was strictly illegal. The tension created between Mann's need to process his homosexuality and his internal moral code - as well as the external moral code of Wilhelmine Germany - forced him to contrive a story in which he could only present homosexual desire in code or via allusions to the homosexuality of Ancient Greece.
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Books on the topic "Mann, Thomas (1875-1955)"

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Walter, Delabar, and Plachta Bodo, eds. Thomas Mann (1875-1955). Berlin: Weidler, 2005.

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Travers, Martin. Thomas Mann. Houndmills, Basingstoke, Hampshire: Macmillan Education, 1992.

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Travers, Martin, and Martin Patrick Anthony Travers. Thomas Mann. New York: St. Martin's Press, 1992.

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Ridley, Hugh. Thomas Mann: Buddenbrooks. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Travers, Martin Patrick Anthony. Thomas Mann. Basingstoke: Macmillan Education, 1992.

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Harold, Bloom, ed. Thomas Mann. New York: Chelsea House, 1986.

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Rudolf, Vaget Hans, ed. Thomas Mann's The magic mountain: A casebook. New York: Oxford University Press, 2007.

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Fetzer, John F. Changing perceptions of Thomas Mann's Doctor Faustus: Criticism 1947-1992. Columbia, SC: Camden House, 1996.

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Hilgers, Hans. Serenus Zeitblom: Der Erzähler als Romanfigur in Thomas Manns Doktor Faustus. Frankfurt am Main: P. Lang, 1995.

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Lucca, Eva Bauer. Versteckte Spuren: Eine intertextuelle Annäherung an Thomas Manns Roman Doktor Faustus. Wiesbaden: Deutscher Universitäts-Verlag, 2001.

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Book chapters on the topic "Mann, Thomas (1875-1955)"

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Härle, Gerhard. "Thomas Mann (1875–1955)." In Frauenliebe Männerliebe, 256–60. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_57.

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Robertson, Ritchie. "Thomas Mann (1875–1955): Modernism and ideas." In The Cambridge Companion to European Novelists, 343–60. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.022.

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Gunnemann, Karin. "Writers and Politics in the Weimar Republic." In Weimar Thought. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691135106.003.0012.

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This chapter provides a literary and historical glimpse into the political fortunes of the great writers and novelists of the Weimar era, focusing on Kurt Tucholsky, Alfred Döblin, and the brothers Thomas and Heinrich Mann. Tucholsky (1890–1935) was foremost a polemical political journalist, a humorist, and a writer of satiric poetry for the cabarets of Berlin. No ills of the Republic escaped his witty scrutiny, but when the Republic failed he ended his life in despair. Heinrich Mann (1871–1950) was both a prolific writer of fiction and one of Germany's leading political essayists. In response to the cultural changes of the twenties, he developed a new aesthetic for fiction that helped him preserve his utopian ideal of a democratic Germany. Döblin (1878–1957) expressed his criticism of post-war German society with greatest success in Berlin Alexanderplatz. Thomas Mann (1875–1955) is a representative of those writers who had great difficulty in moving away from their aesthetic and autonomous view of literature to a more “democratic” way of writing.
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Hoelzel, Alfred. "Thomas Mann’s Attitudes Toward Jews and Judaism: An Investigation of Biography and Oeuvre." In Studies In Contemporary Jewry An Annual, 229–53. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061888.003.0010.

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Abstract Thomas Mann (1875-1955), one of Germany’s finest novelists, ranks securely among the giants of twentieth-century literature. However, Mann’s significance extends much beyond his fiction. As an intellectual whose career traversed seven fateful decades of German history and culminated in American and Swiss exile during a cataclysmic war and its controversy-filled aftermath, Mann, unlike such men as Rainer Maria Rilke or Hermann Hesse, never chose to stand aloof from the hurly-burly of his time. On the contrary, Mann’s intimate engagement with his socio-political environment—from Wilhelminian imperialism to Weimar republicanism, from Nazi dictatorship to the Rooseveltian New Deal, from McCarthy paranoia to European reconstruction—constitutes a distinctive dimension of his legacy. By the time Mann was living in the United States, journalists seeking an interview often had to specify whether their interest was literary or political. In one of his letters, written on the eve of the Second World War, Mann defended his indefatigable public crusade against Nazi tyranny by quoting Goethe, “What now counts is how much one weighs on the scale of humanity; everything else is insignificant.”1
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