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The world-famous masterpiece by Nobel laureate Thomas Mann -- here in a new translation by Michael Henry Heim. Published on the eve of World War I, a decade after Buddenbrooks had established Thomas Mann as a literary celebrity, Death in Venice tells the story of Gustav von Aschenbach, a successful but aging writer who follows his wanderlust to Venice in search of spiritual fulfillment that instead leads to his erotic doom. In the decaying city, besieged by an unnamed epidemic, he becomes obsessed with an exquisite Polish boy, Tadzio. "It is a story of the voluptuousness of doom," Mann wrote. "But the problem I had especially in mind was that of the artist's dignity."
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Der Tod in Venedig, Thomas Mann
- Taal
- Jaar van publicatie
- 2011
- product-detail.submit-box.info.binding
- (Paperback)
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- Titel
- Der Tod in Venedig
- Taal
- Engels
- Auteurs
- Thomas Mann
- Uitgever
- Nabu Press
- Jaar van publicatie
- 2011
- Formaat
- Paperback
- Aantal pagina's
- 154
- ISBN10
- 1172818150
- ISBN13
- 9781172818150
- Reeks
- Tags
- Fictie, Historisch thema, Kunst, Liefde, Klassiekers, Korte Verhalen, Duitse literatuur, Duitsland, LGBTQ+, 20e Eeuw, Verhalen, Dood, Zuid-Europa, Italië, Cultuur en Samenleving, Verfilmd, Novelles, Inspiratie, Ziekten, Reis, Verplichte Lectuur, Schrijvers, Homosexualiteit, Nobelprijs, Vertelling, narratie, Hotels, Venetië, Grafiek
- Eerste editie
- 1912
- Oorspronkelijke titel
- Der Tod in Venedig
- Beoordeling
- 3,75 van 5
- Aantekening
- The world-famous masterpiece by Nobel laureate Thomas Mann -- here in a new translation by Michael Henry Heim. Published on the eve of World War I, a decade after Buddenbrooks had established Thomas Mann as a literary celebrity, Death in Venice tells the story of Gustav von Aschenbach, a successful but aging writer who follows his wanderlust to Venice in search of spiritual fulfillment that instead leads to his erotic doom. In the decaying city, besieged by an unnamed epidemic, he becomes obsessed with an exquisite Polish boy, Tadzio. "It is a story of the voluptuousness of doom," Mann wrote. "But the problem I had especially in mind was that of the artist's dignity."