Death In Venice

Author: Thomas Mann
Publisher: W W Norton & Company Incorporated
ISBN: 9780393960136
Size: 17.86 MB
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Clayton Koelb's masterful translation improves upon its predecessors intwo ways: it renders Mann into American (not British) English, and itremains true to Mann's original text without sacrificing fluency. ForAmerican readers, this is the translation of choice. "Backgrounds and Contexts" includes Mann's working notes, which allowstudents to observe the author's creative process. The notes areavailable here for the first time in English. Illuminating selections from Mann's essays and letters are alsoreprinted, as are period maps of Munich, Venice, and the Lido. "Criticism" includes six essays—by Andre von Gronicka, Manfred Dierks, T.J. Reed, Dorrit Cohn, David Luke, and Robert Tobin—sure to stimulateclassroom discussion. A Chronology and Selected Bibliography are also included.

Deaths In Venice

Author: Philip Kitcher
Publisher: Columbia University Press
ISBN: 0231536038
Size: 12.44 MB
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Published in 1913, Thomas Mann's Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions. In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth. Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.

The Drama Of The Assimilated Jew

Author: Lucienne Kroha
Publisher: University of Toronto Press
ISBN: 1442665068
Size: 61.11 MB
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Giorgio Bassani (1916–2000) was a Jewish Italian novelist, poet, essayist, editor, and intellectual. A cosmopolitan writer concerned with the problems of Jewish identity and history, Bassani was deeply affected by the persecution and deportation of Italian Jews under Mussolini. His personal experience of this period and its aftermath was fundamental to the creation of his masterwork, the Romanzo di Ferrara (Romance of Ferrara). In The Drama of the Assimilated Jew, Lucienne Kroha makes Bassani’s personal and literary journey accessible to English-language readers. Kroha’s close, intertextual reading of Bassani’s novels and short stories reveals Bassani’s focus on the issue of Jewish masculinity and his profound engagement with the work of Freud, Nietzsche, and Thomas Mann, whose ideas he appropriated and re-cast to construct the fictional story of his own personal struggle.

The Secret Agent

Author: Joseph Conrad
Publisher: W. W. Norton & Company
ISBN: 0393522989
Size: 32.81 MB
Format: PDF, ePub, Mobi
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Othello

Author: William Shakespeare
Publisher: W. W. Norton & Company
ISBN: 0393623394
Size: 19.94 MB
Format: PDF
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The Merchant Of Venice

Author: William Shakespeare
Publisher: W W Norton & Company Incorporated
ISBN: 9780393925296
Size: 71.61 MB
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Presents Shakespeare's comedy about a creditor demanding a pound of flesh in payment of a defaulted debt and a love who must choose among three caskets in a riddle game to win the hand of a wealthy lady.

The Distinction Of Fiction

Author: Dorrit Cohn
Publisher: Johns Hopkins Univ Pr
ISBN:
Size: 49.71 MB
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Winner of the Modern Language Association's Aldo and Jeanne Scaglione Prize for Comparative Literary Studies The border between fact and fiction has been trespassed so often it seems to be a highway. Works of history that include fictional techniques are usually held in contempt, but works of fiction that include history are among the greatest of classics. Fiction claims to be able to convey its own unique kinds of truth. But unless a reader knows in advance whether a narrative is fictional or not, judgment can be frustrated and confused. In The Distinction of Fiction, Dorrit Cohn argues that fiction does present specific clues to its fictionality, and its own justifications. Indeed, except in cases of deliberate deception, fiction achieves its purposes best by exercising generic conventions that inform the reader that it is fiction. Cohn tests her conclusions against major narrative works, including Proust's A la Recherche du temps perdu, Mann's Death in Venice, Tolstoy's War and Peace, and Freud's case studies. She contests widespread poststructuralist views that all narratives are fictional. On the contrary, she separates fiction and nonfiction as necessarily distinct, even when bound together. An expansion of Cohn's Christian Gauss lectures at Princeton and the product of many years of labor and thought, The Distinction of Fiction builds on narratological and phenomenological theories to show that boundaries between fiction and history can be firmly and systematically explored.